She said she felt Hough was commenting on her voluptuousness.
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Voluptuousness features rarely, however, in How to Cook a Wolf.
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She has dramatic flair and heroic voluptuousness within technical brilliance.
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Elsewhere Ms. Melikian vibrated her shoulders with equal speed and voluptuousness.
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Ms. Reichlen, in superb form all season, relished the chance to show a new voluptuousness.
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I may quibble that it's a little too smooth, almost airbrushed, more in thrall to voluptuousness than earthiness.
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" He is, we are told, "corrupted by vanity and voluptuousness" and "breathed nothing but false glory and false pleasures.
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Thank whatever powers are in the Upside Down for hearing our cry and restoring Joe Keery's hair to its natural voluptuousness.
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The version here is more earthy than sweet, heat subordinate to musk, and has a voluptuousness of flavor I haven't found elsewhere.
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You may also catch echoes of Paolo Sorrentino's "Youth" in the mountain rest-cure setting, the weary disdain for modern life and the visual voluptuousness.
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Seduced by what he called "the clarity of it, the starkness of it and the voluptuousness of it," he abandoned Constructivism and embraced natural forms.
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"Meet Ashley Graham and it won't be just her beauty — and her unabashed voluptuousness — that will astound you," Stephen Gan, V's editor-in-chief, told Refinery29.
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The women, especially, with bent elbows and hands softly framing their faces, float through this sweeping dance, yet the entire cast performs with an understated voluptuousness.
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A section of the show entitled "Mythologies" contains "The School of Love" (from London), with a Venus whose rococo voluptuousness antedates that stylistic phenomenon by some two centuries.
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And in the 'light, air, joy of having a body, voluptuousness of looking' sense, having a high ceiling gives you a greater sense of openness, which is desirable.
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Anyway, here he is chatting about whether "the voluptuousness of women" and singing about vegetables are enough to inspire children to start eating their green and fulfilling vegetables.
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But viscosity has its rewards, turning to voluptuousness in gombo frais, a stew of broken-down tomatoes, palm oil and okra chopped into little rondelles and cooked until the guts melt.
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Another set of shots in a forest, where her young, sinewy body, mingling with nature, is all muscle and no voluptuousness, underscoring her much-discussed feminist responses to female representations in art.
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"The pair spoke about Paytas&apos video, where she said she has always had "penis envy," and identifies as a gay man because she is attracted to other gay men and loves "glam and voluptuousness.
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Rapid, casually flamboyant, flourishes of footwork; briefly teasing frolics with tambourine; ebullient jumps seizing the air rapidly and pouncing back into the beat; Spanish voluptuousness in high-concentrate form; a constantly changing array of dramatic ideas.
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"Paytas, who is infamous for her trolling videos and emotional outbursts, started trending because she said that she felt more masculine than feminine, that she identifies as a gay man because she is attracted to other gay men, and that she loves "glam and voluptuousness.
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Working with Isabelle Adjani, who plays the central role of Myrtle Gordon, an aging actor falling into despair, Kukdjian developed a tuberose-heavy scent that would fit her emotionally volatile character: in works like The Vizirs, by Marianne de Fauques, the tuberose has been associated with voluptuousness and ardent temper.
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Dessert is another crowd of plates: airy turon, lumpia with oozy guts of caramelized banana; a threesome of dense cassava cake, jammy ube halaya and leche flan, akin to crème caramel; and langka ice cream, made by Nenette Albenio, the chef's sister, which tastes of sheer voluptuousness and, improbably, the scent of sampaguita, Philippine jasmine.
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The gorgeous Linda Celeste Sims, strict within her voluptuousness, and her husband, Glenn Allen Sims, with his feats of effortless-seeming partnering; the amazingly tall (6-foot-4), broad and long-limbed Jamar Roberts, calmly titanic in presence and power; the ultra-vivid Hope Boykin, whose huge eyes are part of her bold attack and easy charm; Clifton Brown, a cool technical powerhouse, back after several years with other companies: These are well-known wonders, but it does you good to renew acquaintance with them.
