Word: shadowings
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Dates: during 1990-1999
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...remember the other night I was lying in bed and I see this shadow like, creeping across my room," says Oni, glaring at her sister who bursts out laughing at the alleged clothing theft...
...place where young male movie stars skulk about on bright, hot days in dark leather jackets and knit O.J. caps, as if they were second-story men in an old Dick Tracy comic. And here too, representing the not so tormented, not so still-living-in-James-Dean's-shadow side of stardom, we find Tori Spelling. She bounces in on top of a pair of bright-orange platform flip-flops, plastic daisies affixed to their toe straps. Clutching a baby-blue handbag the size and shape of a lunchbox, she is wearing baggy denim overalls and a floral-print...
James Hoffa has spent a lifetime trying to move out of his father's shadow, yet he seems most comfortable within its famous outline. Strolling on a breezy autumn morning with workers amid the trucks, crates and loading docks outside a Detroit produce warehouse, Hoffa exudes a blue-collar bravado that would make Papa proud. A lawyer by training, Jim Jr. has to work hard to appear common, but he's got the stocky carriage, swagger and serious blue eyes that summon up the visage of the Teamster leader who disappeared 22 years ago. Perhaps even more important, as almost...
...were also some holes in the Herald's report. All the "art experts" who testified to the photographs' reliability refused to be identified. The paper said that along with the photos, it had obtained a pile of tiny chips of paint, but acknowledged it could not authenticate "beyond a shadow of a doubt" that the chips came from the stolen works. Furthermore, its source for the photos was one William P. Youngworth III, a 38-year-old ex-con and antiques dealer who is on his way to jail again on a car-theft conviction. Officials from the Gardner asked...
...artist struggling to develop his own style. He begins with rather academic work, the most interesting of which are his two self portraits from 1896 and 1897. In the earlier of these paintings, we see a young man in three-quarter profile looking out at us from beneath the shadow of his dark, unkempt, hair. Energetic brushstrokes define the facial features while his body melts off the canvas in a blur of brown. Yet despite the temerity of Picasso's mark making, we can't help but notice a sense of doubt or even fear in the artist's eyes...