Word: foregrounds
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Dates: during 1990-1999
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...figure, his strongest of vegetable nature--one especially, an ink drawing of creepers on a rock done around 1827, has a wiry inquisitorial line and a fierce truth to the motif that remind one, without exaggeration, of Durer. In landscape his hand roamed free, giving the foreground hill in Volterra, the Citadel, 1834, a lively splotching of indeterminate dark scrub whose excited marks carry more visual weight than the distant hill town. But his early portraits are maladroit Ingres, and he was almost incapable of bringing off large biblical or literary compositions: his late painting of Dante and Vergil menaced...
...pissed as ever, she had the audience shouting along with her as she threw her adulterous husband out of her house and proceeded to burn all his belongings, including his Mercedes. "I'm tired," she screams, baring those buff biceps, "of being a background to your foreground...
...vivid example is The Music Lesson, circa 1662-64. The foreground is occupied by the elephantine bulk of a table draped in a Turkish carpet. Its thick folds of wool and the blue tracery on its shadowed flank, which looks dull in reproduction but fairly blazes in the original, delay your eye as it tries to get into the picture. More obstacles are built into the space between the carpet and the figures at the end of the room. There is a white pitcher on the table, a sky-blue chair with gleaming brass tack heads, and finally the voluptuous...
...rally was exciting and refreshing but it didn't leave us with the sense that there is something that we must do. This does not mean that we don't think the rally was worthwhile; in fact, just bringing the subject of the lack of student voice to the foreground was a major step. However, what the rally needed to do was to take that all-important second step and provide its listeners with a sense of purpose. Otherwise, with no specific plan of action to grab onto, busy Harvard students will let the issues slip into the back corners...
...flower pinned to Sarah Mifflin's bodice. What is especially striking about it is the way it preserves Quaker ideas of matrimonial equality. Conventional 18th century portraits have the wife looking adoringly at the husband, who looks at you. Not here: it is Sarah who occupies the foreground and fixes you with a composed, level gaze, while Thomas looks at her with a pride that seems very far from proprietorial complacency. It is a beautiful reflection of the equality of man and wife in a voluntary contract...