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Te Atua Wera taught that heaven was a place where there was happiness, no cold or hunger with an abundance of flour, sugar, muskets, ships, murder and voluptuousness.
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Extensive experiments are as alien to his music as one- sided musical driving forces, if one disregards some works from his early creative period. In that Weyrauch's music is simple, avoids excessive loudness, effect, sound voluptuousness and voluptuousness, it possesses a high degree of clarity, comprehensibility and expressiveness. The simplicity and deliberate simplicity of the musical style, especially in the late works, is by no means a lack of craftsmanship, but the result of a long personal and thus also artistic maturation period. Weyrauch himself speaks of four stages of development that characterize his work.
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Time: Thursday and Friday evenings Place: Salzstadel The proprietor of the tavern offers different things to eat and good wine or beer. Comedians, called "Joculatores", celebrate an evening full of voluptuousness to put some life into the party.
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Some of his critics have accused his paintings of being poorly executed and not referenced from life. The wrongly depicted female genitalia in some of his nudes have also drawn criticism with some viewers claiming that his paintings of groups of vases have greater voluptuousness than his nude forms.
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Kassite period. Ancient Orient Museum, Istanbul Nanaya (Sumerian , DNA.NA.A; also transcribed as "Nanâ", "Nanãy", "Nanaja", "Nanãja", or '"Nanãya"; in Greek: Ναναια or Νανα; Aramaic: ננױננאױ) is the canonical name for a goddess worshipped by the Sumerians and Akkadians, a deity who personified voluptuousness and sexuality,Westenholz, 1997 and warfare. Her cult was large and was spread as far as Egypt, Syria, and Iran.
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He is the author of more than 20 novels. Most critics believe that Gabriel Miró's literary maturity begins with Las cerezas del cementerio (Cemetery cherries) (1910), whose plot revolves around the tragic love of the super-sensitive young man Félix Valdivia for an older woman (Beatriz) and presents—with an atmosphere of voluptuousness and lyrical intimism—the themes of eroticism, illness, and death.
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177, Euthyd. 305 Aristophanes, in The Clouds, deals more indulgently with him than with Socrates; and Xenophon's Socrates, for the purpose of combating the voluptuousness of Aristippus, borrows from the book of "the wise Prodicus" the story of the choice of Hercules.Xenophon, Memor. ii. 1. § 21 Like Protagoras and others, Prodicus delivered lectures in return for paymentXenophon, Mem. ii. 1.
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35-36 while American poet Andrei Codrescu speaks of Tzara as one in a Balkan line of "absurdist writing", which also includes the Romanians Urmuz, Eugène Ionesco and Emil Cioran.Olson, p.40 According to literary historian George Călinescu, Samyro's early poems deal with "the voluptuousness over the strong scents of rural life, which is typical among Jews compressed into ghettos."Călinescu, p.
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He comments that while Carus, whose "penetrating interpretation of the unconscious mind was prejudiced by a somewhat sentimental idealistic and religious optimism", neglected the conflicts that were Freud's main concern, he had "a vivid sense of the importance of the sexual functions, unconscious as instinct and conscious as voluptuousness, in relation to the mind as a whole." Whyte also discusses the psychiatrist Carl Jung.
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She recalled the strong influence of classical art on her voluptuous sculptures. Her interest in the classical tradition was sparked by the works of Picasso's neo-classicism phase. His Two Nudes of 1906, greatly influenced the neo- classicism of her adolescence. This voluptuousness can also be seen in her work entitled Eve (1929), which derived from the story of the first woman mentioned in the bible.
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In 1901, for example the French journal Medico Psychological Annals () he published a monograph called "Voluptuousness, cruelty and religion" (), which was subsequently banned in Russia. In it Gannushkin emphasized the close relation between religiosity, sexuality, and cruelty, using the example of Ivan the Terrible as an illustration. In many cases religious fanatics demonstrated cruelty, wrote Gannushkin, and vice versa, i.e. many cruel people were religious.
