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...avec moi ce soir?" and performs a tantric cancan. Like The Producers, this is a backstage musical with a delirious production number. Here it's an all-out, far-out tribute to India's Bollywood musicals--a kind of Springtime for Hindu--with enough eye candy to give the viewer diabetes...

Author: /time Magazine | Title: Cinema: Face The Music | 5/14/2001 | See Source »

...foundation. This week Culkin, now 20, will open off-Broadway in Madame Melville, a Richard Nelson play that drew rave reviews in London, in which he plays a 15-year-old student who is seduced by his French teacher (Joely Richardson). His performance, at least in previews, struck this viewer as a bit tentative and mannered. But offstage, Culkin--who talks politely and openly, in between puffs from a pack of Parliaments--appears to have his feet somewhere in the vicinity of the ground...

Author: /time Magazine | Title: Theater: I Was Just Hoping To Disappear | 5/7/2001 | See Source »

...Entering the museum, the viewer is immediately confronted by the condensed collection of golden Madonna paintings rather than by the less dominating ink on paper drawings. Paintings of the Virgin Mary with the child Jesus have long defined the Renaissance revival, and this exhibition is no exception...

Author: By Joyce Kwok, CONTRIBUTING WRITER | Title: The Sacred and Profane | 5/4/2001 | See Source »

...seemingly monotonous ways in which Virgin Mary and Jesus are depicted, however, may easily deter the viewer from admiring the details in each individual painting. Virgin and Child often appear in repetitively similar postures—Virgin Mary cradles the Child in her arms, and they are often found clothed in rich, dark-colored robes in all of these Madonna paintings...

Author: By Joyce Kwok, CONTRIBUTING WRITER | Title: The Sacred and Profane | 5/4/2001 | See Source »

...Although the viewer would most likely expect the “sacra conversazione” to be the altarpiece’s main attraction, the altarpiece’s exceptional background is surprisingly the cause of debate. Rather than coinciding an iconic religious background with the conventional religious imagery in the foreground, the artist unexpectedly copied a secular landscape from Guilio Campagnola’s print “Shepherds in a Landscape” as this altarpiece’s background. Rather than the conventional background of golden leaves and angels, the viewer instead finds a background of trees...

Author: By Joyce Kwok, CONTRIBUTING WRITER | Title: The Sacred and Profane | 5/4/2001 | See Source »

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