They became an artistic power couple, complementing and supporting each other.
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As the theater grew in artistic power, it gained in financial muscle as well.
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What it lacks in size, however, the 258th-century former greenhouse makes up for in concentrated artistic power.
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"Conversely, we shouldn't think that it's because of their mental illness they have some great artistic power," Mr. Ramsey added.
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"Now it's a time when Nora can run free and experiment and have hiring power and artistic power," he says.
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Editorial Was it the artistic power of the work, casting the aesthetic spell known as Stendhal syndrome over some powerful tycoon?
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These two films alone showcase the range, thematic consistency, and artistic power of No Wave and cement Beth B as a great artist.
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Take "The Stones of Venice," his 1851-1853 account of the rise and fall of the Italian city as a political and artistic power.
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Like the cross, this instrument, a symbol of both Oprheus' artistic power and his martyrdom at the hands of the Bacchae, casts the poet as the new Savior.
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Sales typically reward formula and facility more than artistic power; history is full of masterpieces undersold in their own times and prize-winning blockbusters now remembered as dross, if at all.
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The gallery, which is devoted to displaying collage and assemblage, seems to be saying that though the individual pieces may be diminutive, their collective artistic power has amounted to something quite meaningful.
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When Tidal was reintroduced to the public last year by Jay Z, a key part of its strategy was to offer exclusive content from a tag team of superstar acts, whose fame and artistic power would draw new consumers.
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From these ingredients and his own artistic power, Cafà produces a highly emotive pictorial solution unseen before, neither neatly definable as a relief nor as a statue nor as a picture.
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This twin pillar is not an obstacle, but the most important source of his artistic power and originality. He won the 2008 Georges Delerue Award for his score of the film Two-Legged Horse.
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He won the Nobel Prize in Literature in 1981, "for writings marked by a broad outlook, a wealth of ideas and artistic power". He is noted for his non- fiction book Crowds and Power, among other works.
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Lady Harriet Kavanagh (13 October 1799 – 14 July 1885) was an Irish artist, traveller, and antiquarian, described as a "woman of high culture and of unusual artistic power." She is thought to be the first Irish female traveller to Egypt.
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Netsuke of tigress with two cubs, mid-19th-century, ivory with shell inlay The reconstruction of Buddhist temples burned in the civil wars required sculptors. The new sculptures were mostly conservatively carved from wood and gilt or polychromed. They mostly lack artistic power. However, some Buddhist monk sculptors produced unpainted, roughly hewn images of wood.
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In 1992, the Alpo Jaakola Statuary Park was opened to the public in Loimaa, Finland. The Statuary Park is the result of many decades of creative work and a monument of Alpo Jaakola's artistic power. Art exhibitions, cultural events, theater plays, concerts and festivals are organized continuously. Alpo Jaakola himself is interred in the Statuary Park.
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Literature Resources from Gale. Web. April 12, 2011. In opposition, one critic, Karl F. Zender, argued that Dreiser's stress on circumstance over character was "adequate neither to the artistic power nor to the culture implications of Sister Carrie". Many found Dreiser's work attractive due to his lenient "moralistic judgments" and the "spacious compassion" in which he viewed his character's actions.
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My collection is not bought as an investment but for their sheer artistic power and aesthetic pleasure. For an art, one sees something created out of nothing. - Mishal KanooKanoo [left] with Peter Elsner-Mackay, Ambassador of Austria to the UAE during the Antiquorum exhibition Kanoo is an influential figure in the progress of Dubai's art scene. As an eccentric collector, a pride of place in his office goes to a painting of Cuban revolutionary Che Guevara by the Bahraini artist Jamal Abdul Raheem.
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Nobel Prize Laureates in Literature are awarded for the author's life work, but on some occasions the Academy have singled out a specific work for particular recognition. For example Knut Hamsun was awarded in 1920 "for his monumental work, Growth of the Soil", Thomas Mann in 1929 "principally for his great novel, Buddenbrooks, which has won steadily increased recognition as one of the classic works of contemporary literature", John Galsworthy in 1932 "for his distinguished art of narration which takes its highest form in The Forsyte Saga", Roger Martin du Gard in 1937 “for the artistic power and truth with which he has depicted human conflict as well as some fundamental aspects of contemporary life in his novel-cycle Les Thibault.” Ernest Hemingway in 1954 "for his mastery of the art of narrative, most recently demonstrated in The Old Man and the Sea, and for the influence that he has exerted on contemporary style", and Mikhail Sholokhov in 1965 "for the artistic power and integrity with which, in his epic of the Don, he has given expression to a historic phase in the life of the Russian people".
