Word: gracefully
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...cold cigar lay on the edge of the littered desk. Sitting behind the desk, Alabama's Governor George Corley Wallace, 44, seemed charged with electric intensity. His eyes, burning like lasers, were dark, deep, and eyebrowed over with black bands. His voice was deceptively soft, grace-noted with a Southern drawl, yet tinged with anxiety...
...center of an area rich in minerals, ranging from iron ore to arsenic, Birmingham was only founded in 1871, has none of the antebellum traditions or grace of the Old South. Its symbol since 1936 has been a forbidding 60-ton, 50-ft.-high, aluminum-coated statue of Vulcan, who was the Roman god of fire. Vulcan, high atop Red Mountain, drew workers like moths from all over the state. Most of them were unschooled, out-of-work farm people, attracted by the promise of prosperous city life...
...brought up to believe that sexual finesse is almost as important a social grace as, say, good table manners, it sometimes comes as a shock to be reminded that lust is one of the seven deadly sins. Moralists who insist on this fact are likely to be regarded as bores, or boors, or both. One moralist, however, who runs no such risk is a cheerful, youthful novelist named Robert Gover...
Lebrun's figures are simple in the sense that they avoid detail and scrupulous realism, but they lack technical economy. Superfluous lines preclude maximum effects of weight and power, as well as any real linear grace. Despite the artist's great predilection and proven talent for drawing, he has conceived these figures in sculptural terms and consequently his line is most effective when he uses it to suggest volumes. When he uses line seemingly for its own sake, the results are less fortunate...
Lebrun's emphasis on weight and power makes the almost classical grace of his women on the right of "Two Figures Happening" all the more remarkable. The figure on the left displays typically massive thighs and a heavy torso inclined forward. The right-hand figure is powerful but much lighter. She twists toward her companion and her left arm, bent at the elbow, is thrown across her face. There is grace but not freedom. Both figures really seem to be "happening," to be struggling free of the surrounding darkness. Even in a classical motif Lebrun preserves the heaving...