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Uniting elevated sentiment with gentleness and patience, he, as Plutarch says,Plutarch, Colot. c. 22 was an ornament to his country and friends, and had his acquaintance sought by kings. His original propensity to wine and voluptuousness he is said to have entirely overcome;Cicero, de Fato, c. 5 in inventive power and dialectic art to have surpassed his contemporaries, and to have inspired almost all Greece with a devotion to Megarian philosophy.
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Several reviewers considered Middlesex to be overly verbose. The Economist described the novel as "ponderous" and said that the main story (that of Cal) does not "get off the ground until halfway through" the book. Times Richard Lacayo concurred; he considered the hundreds of pages about Cal's grandparents and several historical events to be trite, making Middlesexs focus "footloose" in some spots. Several passages in the novel exhibit Eugenides' obsession with "verbose voluptuousness".
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An example noted by Thea Hillman in her review is an incident in which Cal says, "I sat in my seat, in a state of voluptuous agitation, of agitated voluptuousness, until my stop. Then I staggered out." A contrary opinion is given by Daniel Soar in his article for the London Review of Books. According to Soar, Eugenides did "both background and foreground in all the necessary detail", seamlessly shifting from past to present.
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The theme marked "avec une céleste volupté" (with a heavenly voluptuousness) melodically presents a harmony that recurs throughout the sonata. Another recurring harmony is presented by the theme marked "étincelant" (sparkling). Passages throughout the sonata imitate lightning, clouds of perfume, and distant bells. The chords imitating the ringing of bells were a favourite of Scriabin's, and they provide another harmony that recurs throughout the work (two minor thirds separated by a minor sixth).
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Imaginary creatures are also frequent, and the gargoyles alone display a great variety. Viollet-le-Duc remarked that he did not know, in France, two gargoyles alike.Viollet-le-Duc, Dictionnaire raisonné de l'architecture française du XI au XVI siècle (Paris, 1858) The symbolism which usually attaches to the various animals is derived for the most part from the bestiaries. Thus, for the lion, strength, vigilance, and courage; for the siren, voluptuousness; for the pelican, charity.
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It has an overall, deliberately flat and shadow-less appearance.Conisbee, 62 The portrait has been described as having "an ambiance of female voluptuousness, [and] pampered femininity". Seated on a blue cushion or sofa, Sabine, then in her mid-30s, wears a low-cut and wide necked prom dress, with a high waist and short sleeves, a cream colored chiffon, and a cashmere shawl."Madame Riviere, 1806: the Antique and the East". Louvre.
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The voluptuousness of the Venus presented, and her sideways glance, also owes much to the Crouching Venus and Cnidian Venus types of antique sculpture. The wringing of her hair is a direct imitation of Apelles's lost masterwork of the same title. Titian deliberately included this detail to prove that he could rival the art of antiquity in which the goddess was also washing her hair — a fact mentioned in Pliny's Natural History. The painting is in exceptionally fine condition.
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He also has a quality that might > be characterized as perceptual wit—an instinct for what will work in a > painting. Almost invariably he recognizes the precise point where his > voluptuousness may be getting out of hand, where he needs to introduce an > ironic note. Bonnard's wit has everything to do with the eccentric nature of > his compositions. He finds it funny to sneak a figure into a corner, or have > a cat staring out at the viewer.
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Judith II by Klimt. Judith's face exudes a mixed charge of voluptuousness and perversion. Its traits are transfigured so as to obtain the greatest degree of intensity and seduction, which Klimt achieves by placing the woman on an unattainable plane. Notwithstanding the alteration of features, one can recognise Klimt's friend (and, possibly, lover), Viennese socialite, Adele Bloch-Bauer, the subject of another two portraits respectively done in 1907 and 1912, and also painted in the Pallas Athena.
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The title, The Temptation of St. Anthony, provides clues as to the meaning of the painting and its iconography. In this painting various temptations appear to Saint Anthony (the naked man in the painting). One of these is depicted in the form of a horse, representing strength and voluptuousness. The form of the elephant, carrying on its back the golden cup of lust in which a nude woman is standing, emphasizes the erotic character of the composition.
