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...Hoffman allowed the artists to draw in court. At some trials, and in the U.S. Senate gallery, sketchers must keep their pens, pencils or crayons in their pockets and draw later from memory. Brodie once got into trouble with a judge who claimed he was being distracted by the glare of Brodie's bald head bobbing up and down over...

Author: /time Magazine | Title: The Press: The Artist as Reporter | 3/9/1970 | See Source »

...Cambridge, the sun's glare never completely disappeared but 96 per cent of its surface was covered at the height of the eclipse...

Author: By Deborah B. Johnson and Mark W. Oberle, S | Title: Eclipse Awes Viewers Hereandin Nantucket | 3/9/1970 | See Source »

...hero and his leather-jacketed, hard nosed antagonist must pit their honor and their courage aganist one another in a dangerous automobile contest destined to take from one of them either his life or the respect of his friends. As they survey the course they will be driving, they glare at each other, their fears walled up inside the cool they try to maintain. A moment before the trial begins, however, they face one another, exchange names. "I like you," admits the leader of the pack. "I like you, too." says Dean, and asks him, "Why are we doing this...

Author: By Lynn M. Darling, | Title: From the Shelf The Harvard Advocate Volume C III, Number 4 February, 1970, 75c | 2/26/1970 | See Source »

...demonstrators walked out under the glare of television flood lights at 4:45 p.m.- two hours after a Cambridge court issued an injunction against the students and three hours after Dean May temporarily suspended all students involved in the demonstration...

Author: By Scott W. Jacobs, | Title: 91 OBU Members Leave Building After Injunction | 12/12/1969 | See Source »

...structuring color into definite geometric shapes, Minimal Artists give color the permanent stability it lacks in the impressionistic canvases of Olitsky. The smooth unmodulated hue of their minimal works pulls the canvas to an unprecedented flatness. The extensive steady tones glare outwards without suggesting any space for the eye to travel. Though it is difficult to conceive of a flatter picture, it is almost impossible not to see a special relationship between any two colors placed on the same surface. In their simplicity, the chevrons of Noland, thrust across the canvas, are impossible to forget. As the painted surfaces become...

Author: By Cyntiha Saltzman, | Title: At the Met New York Painting and Sculpture 1940-1970 at the New York Metropolitan Museum of Art until February 1. | 12/11/1969 | See Source »

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