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...Price was a master at creating characters others could live through, particularly strong-willed women, such as the heroine in his 1986 novel Kate Vaiden. This time Price focuses on two young men to tell his hypnotic tale of loss and redemption: Bridge Boatner, a famous painter who looks back at the summer of 1954, when he was a counselor at a camp in North Carolina; and Raphael Noren, a prematurely wise, otherworldly 14-year-old who was a camper there that summer. Price begins with Boatner's reflecting, "I'm as peaceful a man as you're likely...

Author: /time Magazine | Title: Books: A Prayer for Raphael Noren | 5/14/1990 | See Source »

...perfect example is John Byrd as the painter who captures Lulu's image on canvas, then marries her after the death of her first husband (who dies of a stroke before he is able to appear on stage). Byrd's voice is only mediocre, and he overacts terribly, stumbling around stage like a man who is about to kill himself...

Author: By Colin F. Boyle, | Title: Direction and Complexity Mar Lowell House Opera 'Lulu' | 4/27/1990 | See Source »

...filmmakers would seem less likely candidates for TV than Lynch. His first feature, Eraserhead, was a dreamlike horror story about a couple taking care of a monstrous mutant baby. Blue Velvet, his bizarre 1986 black comedy, started with a severed ear and descended into sadomasochistic horror. Trained as a painter, Lynch has written song lyrics and directed a performance piece, Industrial Symphony No. 1, featuring a midget sawing wood and dozens of baby dolls lowered from the ceiling...

Author: /time Magazine | Title: Video: Like Nothing On Earth | 4/9/1990 | See Source »

...tried filmmaking as an extension of his painting. Lynch's first work was a "film sculpture," a one-minute animated loop in which six people get sick over and over while their heads catch on fire. A painter who saw it commissioned Lynch to make another animated film. Lynch bought a camera and spent two months shooting before he realized the camera was broken. "It was one long piece of blurred film," he says. "But it was the weirdest thing; I wasn't one bit depressed...

Author: /time Magazine | Title: Video: Like Nothing On Earth | 4/9/1990 | See Source »

Karl Lagerfeld, the most aggressive exponent of the skirtless look, had bright, jaunty jackets that were nipped in at the waist. Claude Montana, still smarting from his disastrous debut as Lanvin's couturier in January, produced a rigorous collection dedicated to Andy Warhol. What he took from the painter was Popsicle colors and hard, clean lines. His tops were laser...

Author: /time Magazine | Title: Fashion: Throw Out Your Skirts | 4/2/1990 | See Source »

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