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Word: paintings (lookup in dictionary) (lookup stats)
Dates: during 1980-1989
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Usage:

...TIME Correspondent John Dunn, based in Melbourne, flew to Fremantle, where this year's competition was scheduled to be held. "I had not been there before because there had never been any reason to go," says Dunn. "Fremantle was a fading city, tired and tatty, with peeling paint and broken-down buildings...

Author: /time Magazine | Title: A Letter From the Publisher: Feb. 9, 1987 | 2/9/1987 | See Source »

...racquetmen lived up to their ranking with an incredible 7-2 victory over Franklin & Marshall (now 7-1) in front of 350 spectators--some of whom came wearing red and white face paint...

Author: By Michael J. Lartigue, | Title: Racquetmen Dispose of Diplomats, 7-2 | 1/21/1987 | See Source »

When I went to Disneyland, I noticed that the Matterhorn was made of synthetic rock and plastic ice. The snow on top of the mountain was really paint. I heard the rollercoaster mechanism groan under the weight of the moving bobsled, and I glimpsed electrical wiring behind the abominable snowman in the middle of the mountain. But like the ranches, from far off the Matterhorn looked as good as I remembered...

Author: By Laurie M. Grossman, | Title: California Contradiction | 1/16/1987 | See Source »

...typical preoccupation was with the idea that the universe, instead of being the vast agglomeration of distinct things perceived by science or realism, was a single, living entity, pervaded by "cosmic" energies; these revealed themselves in "vibrations," the formative agents of all material shapes. Hence the desire to paint archetypal forms, so that Mondrian's rectangles and Kandinsky's floating circles are to be read as a kind of sacred geometry, pyramid power in paint. Hence, too, the peculiar use of light by artists like Franticek Kupka -- a shuddering, lyric vibration that implies the sublimities of landscape without describing them...

Author: /time Magazine | Title: Art: Pyramid | 1/12/1987 | See Source »

Matthews plans to paint for the rest of hislife. When his sons become independent, he may tryto show his work for a living. "I don't push mywork," he says, nor does he have an agent becausethe price increase of having an agent makes arttoo expensive for most people to afford, he says...

Author: By Margaret Seaver, | Title: Unexpected Art in Unlikely Places | 1/9/1987 | See Source »

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