It's slow to melt in your mouth, a bit of unexpected sensuousness.
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Painter derived a great deal of pleasure from the sensuousness of art supplies.
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He responded to the physical notebooks with sensuousness and — I have to say — love.
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Ms. Uchida sensitively highlighted the work's yearning lyricism, but not its sensuousness or underlying turbulence.
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She has no compelling qualities outside of her sensuousness and her desire to help Ben.
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Their quick yet decisive brushwork arouses the sensuousness of blank surfaces and marking upon them.
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" Trendy shoes she buys but never wears are a "monument to the end of sensuousness.
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It marginalizes the history of the work because sensuousness is so confusing for my culture.
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The show's joyfulness is due as much to its confident aesthetic sensuousness as to its subject matter.
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As noisy as it can get, McDowall's music has a sensuousness that always holds his audience close.
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She does not want to surrender the pleasure of solitude that is central to the sensuousness of painting.
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Jeb blushed at the sensuousness of her flesh—soft around the bone, like the arm of a baby.
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The sensuousness of the painting is offset by a sense of uncertainty as he looks to the side.
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" Mr. Crimp said: "George's music has a combination of sensuousness and intellectual rigor; those are the two things that go together.
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Valentine approaches drawing with the sensuousness and scale that is customarily applied to painting, yet makes sport of the fragility of the paper.
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Clara's private, phantasmal liberation signals the influence of the John Cassavetes film "Opening Night," but Bridey's images do not aspire to the sensuousness of that inspiration.
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An acknowledgment of sensuousness is indispensable — whether as play or sheer joy or the kind of subversity that has us reaching for a rose and grabbing a thorn.
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There's sensuousness to Paul's drift, which, as the camera silkily slips alongside him, suggests a casual luxurious attitude toward life, of being free to do anything, go anywhere, say anything.
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The sense of isolation in Sepuya's work is countered by the sensuousness of naked bodies and evidence of recently departed visitors — the ruffling of bed sheets, the bouquet of red roses.
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After a decade of dressed-down, austere, DIY economics—thanks mostly to the influence of Fugazi—a post-hardcore band flaunting its decadent sensuousness while ironically subverting it was nothing short of profound.
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"The idea that the intellect is somehow alien to sensuousness, or vice versa, is one that I have never been able to connect with," he told The Paris Review in an interview in 19913.
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One of the stars of the exhibit is Valentino's cardinal-red taffeta dress that's priestly in silhouette, but with a low-necked, rustling sensuousness that makes it appear as though it could just slip off the body.
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An image makeover and an affair with a sexy co-worker (Kerry Bishé) accompany his corporate ascent, but it's his psychological torment that the director, Ido Fluk, is most eager to plumb, and he does so with captivating sensuousness.
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I think that for a lot of people, what sticks in their minds about Call Me by Your Name is the sensuousness with which it is shot and its almost fantasy-like setting in a ramshackle villa in Italy — essentially, the beauty and emotion of the film.
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The sensuousness — eroticism, even — of the stroking motions also evokes the dynamics of a man's romantic conquest, and the inherent menace of violence therein: the image of man as hunter, catching his prey (a woman), and stroking her to the point of a petite mort (or worse).
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But these are forgivable blips in a book with the compassion to capture the loneliness of a trans woman with AIDS who rides the subway at rush hour to feel the warmth of "human bodies all against her", and the sensuousness to convey the beauty of young gay lovers mimicking Fred and Ginger on a hot rooftop as the sun sets.
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But Rosenthal's skew toward classicism does not preclude reveling in the sensuousness and tactility of paint, whether juicy — Georg Baselitz's Neo-Expressionist landmark "Orange Eater" (1982); Frank Auerbach's grisaille oil-on-paper "Head of Shane Dunworth" (1986); Maria Lassnig's viscerally Neo-Cubist "Innerhalb und ausserhalb der Leinwand I" ("Inside and outside the screen," 1984/85) — or austere — Susan Rothenberg's "August" (1976), one of the artist's iconic horses, and A.R. Penck's "Skizze" ("Sketch," 1983), a freewheeling cluster of pictograms, both done in black-and-white.
