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Word: leopold (lookup in dictionary) (lookup stats)
Dates: during 1990-1999
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...July 17]. It was once said of Hopper that his paintings were a reflection of his own loneliness. Hopper lent majesty and dignity to ordinary objects (fire hydrants, desk lamps) and to people, whose courage in the midst of desolation he captured with sensitivity and pride. JOHN R. LEOPOLD Pasadena, Maryland...

Author: /time Magazine | Title: Letters, Aug. 7, 1995 | 8/7/1995 | See Source »

...study, Mozart: A Life (HarperCollins; 640 pages; $35), has gone much further than any of his predecessors in humanizing his subject. Above all, he limns the complex relationship between Mozart and the person who was the center and the terror of his life: his father, the fabulous monster Leopold...

Author: /time Magazine | Title: MYTH OF THE DIVINE CHILD | 3/6/1995 | See Source »

...primary architect of this myth was Leopold, the stern violinist and teacher from Augsburg who knew at once that to him had been given charge of music's greatest talent. Leopold may not have been the first stage father, but he defined the type, dragging the young Wolfgang and his nearly as virtuosic elder sister Nannerl through Europe to secure not only his son's reputation but the family's fortunes as well...

Author: /time Magazine | Title: MYTH OF THE DIVINE CHILD | 3/6/1995 | See Source »

...latter he was bitterly disappointed, and his subsequent relations with his grown son, so piteously revealed by their correspondence, inevitably revolved around the twin subjects of career and money. Leopold, in Solomon's view, never reconciled himself to Mozart's maturity and in a thousand ways endeavored to infantilize and emasculate him. "Always pursuing his quota of freedom, Mozart constantly drew back and returned to conditions of bondage," Solomon writes. Mozart's lifelong fear of his father determined his behavior. When on July 3, 1778, his mother died in Paris, where Leopold, despite her protestations of poor health, had sent...

Author: /time Magazine | Title: MYTH OF THE DIVINE CHILD | 3/6/1995 | See Source »

...Stoddard's English version nor Rouse's production lose the author's nascent sarcasm. Fraught with cliche, the play seems to make fun of the postmodern genre it places itself in; in Rouse's interpretation, the language surfaces with such hollow force that we can easily imagine that Leopold's books must read like the non sensical phrases of the artist/critic Mark Tansey's "Wheel...

Author: By Hugh G. Eakin, | Title: Loeb's 'Largo' Impresses | 7/29/1994 | See Source »

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