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When Canzi had triumphed in the title role of Mercadante's Didone abbandonata at Vicenza, a poem in her honour was published in Teatri, arti e letturatura. The anonymous poet described her voice as inebriating him with its "pure voluptuousness" and proclaimed that had Dido sung like Canzi, Aeneas would never have abandoned her. Izzo, Francesco (2012). "Divas and Sonnets" in Rachel Cowgill and Hilary Poriss (eds.) The Arts of the Prima Donna in the Long Nineteenth Century, pp. 5-6.
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One of his best known miniatures depicts a nude woman at the bath. Seated on a wooden bench next to a marble basin, her pear-shaped body with broad hips and small breasts is typical of the exaggerated voluptuousness of early-modern female figures, both Eastern and Western. A towel is shown in the portrait covering her knees, but at the same time, exposes her loins and pubic area. She wears jeweled ear- rings, an armband, a bracelet, and a ring.
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Her temperament notwithstanding, composers like Giovanni Pacini, Saverio Mercadante, Vincenzo Bellini and Gaetano Donizetti were fond of her. In a sonnet dedicated to "La Ronza", the highly acclaimed Roman poet Giuseppe Gioachino Belli, who had been mesmerized by her Norma, confirms her voluptuousness and its seductive effects on the public and concluded that the whole theater seemed to waver: "Blessed be this witch who enchants us".Belli 1957, p. ? Shortly after her husband's death in New York, she retired from the stage.
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Yigal Zalmona described the motif of the cyclamen in Gershuni's work as a replacement for the soldier. As a combination of voluptuousness and a reference to national mourning. The cyclamens, Zalmona states, "are sometimes humanized: their leaves remind one of bodily forms, sexual organs, and buttocks, in celebratory or medical postures, sometimes withered, sometimes lushly blooming – a reference to the conditions of the human soul."Yigal Zalmona, For Man and Beast are Creatures of Chance (Jerusalem: The Israeli Museum,1986), unnumbered.
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In a moment of dramatic irony, Macduff begins the conversation urging Malcolm to fight for Scotland rather than to grieve, not knowing that Malcolm has already arranged for English military support (4.3.134–136). Malcolm manipulates Macduff, questioning his loyalty, facilitating his emotional responses, and testing to see how much Macduff’s, and perhaps the audience’s, morality can ultimately be compromised. Malcolm portrays Macbeth as a tyrant, but he positions himself, too, as someone morally repulsive. He describes his own voluptuousness–the bottomless "cistern of [his] lust" (4.3.
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The anti-naturalist tone of Chahut, with its primacy of expression over appearance and its eloquent use of lines and color, reflects the influence of both Charles Blanc and Humbert de Superville. Humbert's theory inspired Blanc's idea that lines (just as colors) induce feelings. The direction of a line changes the expression, and are therefore signs of emotion. Horizontal lines are synonymous with calmness, by association with equilibrium, duration and wisdom, while expansive lines embody gaiety, by virtue of their association with expansion, inconstancy and voluptuousness.
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Miron Radu Paraschivescu claimed that Olguța is one of the most successful characters in Teodoreanu's literary works. In 1995, a group of experts from Aix-Marseille University reviewed the trilogy and highlighted that Teodoreanu was traditionally considered by Romanians as the novelist of childhood. They remarked that At the Medeleni is a good illustration of life in Romania in the 1920s. At the Medeleni attains the ineffability of sensation and opens with a writing style torn between suffering and voluptuousness, a vertiginous perspective evoking baroque aesthetics.
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Many artists chose this subject over the centuries, probably due to these dramatic characteristics. Her body is depicted nude, seen from the front, with yellow and white highlights and turquoise reflections, the mythological reference serving as pretext for the nude. She is the primary subject of the work and is framed in an exotic setting that accentuates the arching curve of her back. She has a "deep voluptuousness," as in the works of Ingres (to use the term of Baudelaire), yet her timeless immobility makes her somehow chaste.
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Literary Journal (June 1806); print. Critics assert that the novel intends to lay "a variety of crimes to the charge of the devil" which they assert arise not from the devil, but rather from the sickened mind of Dacre. The vulgarity of the novel was discussed further because of Dacre's gender, and the shock of the content escaping from a female pen. “There is a voluptuousness of language and allusion which we should have hoped, that the delicacy of the female pen would have refused to trace.”Annual Review (1806); print.
