Word: vermeere
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There are only about 60 Watteau paintings on whose authenticity all experts agree, and his life is obscure. Since the Renaissance there have been few great artists about whom less is known than Watteau. He is almost as much of an enigma as Vermeer. He was born in Valenciennes in 1684, the son of a Flemish roof tiler. Until a few years before, Valenciennes was part of Flanders, not France; and Watteau's Flemish origins may have had more than a casual meaning to him, since the main influence on his work was Rubens. Nothing is known about...
...peasant hat. The lighting is soft and natural throughout; the camera's gaze is direct and steady (and it is returned just as steadily by most of the subjects). Snowdon has mastered an elegance that never loses its simplicity. Indeed, in his best portraits-for instance, a serene, Vermeer-like study of the elderly Lady Mosley, one of the Milford sisters-the two qualities intensify each other...
...hidden agendas, including crowd-pleasing. There are many great books, great inquiries, and great works that could be employed in building courses and endlessly reworking and rearranging them internally and in relation to each other. It seems fruitless to argue whether Aristotle is more important than Hobbes, Raphael than Vermeer, entropy than gravity. In choosing, it is important to think not only of what faculty are capable of teaching well, but of where students have been before they came, what their various subcultures on campus are and might develop into, and where diverse cohorts among them are headed...
...setting and the cheerful, unassuming invincibility of its characters. Blessed with the warmth and goodness of home movies, Heartland's professionalism results from the uniform excellence of its cast and the subtle, piercing eye of its camera, which catches lights and darks and poses like a latter-day Vermeer. As simple as corn pone and just as good, Heartland reveals America, the America of Whitman's poetry, the America of open spaces and open people...
...illusion have been central to our sense of culture: How does one conjure up the presence of something that is not really there, and, once that is done, how do we know the exact limits of image and reality? We only see the dog in the corner or the Vermeer on the wall by mentally reassembling and interpret ing the stupendous variety of light waves reflected from them, but these light waves are not a dog or a Vermeer. Can one make art by eliminating the middle term, and just having light...