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Rudick, Nicole. "Staff Picks: Robert Walser, Katherine Larson", The Paris Review, 13 May 2011. Retrieved 2012-11-25. Bookforum enjoyed its "measured sensuousness".
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Oxford University Press, 2014. Though the extreme sensuousness of Ronsard's poem may have made it an inappropriate model for celebrating the heroic Sidney, Spenser's transformation of it is thorough.Hamilton A.C., "The Spenser encyclopaedia". Routledge, London, 2006.
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Sohini is a raga in Hindustani classical music in the Marwa thaat. Alternate transliterations include Sohani and Sohini. Like Bahar, it is a small raga, with not much space for elaboration. It emotes the feel of longing, of passive sensuousness.
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Gardiner notes "the tender sensuousness of the pastoral writing, the pairings of thirds and sixths, the blending of flutes and muted strings and the satisfying textures and calm enchantment disturbed only momentarily by modulation", and considers that the piece possibly had some "deeper personal significance".
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Earlier, it was composed in Persian and Pashtu, however, later it came to be composed in Urdu also. The form gradually became embedded in local culture and began to borrow its idiom from the folk. The "Chaar Bayt" poetry exudes the same sensuousness as the Urdu Ghazal.
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It served as a warning about the moral and spiritual health of society. Ruskin argued that Venice had slowly degenerated. Its cultural achievements had been compromised, and its society corrupted, by the decline of true Christian faith. Instead of revering the divine, Renaissance artists honoured themselves, arrogantly celebrating human sensuousness.
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In the early 1960s, Santosh studied Tantric (mystical) art and Kashmir Shaivism. In 1964 he adopted this style to create some of the best examples of modern Tantric paintings. His paintings are known for the vibrancy of colors, neat lines, spiritual energy and sensuousness. Santosh also wrote plays, poetry and essays in Kashmiri.
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Nikel's style was a form of expressionistic abstraction sometimes called lyrical abstraction. She painted with a brusque, generous touch and favored high-keyed colors. She was known for buoyant compositions consisting of rough-edged blocks of color and scribbly, calligraphic lines that together conveyed a sense of imaginative excitement and urgent sensuousness.
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Little by little, the village reveals its secrets. The protagonist is soon bewitched by this ancient village where dreams and legends intermingle. He immerses himself in the 'bewitching sensuousness' of the new 'rustic, amoral world', only to emerge as an 'involved outsider'. He finds rational inquiry meaningless and begins a metaphorical journey inwards.
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" Her performance in the song Pudichirikku made her a sex symbol among the navel fetish community."Who can forget the song Pudichirukku… from Saamy where she displays oodles of sensuousness and glamour in a leather mini skirt?" Bizhat called it:"taut, fully engaging actioner". Hindu wrote:"Kavithalaya's Saami should follow the Dhil, Dhool line.
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Dima Hasao District is a land of sensuousness. The district is populated by various tribes and races who maintain their own dialect, culture, customs and way of living. Apart from various tribes, non-tribals also account for a sizable amount of the population. They are mostly government employees, traders, graziers living in urban and semi-urban area.
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The reservation is built on a polluted lake, which is a tourist attraction. In Lorado there are many forms of love and every one keeps a pet. Law of Averages, 1996, 15 min, color, computer generated. In a garden two lovers meet and begin a relationship that is complicated by a lack of exact compatibility, daily compromise and occasional sensuousness.
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The astrologer is killed and Tatacharya, who believed in him in good faith, is accused of trying to backstab the king. Ramakrishna intervenes and Tatacharya is saved, improving their relationship. The Bahmani Sultanate then sends the courtesan Krishnasani to Hampi. With her acclaimed dancing skills, she manages to attract the attention of Krishnadevaraya, who finds himself besotted by her wit and sensuousness.