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"Baltic Deputy" (1937), with deep historical and psychological truth, great artistic power, showed how great Russian scientist Professor Polezhayev (referring to Kliment Timiryazev, starring Nikolay Cherkasov) joined October revolution. A significant piece of cinema became "Member of the Government" (1939), film centered on the image of a Russian peasant woman (starring Vera Maretskaya), who took the difficult path from a farmhand to a deputy of the Supreme Soviet. Together with Zarkhi he set such films as "His name is Sukhebaator" (1942), "Malakhov Kurgan" (1944), the documentary "The defeat of Japan" (1945).
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Micheaux's work has often been criticized as lacking aesthetic finesse or artistic power. Micheaux constructed Within Our Gates to educate his audience about racism, uplift, peonage, women's rights, and the urban "new Negro" emerging after the Great Migration. His movement in the plot between North and South was similar to that of D. W. Griffith, who used a North-South marriage plot, but also expressed the mobility of peoples during this period. Griffith dramatized a white reunion of regions that canceled the legacy of the Reconstruction Era to leave blacks out of the national picture.
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While no recognized official date marks the beginning of the New Genre period, many believe that the early 20th-century work of the Dadaists and Futurists initiated this movement. Their work laid a foundation for the experimental practice of New Genres. Duchamp's "Fountain" (1917) introduced the idea of the readymade object: a non-art object which becomes viewed as art due to the intention and designation of the artist. This new use of artistic power and questioning of the art object opened up the conceptual sphere of New Genres.
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Three of them, beside himself, took to the practice of art, but George was by far the most gifted artistically. His earlier works were views of the Thames Valley and Home Counties and a few of Wales, but he increasingly turned to romantic compositions of a Claudian type showing poetic sunrises and sunsets without reference to locality. A truly visionary painter, his artistic power remained unimpaired to the last, even though his life was one long struggle against financial ruin. He lived most of his life in Paddington, where he died on 19 March 1842.
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The Wiradjuri, together with the Gamilaraay (who however used them in bora ceremonies), were particularly known for their use of carved trees which functioned as taphoglyphs, marking the burial site of a notable medicine-man, ceremonial leader, warrior or orator of a tribe. On the death of a distinguished Wiradjuri, initiated men would strip the bark off a tree to allow them to incise symbols on the side of the trunk which faced the burial mound. The craftsmanship on remaining examples of this funeral artwork displays notable artistic power. Four still stand near Molong at the Grave of Yuranigh.
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She was a contributing editor to Progressive Architecture and Art in America from 1950 to 1963 before being named the first architecture critic at The New York Times, a post she held from 1963 to 1982. Her architectural writings were about the humanistic meaning and artistic power that also involved her displeasure for projects that were missing civic engagement. She made architecture a more prevalent part of the public dialogue by appearing on the front page of The New York Times. From 1968 to 1971, her public opinion was found so successful that it was commemorated in New Yorker cartoons.
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Wang's Children), the short story collection Unge syndere (Young Sinners), the novel To damer (Two Ladies), the plays Uglen (The Owl), Før afskeden (Before the Farewell), and Konny, Skuespil i tre Akter (Conny: A Play in Three Acts), and the story Rachel. Finne's bold narrative aroused an outrage, which caused the publisher to stop the sale of Unge syndere, and the book was also not well received by the public. After a few years of silence, in 1898 he published I afgrunden (In the Abyss), a series of gloomy and eerie depictions of reality with great artistic power. Finn's writing is naturalistic, both in style and attitude.
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A writer in German, Canetti won the Nobel Prize in Literature in 1981, "for writings marked by a broad outlook, a wealth of ideas and artistic power". He is known chiefly for his celebrated trilogy of autobiographical memoirs of his childhood and of pre- Anschluss Vienna: Die Gerettete Zunge (The Tongue Set Free); Die Fackel im Ohr (The Torch in My Ear), and Das Augenspiel (The Play of the Eyes); for his modernist novel Auto-da-Fé (Die Blendung); and for Crowds and Power, a psychological study of crowd behaviour as it manifests itself in human activities ranging from mob violence to religious congregations. In the 1970s, Canetti began to travel more frequently to Zurich, where he settled and lived for his last 20 years. He died in Zürich in 1994.
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Many works drew from transcripts from tribunals, such as Heinar Kippart's In the Matter of J. Robert Oppenheimer and Peter Weiss's The Investigation. In his essay "Notes on the Contemporary Theatre", Weiss details 14 elements of documentary theatre, stating that "the strength of the documentary theatre resides in its ability to arrange fragments of reality into a usable model," and that the artistic power of the genre comes from a partisan interpretation and presentation of factual material. He also identified many potential sources for documentary theatre, including > "minutes of proceeding, files, letters, statistical tables, stock-exchange > communiques, presentations of balance-sheets of banks and industrial > undertakings, official commentaries, speeches, interviews, statements by > well-known personalities, press, radio, photo, or film reporting of events > and all the other media bearing witness to the present."Weiss, Peter. > "Notizen zum dokumentarischen Theater," Rapporte 2, Frankfurt am Main: > Suhrkamp Verlag, 1971.
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