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...Adrienne's design ($25) dips waist-deep in both front and back; Formfit's Designer model ($9) is cut to accommodate the squared plunge; the Lady Marlene version ($11) drops only halfway, has vertical boning to shape a neat torso. Custom-made models sell for upwards of $35. For women of less ample means, Warner lines its demi-bra ($8) with contoured foam...

Author: /time Magazine | Title: Fashion: Support for the Needy | 2/14/1964 | See Source »

Poetic justice is perhaps a bit oldfashioned, but it's fun. And so is practically everything else about this trite little thriller-especially Actress Davis. Exuberantly uncorseted, her torso looks like a gunnysack full of galoshes. Coarsely cosmeticked, her face looks like a U-2 photograph of Utah. And her acting, as always, isn't really acting; it's shameless showing-off. But just try to look away...

Author: /time Magazine | Title: Cinema: Scareer Girls | 2/7/1964 | See Source »

...nationalisms, Erhard, Segni and other European statesmen will crisscross the Continent in coming weeks. De Gaulle to the contrary, they are convinced that Europe's tenuous economic ties must be anchored in permanent political institutions if the Continent is not to remain forever a headless "torso...

Author: /time Magazine | Title: Europe: Pilgrims' Progress | 1/24/1964 | See Source »

Love on a Pillow. On the wide screen in full color looms an eye approximately the size of a swimming pool. The next shot: gargantuan lips. The blonde hair is a veldt of tangled desires; the whited torso stands out like Gibraltar. Put them all together, they form Brigitte Bardot, back again in an epidermoid epic directed by her first husband Roger Vadim (And God Created Woman). For those who may have missed BB on earlier outings, Vadim-apparently reminiscing-offers the Grand Tour. He photographs her frontwards, backwards, sideways, closeup, long view, and from above, through what appears...

Author: /time Magazine | Title: Cinema: Bust | 1/3/1964 | See Source »

...scutlptures at the Fogg range in style from the smooth, sinuous grace of "Torso of the Figure Called Fruit" to the chiselled strength of his archer "Heracles;" from the classical serenity of his "Head of the Figure Called Strength" to the expressionistic grimacing of his head of Beethoven. Rodin created individuals; Bourdelle, types. He idealized, modeling a Hercules who epitomized brute strength and a nude who was simply a series of smooth curves, more goddess than woman. His nude and his Hercules look totally different, but they reveal the same approach toward art, the same distillation of natural extremes...

Author: By Daniel J. Chason, | Title: Sculpture by Antoine Bourdelle | 10/8/1963 | See Source »

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