He's Gothic, extreme and postmodern: the voice of the unclassical.
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For the most pitiful and unclassical reason that ever disgraced a human creature.
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Keats's Greece seems somehow to be a Greece too full of modern colour, too unclassical.
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For this skillful and ingenious conceit, which is unclassical in spirit, we are indebted to Scamozzi.
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If the music is unclassical and the hymn crude there is no critical audience to be offended.
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The decoration influences the shape of the letters, and various decorative forms are mixed in a very unclassical way.
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Mr. Rhead was born at Etruria, that unclassical place with the classical name, and comes of a family of artists.
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The standard of study is as high as in other unclassical schools, and every pupil has equal advantages of improvement.
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To bind all the pictures together visually, he developed an unclassical style of draftsmanship, trembly and ungainly, and used it throughout.
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Messrs. Sale and Palmer translate the word here as meaning fighting, which is wrong, as it is unclassical and not literal.
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It contains only decorated letters, at the beginning of each Psalm, but these already show distinctive traits. Not just the initial, but the first few letters are decorated, at diminishing sizes. The decoration influences the shape of the letters, and various decorative forms are mixed in a very unclassical way. Lines are already inclined to spiral and metamorphose, as in the example shown.
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Like other European languages, English contains many words derived from Arabic, often through other European languages, especially Spanish. Among them is every-day vocabulary like "sugar" (sukkar), "cotton" (quṭn) or "magazine" ('). More recognizable are words like "algebra" (al-jabr), "alcohol" (al-kuhūl), "alchemy" ("al-kimiya"), "alkali", "cypher" and "zenith" (see list of English words of Arabic origin). A more indirect form of influence is the use of certain Latinate words in an unclassical sense, derived from their use in Latin translations of medieval Arabic philosophical works (e.g.
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Thus his path > for not an inconsiderable distance ran parallel with that of Søren > Kierkegaard. Not that he was in any way influenced by this solitary thinker. > He cherished but little sympathy for him, and was repelled by his broad, > unclassical form, for whose merits he had no comprehension, and whose inner > harmony with the mind of the author he did not perceive. It was the general > spirit of the times which produced the intellectual harmony of these two > solitary chastisers of their contemporaries. p.
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These are the works under the name of the Emperor Constantine VII Porphyrogenitus (10th century), dealing respectively with the administration of the empire, its political division, and the ceremonies of the Byzantine Court. They treat of the internal conditions of the empire, and the first and third are distinguished by their use of a popular tongue. The first is an important source of ethnological information, while the last is an interesting contribution to the history of civilization. The second group of historians present a classical eclecticism veiling an unclassical partisanship and theological fanaticism.
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Procopius and to a great degree his successor Agathias remain the models of descriptive style as late as the 11th century. Procopius is the first representative of the ornate Byzantine style in literature and in this is surpassed only by Theophylaktos Simokattes in the 7th century. Despite their unclassical form, however, they approach the ancients in their freedom from ecclesiastical and dogmatic tendencies. Between the historical writings of the first period and those of the second, there is an isolated series of works which in matter and form offer a strong contrast to both the aforesaid groups.
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After the early deaths of Riegl and Wickhoff, one of the art- historical positions at the University was filled by Max Dvořák, who at first continued the tradition of his predecessors. However, Dvořák's interest gradually turned towards issues of content; that is, to precisely those issues that, for Riegl, were not the object of art history. Dvořák, in part influenced by the contemporary expressionist movement in German painting, developed a deep appreciation for the unclassical formal qualities of Mannerism. Dvořák's idealistic method, which would later be termed "Kunstgeschichte als Geistesgeschichte" ("art history as intellectual history"), found its most committed champions in Hans Tietze and Otto Benesch.
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In Byzantine art in the making, furthermore, he essayed a bold attempt to trace the stylistic "dialectic" of the period in question: > At certain times and in certain places bold stabs were made in the direction > of new, unclassical forms, only to be followed by reactions, retrospective > movements and revivals. In some contexts such developments - in either > direction - took place slowly, hestitantly, and by steps so small as to be > almost imperceptible. In addition there were extraordinary attempts at > synthesis, at reconciling conflicting aesthetic ideals. Out of this complex > dialectic, medieval form emerged.E. Kitzinger, Byzantine art in the making: > main lines of stylistic development in Mediterranean art, 3rd-7th century > (Cambridge, 1977), 4.
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Caïssa originated in a 658-line poem called Scacchia Ludus published in 1527 by Hieronymus Vida (Marco Girolamo Vida), which describes in Latin Virgilian hexameters a chess game between Apollo and Mercury in the presence of the other gods. In it, to avoid unclassical words such as rochus (chess rook) or alfinus (chess bishop), the rooks are described as towers (armored howdahs) on elephants' backs, and the bishops as archers: A leaked unauthorized 742-line draft version was published in 1525. Its text is very different, and in it Caïssa is called Scacchia, the chess rook is a cyclops, and the chess bishop is a centaur archer. This led to the modern name "castle" for the chess rook, and thus the term "castling", and the modern shape of the European rook chesspiece.
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" Entry 207 for 'The Rape of Ganymede in Hofstede de Groot, 1915 Oddly, Hofstede de Groot did not comment on the theme of this painting at all, though Smith before him found it highly unusual when he wrote: "197. The Rape of Ganymede. If the picture (for the present description is taken from a print) be really by Rembrandt, his intention must have been to burlesque the mythological subject above stated, for he has represented the beautiful Ganymede as a great lubberly child, with a blubbering grimace of countenance, sprawling, with extended arms, in the talons and beak of the eagle Jupiter. The bird has seized him by his unclassical raiments, the weight of his fat body has drawn his clothes up to his shoulders, and left his lower extremities in a state of nudity, and is thus bearing him through the murky air to Olympus.
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According to the bibliography supplied by the National Gallery of Art, The Walking Man is a version of St. John without head and arms. This sculpture was previously considered a preliminary study for the complete Baptist and was based on the movement of that piece. According to Albert Elsen and Henry Moore's suggestions, The Walking Man was created for the purpose of a Roman or Greek art without any live reference. The art historian Leo Steinberg said of The Walking Man’s pose: > The stance is profoundly unclassical, especially in the digging-in conveyed > by the pigeon-toed stride and the rotation of the upper torso. Unlike the > balanced, self-possessed classical posture with both feet turned out, Rodin > uses the kind of step that brings all power to bear on the moment’s work The statue has served as the inspiration for the works of other artists, such as Carl Sandburg, who described it in his 1916 poem, "The Walking Man of Rodin": > THE WALKING MAN OF RODIN > Legs hold a torso away from the earth.
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Okun, 347–348; Rubin throughout, and pp. 384–386 on the variety of titles by which the work has been known; Château de Malmaison Duqueylar, Girodet and Gérard, like Johann Peter Krafft (above) and most of the Barbus, were all pupils of David, and the clearly unclassical subjects of the Ossian poems were useful for emergent French Romantic painting, marking a revolt against David's Neoclassical choice of historical subject-matter. David's recorded reactions to the paintings were guarded or hostile; he said of Girodet's work: "Either Girodet is mad or I no longer know anything of the art of painting".Honour, 184–190, 187 quoted Girodet's painting (still at Malmaison; 192.5 x 184 cm) was a success de scandale when exhibited in 1802, and remains a key work in the emergence of French Romantic painting, but the specific allusions to the political situation that he intended it to carry were largely lost on the public, and overtaken by the Peace of Amiens with Great Britain, signed in 1802 between the completion and exhibition of the work.
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