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Word: visual (lookup in dictionary) (lookup stats)
Dates: during 1980-1989
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Usage:

Arts On The Line, a subset of the Cambridge Arts Council, is coordinating visual arts for the MBTA at the new Harvard, Porter, Davis and Alewife stops...

Author: NO WRITER ATTRIBUTED | Title: City Bitties | 3/12/1985 | See Source »

...crux of "The Silent Scream" (is its implied contention that the fetus can sense pain. The Crimson reporter seems to buy this line when she writes that "presumably, the fetus reacts to perceived or potential pain." The film very carefully builds up this impression through visual tricks and manipulative narration. What it lacks, however, is a basis in fact...

Author: NO WRITER ATTRIBUTED | Title: Manipulative 'Silent Scream' | 3/11/1985 | See Source »

...scholarship by setting Caravaggio against what was painted in Italy, and especially in Rome, when he was alive. Other exhibitions have focused on how the artist influenced 17th century painting all over Europe. This one shows the painting that influenced him when he was growing up--and the visual pedantry he had to contend with. Except for Lotto, Tintoretto and Bassano, and some beautiful works by Annibale Carracci, Adam Elsheimer and Guido Reni, most of this is deadwood and of interest mainly to specialists. Moreover, the climactic efforts of Caravaggio's career, like the Beheading of St. John the Baptist...

Author: /time Magazine | Title: Art: Master of the Gesture | 3/11/1985 | See Source »

...indeed a challenging work, but its challenge is not intellectual; the inherent intellectual content is, by design, minimal The challenge, rather, is for the audience to suspend its accustomed intellectual response to drama, to treat the text more as music than as literature, and to respond to the visual and aural stimuli of the work as they would to a dreams viscerally, emotionally, or even intellectually, according to their own lights...

Author: NO WRITER ATTRIBUTED | Title: Response | 3/4/1985 | See Source »

...foggy lowlands, wearing their bright costumes, they made a visual feast. Now and again you would catch sight of a peach-clad boy on an Appaloosa cutting through the Chinese tallow trees, or a scarlet lad standing on his saddle, dancing on a bay. Five young women gotten up as golden harlots were included in the tableau as an easy taunting symbol for the youths: do not touch, even if you are not yourself...

Author: /time Magazine | Title: In Louisiana: a Mad, Mad Mardi Gras | 3/4/1985 | See Source »

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