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He immerses himself in the 'bewitching sensuousness of the rustic, amoral world', only to emerge as an 'involved outsider'. He finds rational inquiry meaningless and begins a metaphorical journey inwards. The narrative strategy of the novel is characterized by the matter-of-fact inclusion of fantastic or mythical elements into seemingly realistic fiction. The narration also makes sense of multiple separate realities (see magic realism).
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One reviewer described the music for Written on Skin as "glistening, mysterious sounds" from the orchestra (which includes viola da gamba and glass harmonica) in "Benjamin's most vivid music to date, in a score embracing everything from sensuousness to explosive ferocity". In a 2019 poll by The Guardian, the opera was ranked the second-greatest classical composition of the 21st century, with Erica Jeal lauding the score as “tense, precise and often glowingly beautiful”.
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According to literary critic Serajul Islam Choudhury, Nazrul's poetry is characterised by abundant use of rhetorical devices, which he employed to convey conviction and sensuousness. He often wrote without care for organisation or polish. His works have often been criticized for egotism, but his admirers counter that they carry more a sense of self-confidence than ego. They cite his ability to defy God yet maintain an inner, humble devotion to him.
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Such is its beauty and sensuousness that it is nicknamed the "Venus of Konpara". He decides to excavate the area in search of other remains. Meanwhile, he has been seduced by a Dravidian dancing girl, who becomes his live-in lover and who seems to have a mysterious control over the local people. The prince's uncle, however, plans to displace him as successor to the throne and works in tandem with other mysterious hidden factions to disrupt the excavations.
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Harris, Rivkah, Gender and Aging in Mesopotamia: The Gilgamesh Epic and Other Ancient Literature, University of Oklahoma Press, 2003, pp.122-3. According to classicist Paul Friedrich, Shamhat's sexual skills establish "the connection between artful, or sophisticated sensuousness and civilization". Her sexual arts lead Enkidu to understand how basic animal urges can be transformed into something sophisticated, or "civilized". Mesopotamians believed that prostitution was one of the basic features of civilization: "a prime representative of urban life".
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I wanted to break out of the rectangle and the square, and to introduce a curve.' In 1992 Albrecht described the importance of the curved form in her work, describing it as having 'a sensuousness and a female-relatedness that I can't describe in any other way. It had a generosity about it that the angular stretcher didn't have'. For a 1985 solo project at Auckland City Art Gallery, Albrecht made four works referring to the seasons.
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Basic step for LA style, with leader's steps in blue Salsa show dancing The Los Angeles Salsa Style (LA style) is danced strictly on 1, in a slot \ line, using elements of various North American and stage dances. This helps prevent dancers from hitting other couples on a crowded dance floor. It is strongly influenced by the Latin Hustle, Swing, Argentine Tango, Mambo dancers from Mexico and Latin Ballroom dancing styles. LA style places strong emphasis on sensuousness, theatricality and acrobatics.
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As the piece was performed around NYC, critics and audiences alike marveled at the new choreographer's work. Monte was praised for "tun[ing] in to the sensuousness of the music" to create an effect "as lulling at the music." One reviewer wrote, “... Monte’s choreography is a significant addition to post-modernist dance, as effective as it is unusual.” This not only led to the formation of her company, but also established Monte as an important innovator and contributor to contemporary dance.
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Harwood made her professional début as Second Boy in The Magic Flute at Glyndebourne in 1960. The critic of The Guardian wrote of an early performance by Harwood, "[her] voice, though not very big, is a real Mozart voice alive with an easy sensuousness that is rare among English sopranos."The Guardian, 1 June 1960, p. 9 At a performance of Messiah in December 1960, Harwood's fellow soloists included Janet Baker, with whom she later made a series of critically praised appearances for Scottish Opera.