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The comparison is however somewhat false, for Ingres' intense realism sometimes gives way to amazing voluptuousness in his Turkish bath scenes. Romanticism is a literary language based on feelings. Writers who illustrated this concept included John Keats and Benjamin Constant. The Romantic tendencies continued throughout the century: both idealized landscape painting and Naturalism have their seeds in Romanticism: both Gustave Courbet and the Barbizon school are logical developments, as is too the late 19th century Symbolism of such painters at Gustave Moreau (the professor of Matisse and Rouault) or Odilon Redon.
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She shows up, dressed to kill with her father. He clearly had his own reasons for bringing his daughter to this place but when the goons start making moves on her, he turns defensive and starts throwing moralizing lecture, and for this he gets shot by one of the goons. Shamoon (Shafqat Cheema) sporting his usual bizarre "get up" with flowing pony tail becomes obsessed by Saima's voluptuousness, Shamoon imprisons Saima. However, in keeping with the film's utterly warped manner, Saima chooses to stab herself to death rather than to compromise her "izzat" (honour).
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Ingres's painting may be influenced by it and, directly or indirectly, its predecessor, the "Venus de' Medici". Charles Baudelaire (1821–1867) described the model as having a "deep voluptuousness", yet in many ways she is presented as essentially chaste. This contradiction is apparent in many elements of the painting. The turn of her neck and the curves of her back and legs are accentuated by the fall of the metallic green draperies, the swell of the white curtain in front of her and the folds of the bed sheets and linen.
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David Browne of Entertainment Weekly gave the album a mixed review, dissatisfied with Lopez' vocals despite the album's rich production: "As soon as Lopez opens her mouth, though, all this advance work falls by the wayside. On record, the husky- voiced voluptuousness that has become Lopez's trademark in films like Out of Sight simply vanishes." Browne felt that while her voice was "thinner" than expected, it was not "embarrassing, but sadly ordinary." Overall, he felt that despite "all of the wads of money spent on fledging" her music career, Lopez comes across as "a little more than a mild Spice Girl".
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Portrait of Rafael Uribe Uribe Among his principal oils and watercolors are: The study of the painter, Mariano Ospina Rodríguez, Pedro Justo Berrío, Marcelino Vélez, The Apostle Paul, Mariano Montoya, Earthenware, Rafael Nunez, Still life of roses, Cristo del Perdon, Source of the observatory, Efe Gómez, the Girl of the Roses, The baptism of Christ, Horizons, The Virgin of the Lilies, Don Fidel Cano, Francisco Javier Cisneros, The voluptuousness of the sea, and Carolina Cárdenas portraits, among others. For the Church of San José, Cano created the fountain in the courtyard and the gilded altarpiece named Baptism of Jesus.
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The restaurant in its modern form did not appear in Paris until the late 18th century, but Paris had numerous taverns which served drinks and food separately, and cabarets, which had tablecloths and served pots of wine with the meal. The practice of cabarets offering entertainment and music did not come until the 19th century. A brochure of 1574 invited customers to visit Chez Le More, chez Sanson, chez Innocent and chez Havard, "Ministries of voluptuousness and free-spending." The most famous cabaret of the time was the Pomme de pin, on place de la Contrescarpe in the 5th arrondissement.
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Cruz' writing is known for its bold poetic crispness, violence and sexuality, transforming the ugly to beautiful. Her mentor, María Irene Fornés, has noted the voluptuousness of her work. Playwright Tony Kushner has said that "one can feel history in the bones of her characters," and indeed, her themes are drawn from Latinx history and her personal experiences of growing up in the South Bronx. Cruz received her MFA degree from Columbia University and is an alumna of New Dramatists (1987-1994). From 1991 to 1998, Cruz was a playwright in residence at Latino Chicago Theater Company.
