Search Details

Word: superbness (lookup in dictionary) (lookup stats)
Dates: during 1950-1959
Sort By: most recent first (reverse)


Usage:

...wrath, weakens him when he is compared with Swift. Compared with Voltaire's, his imagination is drier, lacks picture and lacks nature too. A kind of middle-class gentility preserved him from the great disgusts, the unspeakable horrors which greater imaginations could grasp. The prose is, however, a superb vehicle for the pamphleteer and any page of it is a model of the art of conducting unfair arguments. He was a highly original artist and the art lay in the transmuting of disruptive debate into a kind of classical Mozartian music. The plays date most seriously when they...

Author: /time Magazine | Title: War: G.B.S.: 1856-1950 | 11/13/1950 | See Source »

...pictures were superb, so far as they went. Almost all of them were of Montmartre floozies in various stages of undress. A master draftsman, Pascin employed the sfumato (blurring of lines) dear to Da Vinci. His models were not so much outlined as enmeshed in delicate, shifting parentheses. Being no great shakes as a colorist, he avoided strong hues, tinted his figures with light dabs of pearly paint. No other artist, except Lautrec, ever mixed sweetness and sordidness more successfully. What kept Pascin out of Lautrec's league was that he had no bite; his paintings were pale...

Author: /time Magazine | Title: Art: Hot & Heavy | 11/13/1950 | See Source »

Congratulations on a superb and timely study of Robert Frost, who is unquestionably America's greatest living poet...

Author: /time Magazine | Title: Letters, Oct. 30, 1950 | 10/30/1950 | See Source »

...first half of the program consisted of two classical symphonies, Mozart's No. 31 and Haydn's No. 93. These were performed with all the delicacy and precision necessary and in addition, the superb balance of the orchestra created tones that gave the symphonies new meaning and force...

Author: By Brenton Welling, | Title: THE MUSIC BOX | 10/23/1950 | See Source »

Simonson has modified Jones' emphasis on the designer's personality, but has generally remained true to the concept of interpretive, selective realism. A superb example of this is his setting for the Theatre Guild's "Liliom" in 1921. He filled the stage with patterns of light, form, and color, yet the treatment remained realistic...

Author: By Stephen O. Saxe, | Title: ON EXHIBIT | 10/18/1950 | See Source »

Previous | 100 | 101 | 102 | 103 | 104 | 105 | 106 | 107 | 108 | 109 | 110 | 111 | 112 | 113 | 114 | 115 | 116 | 117 | 118 | 119 | 120 | Next