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Having narrowly avoided injury, her Boston unveiling came on 18 January 1907 to wide acclaim. The Boston Transcript wrote: “Her interpretation was poetic, supplying that indispensable sense of imaginative atmosphere essential to Grieg, while containing precisely that right pitch of bravura abandon, of dramatic sensuousness which the concerto demands. Her rhythm is incisive, full of fire, and yet, when the occasion demands, elastic.” Violinist Franz Kneisel was present and immediately engaged her to play with his Kneisal Quartette at further concerts in Boston and New York.
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A week after his return to Paris in 1887, Debussy heard the first act of Wagner's Tristan und Isolde at the Concerts Lamoureux, and judged it "decidedly the finest thing I know". In 1888 and 1889 he went to the annual festivals of Wagner's operas at Bayreuth. He responded positively to Wagner's sensuousness, mastery of form, and striking harmonies, and was briefly influenced by them,Holloway, pp. 21 and 42 but, unlike some other French composers of his generation, he concluded that there was no future in attempting to adopt and develop Wagner's style.
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Granda preferred the direct carving of wood and stone to cast sculpture, believing that the easy methods of mass production resulted in a paganized sensuousness of form. The sculptures carved by his artisans were rather noble and sober, full of gravity and purity, without tragic poses or excessive gestures; the most proper to the serene beauty of religious art. Granda decried theatricality in religious art, applying to it Saint Jerome's condemnation of pompous rhetoric: Like a strumpet in the streets, it does not aim at instructing the public, but at winning their favor.
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As his sight became clearer > and his purpose strengthened, as exaggerations, affectations, and moods > dropped away from his conceptions, his work became more and more typical > Latin work, upheld by the ideal of an Italian Renaissance. In Italy some of his poetic works remain popular, most notably his poem "La pioggia nel pineto" (The Rain in the Pinewood), which exemplifies his linguistic virtuosity as well as the sensuousness of his poetry. His work was part of the literature event in the art competition at the 1912 Summer Olympics.
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Charles Henry Buckius Demuth (November 8, 1883 – October 23, 1935) was an American painter who specialized in watercolors and turned to oils late in his career, developing a style of painting known as Precisionism. "Search the history of American art," wrote Ken Johnson in The New York Times, "and you will discover few watercolors more beautiful than those of Charles Demuth. Combining exacting botanical observation and loosely Cubist abstraction, his watercolors of flowers, fruit and vegetables have a magical liveliness and an almost shocking sensuousness." Demuth was a lifelong resident of Lancaster, Pennsylvania.
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De Carlo p. 89 Though not a critical success, Salome was a box office favorite, and the heavily promoted De Carlo was hailed as an up-and-coming star. In his review for the film, Bosley Crowther of The New York Times wrote: > Miss De Carlo has an agreeable mezzo-soprano singing voice, all the 'looks' > one girl could ask for, and, moreover, she dances with a sensuousness which > must have caused the Hays office some anguish. The script, however, does not > give her much chance to prove her acting talents.
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The oil on canvas version of this subject (1981) is in Paintings, pl. 16, 40" x 36", Collection of Janet Lippmann. Piersol, 8, on the range of hues in Kipniss's lithographs of the 1970s and 1980s and how they "brought a new sensuousness and richness to his prints" while "At same time, his compositions—especially the interiors—grew in complexity, sophistication and scale." He had begun painting interiors in his early work of the 1950s, and they appear about equally in his mature paintings and lithographs, and less so in his mezzotints.
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Her works were inspired by the traditions of Asian and European sculptures. Madigan focused mainly on the human torso; according to the Art Gallery of New South Wales, this allowed her to "create sculptures which, at their best, have the sensuousness, subtlety and rigour of the greatest of the Indian carvings she admires." Critical analysis often assessed her work as "a restrained homage to the preoccupations of an earlier generation of modern figurative sculptors" and her most successful works were deemed to have a quality similar to the artist Henri Gaudier-Brzeska.