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In contrast, Sallé also gained a reputation of being highly sensual with a mysterious private life. In dancing, she was described as the goddess of Grace and Voluptuousness, but this alternate image clashed with one of virginity and virtuosity, creating this tension that critics and public spectators struggled to reconcile. As a result, Sallé’s pure public image began to deteriorate, replaced by one of sexual predilection and scandal. After Sallé’s return to Paris in 1735, rumors began to spread of an affair between her and Manon (Marie) Grognet, a dancer and colleague Sallé had met in London.
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Thierry Mantoux describes it as: "Very elegant ... fleshy ... very persistent, aromatic with the aromas of cherry, black berries (like blackcurrant or blackberry), spices and undergrowth. When this wine evolves, it is completed by notes of preserves and leather and aromas due to wood. Tasters often evoke the voluptuousness and the richness of a powerful wine and full wine for long keeping."Les Vins de Bourgogne by Thierry Mantoux, Hatier, 1997, p114 Remington Norman & Charles Taylor state: "La Romanée is powerful yet delicate with fine depth, silky tannins and a long finish"The Great Domaines of Burgundy by Remington Norman & Charles Taylor, Kyle Cathie, 2010, p.
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In the early 2010s, Bradford began painting plunging figures and idiosyncratic, caped "Superman" characters, set against creamy color fields or rubbed, atmospheric matte skies marked with star bursts and zigzags suggesting paths (e.g., Superman Responds, Night, 2011). Her superhero images are described variously as "luminous and sumptuously tactile, sometimes goofy," frumpy, vulnerable, genderless, and caught in a peculiar, tentative state between flying and diving. Bradford captures them in style that Robert Berlind calls "at once offhand and emblematic"; David Cohen writes that in Superman Responds (2011), she conveys "a convincing if gender-bent voluptuousness" in a few carefree-seeming dabs with "disconcerting observational acumen" and anatomical precision.
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You also have a need for calm, serenity, and even a quality of voluptuousness connected with the contemplation of a work of art." Nicolai Ouroussoff, the architecture critic of The New York Times, admired the interior of the BCAM but was less impressed by the exteriors: "There is little of the formal freedom that is at the heart of the city's architectural legacy; nor is there much evidence of the structural refinement that we have come to expect in Mr. Piano's best work. The museum's monumental travertine form and lipstick-red exterior stairways are a curious mix of pomposity and pop-culture references. It's an architecture without conviction.
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The painting depicts a kiss between two lovers, showing a young lady in cream-coloured silk gown who appears to have left her company for a secret meeting with a young man. The composition is diagonal, made up by an axis composed through her leaning figure, the shawl and the balcony door opening from the outside, ending with the table the shawl is draped over. The painting offers an array of compositional contrasts between colours and shadows: the spatial intersections are complex. Jean- Honoré Fragonard's works display the kind of eroticism and voluptuousness and the liking for romantic folly that was popular before the French Revolution among French aristocrats.
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In 1840, he published Étude à deux crayons. In Landor's Cottage, Edgar Allan Poe describes Julien's work, "One of these drawings was a scene of Oriental luxury, or rather voluptuousness; another was a carnival piece, spirited beyond compare; the third was a Greek female head—a face so divinely beautiful, and yet of an expression so provokingly indeterminate, never before arrested my attention." In 1854, he made a full-bust portrait of George Washington, after Gilbert Stuart, and the lithograph is in the art collection of Mount Vernon. He returned to his hometown in 1866 and taught drawing there until his death on 3 December 1871.
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Critics have considered Lopez's voice to be limited, and overshadowed by the production of her music, while remaining "radio-friendly". Rob Sheffield of Rolling Stone remarked: "Instead of strained vocal pyrotechnics, Lopez sticks to the understated R&B; murmur of a round-the-way superstar who doesn't need to belt because she knows you're already paying attention [...] She makes a little va-va and a whole lot of voom go a long way." Meanwhile, AllMusic's Stephen Thomas Erlewine called her voice "slight" and wrote: "Lopez was never, ever about singing; she was about style". Entertainment Weekly criticized her vocal performance for lacking the trademark "husky-voiced voluptuousness" she has in her films.
