Word: poeticizing
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From the world of dance came New York City Ballet's Peter Martins and Heather Watts and American Ballet The ater's Cynthia Gregory, who fluttered exquisitely through the Fledermaus solo. Placido Domingo exalted Granada. Sherrill Milnes, who spends much of his time playing villains, sang a poetic, almost prayerful Maria. Flutist James Galway. having piped himself on with a penny whistle, dared to play the almost unbearably poignant Danny Boy and, through sheer musicianship, let the beauty, not the tears, flow. Not all the celebrants had to perform. Onstage by the evening's end were many...
...would be hard for any but the most committed Gainsborough enthusiast (and they exist) to rank him equal to those two pillars of English vision, John Constable and J.M.W. Turner. He did not have Constable's deep, poetic curiosity about the facts of landscape; still less did he rise to Turner's heights of sublimity or audacity of color. But both painters admired him. "Soothing, tender and affecting," Constable called Gainsborough's landscapes. "His object was to deliver a fine sentiment, and he has fully accomplished it ... The stillness of noon, the depths of twilight...
...document that the courts ruled invalid two years ago. Anyone looking for authentic information about that Melvin and that Howard is advised herewith that this movie will not help: the film makes no claims about Melvin's tale one way or the other. But anyone looking for the poetic truth about Dummar, and most especially about the sweetly dreaming life of the American underclass that produces characters like him, is advised to see this movie, which is just about as good as American films get: sly and funny and, in the end, terribly touching...
...poetic consistency of Hopper's vision now seems far more interesting than the unadventurous vanguardism of most "advanced" American painting in the '20s and '30s, that is partly because it was grounded in 19th century France: especially in Manet, whose work Hopper studied and copied. The sober painterliness of Hopper's style, its reliance on the single brush mark to enunciate form, came ultimately from Manet; so did his passion for meticulous truth of tone; and so, especially, did the "emptiness" of his compositions, with their emphatic blocks of shadow, their wide, flat planes of wall...
Hopper never lost his grasp of the poetic possibilities of such utterances. It stayed with him right to the end and produced some miraculously unsparing images, notably the figure of his wife Jo, A Woman in the Sun, 1961, standing like a middle-aged caryatid on a plinth of golden light in the bare Hopperian room, wearing nothing but a cigarette. In it, the distances between wall and wall, window and sky, or the lit edge of the curtain and the worn radiant torso, take on something of the strangeness of the space in a good De Chirico. The body...