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Claudio Monteverdi painted by Bernardo Strozzi in Venice in 1640 Alan Blyth reviewed the first version of the album on LP in Gramophone in September 1985. He warned his readers that all its music was performed in Raymond Leppard's own, controversial realizations. On the one hand, some listeners would "delight in [their] sheer sensuousness"; on the other, people who placed a premium on fidelity to Monteverdi's and Cavalli's intentions would "protest that this isn't really how the music should sound". He himself felt ambivalent, relishing the album's euphony while acknowledging that it was not historically authentic.
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His family is believed to have migrated from Delhi to Lucknow. He lived an independent life without any employment or state patronage. Retaining independent approach and concern for the dignity of man and interest in the expression of subjective experience in poetry, he, along with Imam Baksh Nasikh, who emphasized the form and diction, correctness of idiom and strict observance of the rules of prosody, demarcated the main feature of the poetic identity of his period. He did not adopt self- pity nor melancholy as the keynote of his poetry nor did he opt for sensuousness as its corner stone.
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Miłosz's work is known for its complexity; according to the scholars Leonard Nathan and Arthur Quinn, Miłosz "prided himself on being an esoteric writer accessible to a mere handful of readers". Nevertheless, some common themes are readily apparent throughout his body of work. The poet, critic, and frequent Miłosz translator Robert Hass has described Miłosz as "a poet of great inclusiveness", with a fidelity to capturing life in all of its sensuousness and multiplicities. According to Hass, Miłosz's poems can be viewed as "dwelling in contradiction", where one idea or voice is presented only to be immediately challenged or changed.
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With her acclaimed dancing skills, she manages to elicit the notice of Krishnadevaraya, who finds himself besotted by her wits and sensuousness. He issues orders that anyone who enters his private chamber would be beheaded and continues to spend with time with Krishna for months. Appaji and Raman learn that the Sultans are planning to take advantage of the King's inaccessibility and shall launch a combined attack on Hampi soon. Worried at the state of affairs, Raman braves the prohibitory order and enters Krishna's abode dressed as a woman, but is ignored and expelled from the kingdom.
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Moon Lake has to be viewed more > than once not just because it is different at each viewing but because it > incorporates its theme and its making into the viewing itself. This is a > film that comes after itself, it leads itself the way Orpheus leads > Eurydice: with all its sensuousness and although it rubs itself against our > gaze like the lunar body of a dreamt-of mermaid, it takes place after an > interval, after the withdrawal of the gaze, from behind your back, from the > position of an invisible overtaking. I turn back to look – and it keeps > coming.
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Soon after she arrived, Heidegger's ties to Nazism became public knowledge and Martinsen reevaluated her previous work based on his philosophy. In From Marx to Løgstrup: On Morality, Social Criticism and Sensuousness in Nursing (1993), she confronted the issues with Heidegger and introduced the philosophy of Knud Ejler Løgstrup, as it related to a discussion of care. While in Aarhus, she simultaneously worked as an adjunct professor at the University of Tromsø (UT) from 1994 to 1997. She moved to Tromsø in 1997 when she was offered a full professorship at UT, but remained only one year.
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Both Karasowski and Huneker agreed with this assessment; Karasowski claimed that "one can never listen [to the nocturne] without a sense of the deepest emotion and happiness," and Huneker commented that the nocturne was "painted with Chopin's most ethereal brush". Frederick Niecks also thought the piece had "a beautiful sensuousness; it is luscious, soft, rounded, and not without a certain degree of languor." To Blair Johnson, the theme is "certainly a musical embodiment of the 'less is more' doctrine." Johnson also commented that "something of the warmer Mediterranean climate crept into the composer's pen," in reference to Chopin's stay on the island of Majorca.
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During the British Raj, the officials of the colonial government ridiculed the temple traditions, while Christian missionaries launched a sustained attack on the moral outrage of sensuousness of Odissi and other Hindu temple dance arts. In 1872, a British civil servant named William Hunter watched a performance at the Jagannath temple in Puri, then wrote, "Indecent ceremonies disgraced the ritual, and dancing girls with rolling eyes put the modest worshipper to the blush...", and then attacked them as idol-worshipping prostitutes who expressed their devotion with "airy gyrations". Christian missionaries launched the "anti- dance movement" in 1892, to ban all such dance forms. The dancers were dehumanized and stigmatized as prostitutes during the British period.