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Her hair is parted and topped with a crimson ribbon at the back. The dresser before the mirror contains a variety of writing materials, pots and flowers, and a lavishly decorated oriental vase. The central motif of both the final painting and its predecessors is her raised left hand index finger, coyly placed by her mouth, and her sinuous, unnaturally elongated right arm. The painting was exhibited at the 1846 Bonne-Nouvelle exhibition alongside Ingres' 1814 Grande Odalisque and 1842 Odalisque with Slave, where all three works were praised by the French poet Charles Baudelaire for their "voluptuousness"; after the show he described Ingres as the quintessential painter of women, and described such portraits as the artist's highest accomplishments.
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The rise of second wave feminism in the United States spawned by Betty Friedan’s book, Feminine Mystique, which was inspired by Simone de Beauvoir’s, The Second Sex, took significantly longer to reach and impact the lives of European women. Even though The Second Sex was published in 1949 and Feminine Mystique was published in 1963, the French were concerned that expanding equality to include matters of the family was detrimental to French morals. In 1966, abortion in Europe was still illegal and contraception was extremely difficult to access. Many were afraid that legalization would “take from men “the proud consciousness of their virility” and make women “no more than objects of sterile voluptuousness””.
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Other critics were less kind; The Spectator considered it "a disgusting combination of voluptuousness and loathsome putridity—glowing in colour and wonderful in execution, but conceived in the worst possible taste". William Etty at the Life Class, alt=balding man sketching a naked figure Possibly because of its size, The Sirens and Ulysses failed to sell at the Summer Exhibition. In October 1837 Etty met again with Daniel Grant who, without having seen the painting, offered £250 (about £ in today's terms) for Sirens and for Samson and Delilah, also exhibited by Etty that year. Etty, poor at business and always reluctant to keep unsold paintings in his studio, sold both paintings to Grant for well below their true worth.
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The British ambassador James Harris, 1st Earl of Malmesbury reported back to London: : Her Majesty has a masculine force of mind, obstinacy in adhering to a plan, and intrepidity in the execution of it; but she wants the more manly virtues of deliberation, forbearance in prosperity and accuracy of judgment, while she possesses in a high degree the weaknesses vulgarly attributed to her sex-love of flattery, and its inseparable companion, vanity; an inattention to unpleasant but salutary advice; and a propensity to voluptuousness which leads to excesses that would debase a female character in any sphere of life.Brenda Meehan-Waters, "Catherine the Great and the problem of female rule." Russian Review 34.3 (1975): 293-307, quoting p. 293 online.
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He was an acute observer of reality in its smallest details and he gave a faithful testimony of the society of his time. His works show a subjective and colloquial vision, anti- literary, in which he stresses, nevertheless, an enormous stylistic effort by calling things by their names and "coming up with the precise adjective", one of his most persistent literary obsessions. An untiring writer, from his viewpoint life is chaotic, irrational, and unjust, while the longing for equality and revolutions are a delusion that incites worse wrongs than those that it tries to put a stop to. Conservative and rational, he was not inclined to action, but voluptuousness and sensuality: the pleasure of putting the world down on paper.
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Throughout the entrance the overflowing voluptuousness of the Rococo style. Above the niche where the Virgin, it see represented the image of an angel with a trumpet, is "la Fama" trumpeter that proclaims the greatness of the Marquisate of Dos Aguas also wears a laurel wreath. The Virgin of the Rosary is work in polychrome wood by Ignacio Vergara in 1740 but it disappeared, it now see is a plaster copy made in 1866 by Francisco Cano Molineli. The niche has a lid that allows the concealment of the image; when the Marquises were outside the palace the image of the Virgin was hidden, and if they were inside the palace the image appeared in full view to the people.
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The work was completed in 1837 and exhibited at the Royal Academy of Arts later that year, and hung in the Academy's new building at Trafalgar Square (now the National Gallery). The work, and Etty's methods in making it, divided opinion: The Gentleman's Magazine considered it "by far the finest [painting] that Mr. Etty has ever painted ... it is a historical work of the first class, and abounds with beauties of all kinds", while The Spectator described it as "a disgusting combination of voluptuousness and loathsome putridity—glowing in colour and wonderful in execution, but conceived in the worst possible taste". alt=dead bodies in various stages of decay Possibly because of its size, The Sirens and Ulysses failed to sell at the 1837 Summer Exhibition.
