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Hirasawa has applied for a new trial, but his application has no legal staying force on the order of execution. To focus attention on his case, Hirasawa's supporters arranged for an exhibition of 50 of the 480 tempera paintings that he has turned out in his 15 years in the death house. Hirasawa's backers have also circulated copies of the original composite newspaper drawing of the robber in hopes of turning up new suspects...

Author: /time Magazine | Title: Japan: Noose or Pneumonia? | 2/15/1963 | See Source »

...Wyeth spell will be in full operation next week when Buffalo's Albright-Knox Art Gallery opens the largest (143 items) Wyeth exhibition ever held. In all his work, whether drawing, watercolor or tempera, there is no mistaking the impeccable technique, no ignoring the tense, if quiet, drama being played out within every frame. The America that Wyeth paints is only superficially the America of today; basically, it is a timeless place with timeless preoccupations. The long, long past of man and his earth is implicit in every Wyeth painting: his trees seem weighted by memories, his rooms...

Author: /time Magazine | Title: Art: Above the Battle | 11/2/1962 | See Source »

...Wounded Soldier. In the 20 years before World War I, Pasternak developed into one of the most representative of Russian artists, painting in the typical Russian palette, which tends to emphasize a sort of oriental drug coloring of dusty blues and darkish reds. The 26 oil, tempera and watercolor paintings in the Munich show demonstrate that, though influenced by the early impressionists, his style could scarcely be called modern. He scorned his fellow Russian, Kandinsky, the first major abstractionist. In 1914, at the beginning of World War I, Pasternak drew a war poster showing a wounded soldier, which became immensely...

Author: /time Magazine | Title: Art: Boris Pasternak's Father | 8/24/1962 | See Source »

...says Chumley, quickly saw that realism "was the right kind of thing for me." Chumley's subject matter is primarily rural ("It's where I grew up. It's my natural element"), and though his paintings seem simple, they are actually enormously complex. He works in tempera, "a slow medium," goes back to his subject day after day, adding new impressions, perfecting the composition, unlocking fresh secrets...

Author: /time Magazine | Title: Art: Lyric Brush | 2/23/1962 | See Source »

...stage sets, and he began working with the Negro artist Charles Alston. Like many of his generation, he was able to stick to his painting by getting on the Federal Art Project during the Depression. He chose to work not in oil but in gouache, later switched to egg tempera, "a brisk medium that cannot be manipulated like oil. You have to get it all right down; you cannot linger over it." Every so often, Lawrence becomes intrigued with some major chapter out of history - scenes from World War II, in which he served in the Coast Guard, the struggles...

Author: /time Magazine | Title: Art: BRIGHT SORROW | 2/24/1961 | See Source »

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