Word: ornamentations
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Dates: during 1960-1969
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Ivan the Terrible is the most painstakingly constructed of Eisenstein's films, and the most difficult. His first effort in color appears midway through Part II. He planned all the scenery himself and sketched each shot before he took it, plotting out every shadow and ornament. By now Eisenstein was almost a captive of the montage idea, and the plot is impossible to follow. He gave the film immense scale and ponderousness at the expense of pace; it is practically a series of paintings. The conspiring boyars stare malignantly from the shadows, Ivan stands, kneels, and writhes before fearsome religious...
Arabesques& Soliloquies. Landowska, like a little Polish mother, never stopped giving advice. "There is a certain common way of playing trills which reminds me of an electric doorbell," she warned. An ornament should "fill space with arabesques." How to begin to play a piece? "One has to concentrate and be entirely ready so that when the first note is struck, it comes as a sort of continuation of a soliloquy already begun. Similarly the last note is never the last. It is rather a point of departure for something to come." She was, in a way, describing her own lifework...
...sharp, enthusiastic eye, and persuaded Chicago's Marshall Field & Co. to do the same. It was the fussy era in children's fashions, a day that called for ruffles and ribbons and starched puffed sleeves. Mrs. Eiseman preferred simple styles, fine fabrics and an elegance not of ornament but of workmanship. Marshall Field ordered $3,000 worth, sold out in a month. Florence Eiseman, Inc. was in business...
Divinity as Beauty. Lips lift in a sublime smile, torsos twist into reverse curves that enliven flesh, and ornament clings to smoothly modeled skin like a caress of art given to nature. Beauty was a reflection of divinity, just as the slender saints that adorn Chartres cathedral are the disembodied spirits of medieval Christianity...
Profuse with C scrolls and S curves, rococo has often been labeled an interior decorator's art. In courtly architecture, such as Munich's dainty Amalienburg palace, plaster tendrils so slather the rooms that the ceiling is inseparable from the walls. Rococo was ornament become form, rather than the link between forms. It added asymmetry to the earlier style of baroque art, as one would add fantasy to fiction. Where the baroque was epic, rococo was lyric. It had a horror of straight lines, as if such were the symbols of reason and order...