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...being scorched before, and, as it were, froze behind." Which is why he devised "the New-Invented Pennsylvanian Fire-Place"-better-known as the Franklin stove-which, he boasted, made his room twice as warm with a quarter as much wood as a conventional hearth. Franklin never patented his promethean invention, wishing to share its back-to-front benefits with the world, and a variety of stoves modeled on his old reliable are manufactured...

Author: /time Magazine | Title: Living: The Back-to-Wood Boom | 12/5/1977 | See Source »

...still life. From 1909 onward, he painted it at least 30 times: close up or on the skyline, seen from above or below, aggressively sharp or half-dissolved in mists of color, broken, dislocated, twisting upward, a veritable Tower of Babel. No painter had dealt with this emblem of Promethean man before, and it is not surprising that some of Delaunay's images of it-especially the Red Eiffel Tower, 1911-12 (see color)-were tinged with anthropomorphism: a red, two-legged form, trusses and girders, ramping about like Zarathustra...

Author: /time Magazine | Title: Art: Delaunay's Flying Discs | 8/23/1976 | See Source »

They sparkle still the right Promethean fire; They are the books, the arts, the academes...

Author: /time Magazine | Title: The Theater: All in Aught | 2/24/1975 | See Source »

...Congress is little more than a rubber stamp for Communist Party policies, its decisions served notice that China's often factious leaders have achieved greater unanimity on the country's course and objectives than at any time in nearly ten years. The congress also confirmed that, the Promethean figure of Party Chairman Mao Tse-tung notwithstanding, the 1970s have become the era of Chou Enlai...

Author: /time Magazine | Title: CHINA: A Victory for Chou-and Moderation | 2/3/1975 | See Source »

...indicated by the most Turneresque of all his titles, an Alpine scene: Snowstorm, Avalanche and Inundation (1837). But the painted results of his pessimism were of an indescribable grandeur and poignancy. He was rooted in his own time and society. Moreover, he was sure that that society-optimistic, promethean England with its empire and its burgeoning industrial revolution, now rising from its triumph over Bonaparte-was in fact on the edge of collapse. This is implicit in Turner's Venetian paintings, where the fretted and tottering profiles of the once omnipotent city melt (so ravishingly, and with such implied...

Author: /time Magazine | Title: Art: England's Greatest Romantic | 12/23/1974 | See Source »

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