How to use pictorialization in a sentence? Find typical usage patterns (collocations)/phrases/context for "pictorialization" and check conjugation/comparative form for "pictorialization". Mastering all the usages of "pictorialization" from sentence examples published by news publications.
There is no Dies Irae section (though a reference remains in the Libera Me) and thus little pictorialization of hellfire.
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Walker, Weimar, 306-7. While these insights could prove "both useful and interesting" in themselves, Walker admits, will they aid listeners to "pictorialize the music that follows?" For Liszt, Walker concludes, the "pictorialization of a detailed program is simply not an issue." Moreover, Liszt wrote these prefaces long after he had composed the music.
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In fact, I feel that graphic pictorialization is the essence of the comic strip medium and that is what makes it a unique art form. When newspapers cut the size of the comic strip until there is no room left for anything but dialogue, then that will be the end of comics. Buz is conceived four weeks in advance. My collaborator, Hank Schlensker, finishes the layouts from my rough drawings.
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In 1495, they established the Thurzo-Fugger company, which is sometimes regarded as the first capitalist company in Europe.Kayo Hirakawa, The Pictorialization of Dürer's Drawings in Northern Europe in the Sixteenth and Seventeenth Centuries, pg. 48, Peter Lang Publishing (2009), They soon acquired a monopoly on the trade of copper and opened new places all over Europe. Around the year 1500 they dominated the production of precious and non-ferrous metals in Hungary.
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The Italian art critic Duilio Morosini framed Sherman in an artistic and cultural context in her 1977 essay for the book Sarai Sherman. Morosini wrote that one needs now to place “Sherman in a historical relationship to other exponents of American critical realism, both of the first and second generation. The major recurring theme of an isolated urban solitude (expressed by an standardization of choices, in personal ideals and practical solutions, and hence the disappearance of feeling and communication) is not seen by this artist as a grievous meditation of the state of things where nothing can be achieved, as one sees in Edward Hopper’s revealing objectivism; nor is it an irascible accusation as in the post war II revival of expressionism. In her painting (not only the earlier period from 1954 to 1965, but in all her developments) the characters do not rely upon indicative details, rather upon the “whole” with its resolute “aura” (inherent in such pictorialization of the thought imagery).
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The projection of light in the painting in which every presence, every act seems to be caught in an equivocal transition between day and night or vice versa; in other words, in the inquietude and expectation of an unpredictable change.” “In Sherman’s work there is a consistent involvement with a visualization of distorted values in the continuum of social generalization. During 1962 she completed a series of large composition paintings that focused on the death of the matrix of post World War II sex symbols. The capacity of Sherman to use the ambivalence inherent in metaphorical values, as a springboard in the employ of tonal color, immersed in diffused light has also made it possible to retain a sensitivity towards a younger generation’s milieu. Her work in the 1970s reflected a shift in the pictorialization of generalized meanings; a constantly precarious situation for all painters of Sherman’s generations.” Overarching themes in Sherman's work focused on concerns with humankind's inhumanity to one another, where form and content are one.
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