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In The Grand Tradition, a 1974 history of operatic recording, the British critic J.B. Steane writes that "one might conclude from recordings that [Price] is the best interpreter of Verdi of the century." The Russian soprano Galina Vishnevskaya remembered a 1963 Price performance of Tosca at the Vienna State Opera "left me with the strongest impression I have ever gotten from opera." In his 1983 autobiography, Plácido Domingo writes, "The power and sensuousness of Leontyne's voice were phenomenal—the most beautiful Verdi soprano I have ever heard." From left to right, NEA Chairman Dana Gioia honors the first class of National Endowment for the Arts Opera Honorees in 2008: Price, Carlisle Floyd, Richard Gaddes.
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Olympia of Hawaii, in the collection of the Honolulu Museum of Art, exemplifies Tennent's enchantment with color and use of the bright, warm hues endemic to Hawaiʻi. She adapted line and form to the appropriately vivid medium of oil. The majestic, explicitly Polynesian women that would figure in Madge Tennent's iconic imagery surfaced in works such as Reclining Girl (1929) and Three Filipino Ladies (1930), each a synthesis of European modernism's languid, architectonic femininity with Tennent's own racial fixation. Generously applying paint with a palette knife, she avoided sensuousness in the representation of skin texture, instead imbuing the trademark sense of strength and grandeur tinged with fragility apparent in Holoku Ball and Hawaiian Singer (early 1930s).
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In the thrust of his work, however, Moreau was thoroughly within the Symbolist school, and preceded certain parts of it. The Symbolist Manifesto, published by Jean Moréas two years after Moreau stopped working on Les Chimères, states that in the work of the Symbolist artist, "all... real world phenomena will not be described for their own sake; here, they are perceptible surfaces created to represent their esoteric affinities with the primordial Ideals."Gustave Moreau as quoted in "The Writings of J.K. Huysmans and Gustave Moreau’s Painting", see reference. Les Chimères is exemplary of this idea of capturing the absolute Ideal through sensory description –the setting in nature, the presence of the mythological creatures, the sensuousness of the women, etc.
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The best of these includes the marble bust of Marietta Strozzi in Berlin that projects a soft, ethereal beauty that seems to originate from a marble surface that glows from within the stone. Throughout his brief career, one of the most telling characteristics of his technique was his unusual ability to give to his sculptures a textural sensuousness that demands touch. Of all Quattrocento sculptors, Desiderio was, perhaps, the most tactile in his appeal. His work displays true understanding for the crystalline luminosity of marble and how a gently polished and modulated surface could produce an inner glow and how Donatello's famed rilievo schiacciato could be further refined to convey a sense of light softly diffused by its passage through atmosphere.
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Hussain is cited as one of the foremost leaders in the development of conceptual art in India, and is credited with bringing the possibilities and merits of diverse media to critical and popular attention. Despite her association with conceptual art, however, Hussain’s work remains grounded in the physical using, rather than ignoring, the "sensuousness" of the various materials that make up her installations. Critics often reference this emphasis on materiality in the discussion of the social, specifically feminist, concerns of much of Hussain’s oeuvre which acknowledges female corporeality as its starting point. Several of her video and performance-based pieces, for example, center on Hussain’s own body – a tactic that positions her work at a unique juncture between the political and personal, the public and private.
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In Thinking Architecture Peter Zumthor expresses his motivation in designing buildings that have an emotional connection and possess a powerful and unmistakable presence and personality. It is illustrated throughout with color photographs by Laura J. Padgett of Zumthor's new home and studio in Haldenstein. > “To me, buildings can have a beautiful silence that I associate with > attributes such as composure, self-evidence, durability, presence, and > integrity, and with warmth and sensuousness as well; a building that is > being itself, being a building, not representing anything, just being. The > sense that I try to instil into materials is beyond all rules of > composition, and their tangibility, smell, and acoustic qualities are merely > elements of the language we are obliged to use.
