Word: masks
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...would playfully take aim at me with his M16. Another kept grabbing his hand grenade and explaining to me how the pin could be removed. I pleaded with them to discontinue their antics, since the driver, a speed maniac who for reasons best known to himself wore a gas mask, kept zooming at 40 m.p.h. through alleys full of shouting humanity. I felt like one of those G.I.s who rode through liberated Paris or Rome during World War II. Kwangju, after all, had been 'liberated' by its youth power...
...masquerade as an unemotional strategy." Laqueur concedes that "there is a Gaullist tradition in modern French history, but there is also the heritage of Vichy, and it is not at all certain that the Gaullist tradition has prevailed of late. Contemporary appeasement has many guises: it appears under the mask of superior wisdom, experience and statesmanship, as well as under the slogan of a 'special relationship' with the Soviet Union...
...much a prodigy as Mozart, and his precocity seems to have fixed his peculiar sense of vocation. He was born in Málaga in 1881, the son of a painter named José Ruiz Blasco (a fine-boned inglés face, nothing like Pablo's simian mask; that came from his mother), and by 13 he was so good at drawing that his father is said to have handed over his own brushes and paints to the boy and given up painting. If the story is true, it goes some way to explain the mediumistic confidence with which Picasso worked. "Painting...
...pervasive influence of Toulouse-Lautrec, keep appearing in his Parisian cabaret scenes of 1901. Some of these are of remarkable intensity. Picasso painted Gustave Coquiot, a fashionable Paris art and theater columnist, as a sinister god of urban pleasure, green shadows straining against red lips in a pale mask of a face. Some of the women, their faces blurred by laughter or squinched up into pug masks of greed, seem to predict by ten years the jittery misogyny of German expressionism. Woman in Blue, 1901, with her fierce little Aubrey Beardsley whore's head surmounting the dress of a Vel?...
...thought he had gone crazy, why the painter André Derain actually predicted that Picasso would hang himself behind the big picture. The painting is freighted with aggression, carefully wrought. The nudes are cut into segments, as though the brush were a butcher knife. Their look, eyes glaring from African-mask faces, is accusatory, not inviting. Even the melon in the still life looks like a weapon. The space between the figures is flattened, like a crumpled box: it was in this play of code between solid and void (one apparently as "tactile" as the other) that the formal prophecies...