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Charleston's clean and narrow streets, cloistered gardens and the pastel colors of its colonial houses readily ratify Menotti's sense of what makes a good set. As the twelve-day festival began last week, the question was whether the exquisitely languid dowager city would prove a worthy audience...

Author: /time Magazine | Title: Music: Newest US. Immigrant: Spoleto | 6/6/1977 | See Source »

...mutants, revives the lost art of war and attacks Montagar, a pastoral realm of elves and gentle wizards. "They have weapons and technology," an elf says of the attackers. "We only have love." Bakshi's visual effects at times are striking - stylized war footage superimposed on animated battles, pastel medievalism for Montagar, an updated, bombed-out Piranesi look for Scortch...

Author: /time Magazine | Title: Cinema: Quick Cuts | 6/6/1977 | See Source »

...desire to make drawings rather than diagrams. The ink-drawn squares, each with its precise ration of diagonal shading, give one a visual effect that belongs to the same family - though not the same order of majestic intensity - as Seurat's chalk drawings; the spots of pastel in the stud ies for Linda are distributed with a dogged aesthetic zeal that recalls Signac...

Author: /time Magazine | Title: Art: Blowing Up the Closeup | 5/23/1977 | See Source »

...which in effect they are-Noland's targets and chevrons bloom and pulsate with light. They offer a pure, uncluttered hedonism to the eye. But that is all they do offer. The more recent work, the plaid paintings of 1971 with their tartan grid of lines laid like pastel Mondrian across a blue ground, and the irregular polygonal canvases from 1976 with rays and cuts of color, cannot even do that. One realizes, descending the ramp of the Guggenheim, that Noland is hardly a giant of cultural history. He is simply an ornamental artist and-compared with the Arab...

Author: /time Magazine | Title: Art: Pure, Uncluttered Hedonism | 5/2/1977 | See Source »

Kazan is unable to overlay Fitzgerald's materials with any subtlety or discipline of his own. When in doubt, he resorts to all the tried-and-true cinematic devices--the soft filters, the pastel tints--to create romantic mood. At the screenwriters' ball, Stahr watches his love through the mist of a water fountain; when they walk and talk together, she is dressed in lavender and ruffles, and the scaffolding of his house-to-be is bathed in purple light...

Author: By Julia M. Klein, | Title: Movie-Making | 3/17/1977 | See Source »

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