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...jukebox playing, its 116-man crew caught up with an unusual sense of excitement. On the submarine's closed-circuit TV screens, the crewmen could see an upward-pointed camera-eye view of an ice pack, lit up by the Arctic's 24-hour-a-day sunlight, like a translucent cloud racing by. In his cabin, a slim U.S. Navy commander wrote out in longhand a couple of messages-one addressed to President Dwight D. Eisenhower, the White House, Washington, the other to his crew. His ship, he wrote in the crew's message, was about...

Author: /time Magazine | Title: ARMED FORCES: A Voyage of Importance | 8/18/1958 | See Source »

...battles and revolutionary skirmishes, fired on an Iraqi air force sergeant who seemed to recognize him. Then, according to the former chef of the royal household, who escaped to Ankara with the story, Nuri was stripped of his disguise, impaled alive, and left on public view in the rotting sunlight...

Author: /time Magazine | Title: IRAQ: In One Swift Hour | 7/28/1958 | See Source »

...greyish background Velásquez employed. Claude Monet, on the other hand, made his own discovery, that light acting and reacting over objects is all that the eye knows of them, and that color in shadows, far from being black, often strikes the eye more caressingly than in blinding sunlight...

Author: /time Magazine | Title: Art: Masterpieces of the Louvre: Part II | 7/7/1958 | See Source »

...Monet, then 25, began his manifesto, one of the greatest lost paintings of modern art. Gigantic in scale, the canvas measured 15 ft. by 19 ft., was referred to by one friend as "this huge sandwich which costs the earth." In it, Monet set out to prove how the sunlight actually filters through the trees, how a real picnic looks in the forest, how color glows in the shade. It was never shown. Monet had to leave it with the innkeeper as guaranty against his unpaid bill. He recovered it, found it largely ruined by cellar dampness...

Author: /time Magazine | Title: Art: Masterpieces of the Louvre: Part II | 7/7/1958 | See Source »

Renoir devoted study after study to catching the play of sunlight over the gay dresses of his models and the boaters of his friends. Degas, with a draftsman's colder eye, made the backstage world of ballet dancers and the artificial world of footlights into a private universe. Pissarro, who conscientiously tried his hand at each new style, set his easel up in the French countryside, gave even the meanest farm a nobility and poetry. Van Gogh took the same subject, extended his sensibilities to achieve a kind of ecstatic identification with the countryside's own windswept rhythms...

Author: /time Magazine | Title: Art: Masterpieces of the Louvre: Part II | 7/7/1958 | See Source »

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