Word: style
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Dates: during 1970-1979
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...fade, so may Fleetwood Mac. For the most part, Tusk continues the tradition of the predictable Fleetwood Mac song--strong, throbbing percussion, acoustic guitar, and lyrics often unintelligable and always accompanied by lots of "oooh-waahs" or "sha-la-las". True, there is some experimentation with different musical styles--"That's Enough for Me" sounds like an Appalachian hoedown with its folk banjo and "Yeah, yeah, y'alls" while "Not That Funny" is somewhat new wave with its synthesizer solos--but nearly all the cuts seem forced to fit into Fleetwood Mac's formulaic style. Tusk is from the same...
NOTHING DISTRESSES the sap-loving theater-goer more than watching the slow deterioration of this dowager of romantic musicals. Her originality is withered; her witticisms are expected; her style is frumpy and outdated by two decades. She survives on her past grandeur - barely enough to keep her flickering, let alone to satiate an audience. In short, My Fair Lady has become dowdy...
Instead, he sticks to the original as a toddler cleaves to its mother. When he ventures to emulate the style of another production, it is the oft-shown movies--itself remarkably faithful to the script. In the film version, hundreds of upper-crust stiffs assemble for the Ascot opening day races and stand at attention in overly starched collars without flexing a facial muscle...
...Schapiro finds that modern artists have rebelled against the use of noble images--religious scenes, Greek myths--as the artistic ideal. They substitute for it a new "pure art" that "derives its effects from elements peculiar to itself," not from the imitation of identifiable objects. This anti-objective style allows for the creation of a "universal art"--one that cuts across time and culture and makes art intelligible to all. Abstraction protects the artist's freedom, which Schapiro calls an "indispensible condition," The loss of the decorum and restraint necessary to traditional art permits the artist to explore "new domains...
...attempt to understand the artist's last painting before suicide. This psychological essay probes the mood of the painter, analyzing Van Gogh's artistic devices. Schapiro points to the loss of focus, the uncertain movement and orientation and the unstable brush strokes that contrast with the painter's style in earlier pictures. In addition to noting Van Gogh's stylistic decay Schapiro adds that the painter was aware of this decay; thus his unusual attempt at structuring a painting...