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" MusicOMH critic Ben Devlin called the album "a fascinating synthesis of rock, plunderphonics, bass music and noise from an artist that remains stubbornly undefinable." In his rave review for Pitchfork, Jayson Greene wrote, "You get the sense, maybe, that Tumor is carrying around other people's secrets, and that Safe in the Hands of Love is so cavernous-sounding, in part, to accommodate them. Holding all of this together is a stew of feelings—dread, sensuousness, ecstasy, terror—that melt into a mood so pungent and pervasive that people who grew up inside all kinds of different music will be beckoned towards it. Ambient electronic, dream-pop, experimental noise, '90s R&B;, even late-'90s alt-rock—Tumor's music is fluid and generous enough to contain it all.
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" Tiny Mix Tapes writer Sam Goldner said, "Bowie's only consistent trajectory has been one of tearing down his mythos even as his builds it, and his latest manages to knock down yet another wall as he steps more fully into the light than he's ever dared tread before. On Safe in the Hands of Love, Yves Tumor isn't concerned with being "experimental;" he's simply concerned with being." Resident Advisors Matthew McDermott wrote, "Yves Tumor joins the ranks of Arca and SOPHIE at the millennial generation's pop vanguard, a group whose fluid approach to music and imagery is eradicating the gap between underground and mainstream." The Wire said, "Sometimes the sensuousness of Serpent Music is missed, but Tumor's drive to take this radically new music to audiences as big as Blake's, Ocean's or even Radiohead's is exhilarating.
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Orenstein, p. 224 The three songs of the cycle are individually dedicated by the composer to Hatto ("Asie"), Madame René de Saint-Marceaux ("La flûte enchantée") and Emma Bardac ("L'indifférent"). Whether the overture and the song cycle are musically related is debated. According to Ravel's biographer Arbie Orenstein, there is little melodic connection between the overture and the cycle, with the exception of the opening theme of the first song, "Asie", which uses a theme, based on a modally inflected scale, similar to one near the beginning of the overture.Orenstein, p. 148 Ravel originally conceived the cycle with "Asie" coming last, and this order was adopted at the premiere,Nicols (2011), p. 56 but his final preference, in the published score, gives a sequence steadily decreasing in intensity; the critic Caroline Rae writes that the music moves "from rich voluptuousness and gentle lyricism to languid sensuousness".
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Pilgrimage to Cythera is an embellished repetition of Watteau's earlier painting, and demonstrates the frivolity and sensuousness of Rococo painting. (c. 1718-19, Berlin) The painting portrays a "fête galante"; an amorous celebration or party enjoyed by the aristocracy of France during the Régence after the death of Louis XIV, which is generally seen as a period of dissipation and pleasure, and peace, after the sombre last years of the previous reign. The work celebrates love, with many cupids flying around the couples and pushing them closer together, as well as the statue of Venus (the goddess of sexual love). There are three pairs of lovers in the foreground. While the couple on the right by the statue are still engaged in their passionate tryst, another couple rises to follow a third pair down the hill, although the woman of the third pair glances back fondly at the goddess’s sacred grove.
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Representative works include his early Evening at the Ferry Crossing (1897), Thoughts of Home (1902), and Kodama (1902); his mid-life series of portraits; and his late Ue- no-Midō (1945) and Summer Clouds (1950). He painted many still lifes with flowers, especially roses, and a number of views of Mount Fuji. His Evening at the Ferry Crossing depicts a family of farmers at the Yaguchi crossing (ja) of the Tama River, strikingly illuminated, according to art historian , through his "skillful manipulation of evening light". Kodama, inspired by the classical sculptures in the Louvre, and translated alternatively by Harada as Echo, is said to combine French Academism with German Expressionism as a of Wada's period of study abroad; in Harada's words, it "evokes a Romantic sensuousness through gentle shading of the figure and barely visible handling of the brush"; the painting has also been likened in effect to Munch's The Scream.
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He had just published Le Néo- Plasticisme—a collection of writings by Mondrian—and Theo van Doesburg's Classique-Baroque-Moderne. Csaky's showed a series of works at Rosenberg's gallery in December 1920. For the following three years, Rosenberg purchased Csaky's entire artistic production. In 1921 Rosenberg organized an exhibit entitled Les maîtres du Cubisme, a group show that featured works by Csaky, Albert Gleizes, Metzinger, Mondrian, Gris, Léger, Picasso, Laurens, Georges Braque, Auguste Herbin, Gino Severini, Georges Valmier, Amédée Ozenfant and Léopold Survage. Csaky's works of the early 1920s reflect a collective spirit of the time,Joseph Csaky, 1920 Figure (Woman), Action: Cahiers Individualistes de Philosophie et d’art, Volume 1, Number 6, December 1920 > "a puritanical denial of sensuousness that reduced the cubist vocabulary to > rectangles, verticals, horizontals," writes Balas, "a Spartan alliance of > discipline and strength" to which Csaky adhered in his Tower Figures.
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The third essay, called "The Unhappiest One", discusses the hypothetical question: "who deserves the distinction of being unhappier than everyone else?" Kierkegaard has progressed from a search for the highestEither/Or Part I, Swenson, p. 27 "sleeping is the highest", 32 "A good cut" of meat is the highest, 37-39 "Tautology is the highest law of thought", 46-47 "I will form a sect which not only gives Mozart first place", 59 "sensuousness is first posited in Christianity", 63 "Don Juan deserves the highest place', 68 music is higher than language, 101 "Don Juan is absolutely musical" to the search for the lowest.154-156 "Antigone's" "sorrow", 167-168 "grief", 177-178 "deception" which is for love an absolute paradox", 182ff the inability to decide if you've been deceived, 220-221 "unhappy consciousness" Now he wants to find the unhappy person by looking once again to the past.
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He had just published Le Néo-Plasticisme—a collection of writings by Mondrian—and Theo van Doesburg's Classique-Baroque-Moderne. Csaky's showed a series of works at Rosenberg's gallery in December 1920. Jacques Lipchitz, 1918, Instruments de musique (Still Life), bas relief, stone For the following three years, Rosenberg purchased Csaky's entire artistic production. In 1921 Rosenberg organized an exhibit titled Les maîtres du Cubisme, a group show that featured works by Csaky, Gleizes, Metzinger, Mondrian, Gris, Léger, Picasso, Laurens, Braque, Herbin, Severini, Valmier, Ozenfant and Survage. Csaky's works of the early 1920s reflect a distinct form of Crystal Cubism, and were produced in a wide variety of materials, including marble, onyx and rock crystal. They reflect a collective spirit of the time, "a puritanical denial of sensuousness that reduced the cubist vocabulary to rectangles, verticals, horizontals," writes Balas, "a Spartan alliance of discipline and strength" to which Csaky adhered in his Tower Figures.
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Although hardly appreciated during his lifetime, many critics believe that his modernism, evoking almost all the suggested elements of the phenomenon, remains untranscended to date, despite the emergence of many notable poets during the last 50 years. His success as a modern Bengali poet may be attributed to the facts that Jibanananda Das in his poetry not only discovered the tract of the slowly evolving 20th-century modern mind, sensitive and reactive, full of anxiety and tension, bu that he invented his own diction, rhythm and vocabulary, with an unmistakably indigenous rooting, and that he maintained a self-styled lyricism and imagism mixed with an extraordinary existentialist sensuousness, perfectly suited to the modern temperament in the Indian context, whereby he also averted fatal dehumanisation that could have alienated him from the people. He was at once a classicist and a romantic and created an appealing world hitherto unknown: Banalata Sens Cover by Satyajit Ray. > For thousands of years I roamed the paths of this earth, > From waters round Ceylon in dead of night > to Malayan seas.
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