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And yet, the record grows on you..." Mark Deming of AllMusic calls it "something of a letdown" and "neither as striking or self-assured as Songs of Leonard Cohen" but concedes, "Despite the album's flaws, Songs from a Room's strongest moments convey a naked intimacy and fearless emotional honesty that's every bit as powerful as the debut, and it left no doubt that Cohen was a major creative force in contemporary songwriting." Writing in 2011, Cohen biographer Anthony Reynolds declared, "Compared to the relative 'party' of the previous album, Songs From a Room is the hangover of the morning after... Yet there was a voluptuousness in the album's austerity, a richness of the 'less is more' variety." Amazon.com raves that Songs From a Room is "fully loaded with poetic classics.
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The other, while she reminds him of his progenitors and his noble nature, does not conceal from him that the gods have not granted what is really beautiful and good apart from trouble and careful striving. While one seeks to deter him from the path of virtue by urging the difficulty of it; the other calls attention to the unnatural character of enjoyment which anticipates the need of it, its want of the highest joy, that arising from noble deeds, and the consequences of a life of voluptuousness, and how she herself, honoured by gods and men, leads to all noble works, and to true well-being in all circumstances of life. Hercules decides for virtue. This outline in Xenophon probably represents, in a very abbreviated form, the leading ideas of the original, of which no fragments remain.
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Hagerty said of the final design: "The massed red of painted walls and white pillars underscores the motifs above and unifies the pictorial and architectural spaces, including the entrance court". In 2016, her exhibition Blue Blooded, curated by David Broker, at the Canberra Contemporary Art Space was one of the Canberra Times art critic Peter Haynes's top five art picks for the year. In discussing what he regarded as a "standout exhibition" Haynes referred to Hagerty's talents and found her work "powerfully incisive and aesthetically beautiful". The Canberra Contemporary Art Space website has a short description of Blue Blooded found they were reminded of "Modigliani’s voluptuousness stripped of figurative connotation" and that Hagerty's "luxurious overlay of form and virtuoso use of colour is paradoxically best described as sculptural, and calls to mind the organic abstraction of Jean Arp".
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Laqueur says that there was obvious evidence around in Freud's time that the clitoris was in fact the source of pleasure in women. François Mauriceau notes that the clitoris is "where the author of Nature has placed the seat of voluptuousness – as he has in the glans of the penis – where the most exquisite sensibility is located, and where he placed the origins of lasciviousness in women."Laqueur (1999), 238 The vagina on the other hand was seen as "a far duller organ" and "only the glands near its outer end are relevant to sexual pleasure because they pour out great quantities of a saline liquor during coitus, which increases the heat and enjoyment of women".Laqueur (1999), 240 By changing the meaning of the clitoral orgasm, Freud seems to be putting women in opposition to men and further assigning women to socially assigned roles.
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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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Biographer J. Randy Taraborrelli, in his book Madonna: An Intimate Biography called the song "quintessential Madonna music" and went on to describe it as "funky, sassy and melodic, with a Latin accent". Writing for Slant Magazine, Ed Gonzalez hailed it a "calorie-free palate cleanser after the delectable voluptuousness of 'La Isla Bonita' [...] the music is catchy without ever stepping outside any norm". Rolling Stone called it "a bright dance-popper that fared much better than the lackluster film it was tied to". Noah Robischon from Entertainment Weekly opined that with both the song and the movie, Madonna had pushed "synergy over the borderline". From the same magazine, Chuck Arnold wrote: "The most memorable thing about Madonna’s 1987 comedy is the chart-topping title tune of its soundtrack. While it’s not quite in the league of its obvious inspiration, 'La Isla Bonita', this tropical delight is pure enchantment".
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The 1885 article "Maiden Tribute of Modern Babylon" by W.T. Stead about child prostitution in London had an enormous impact on public opinion at the time with over a million and half unauthorised copies of the article circulating. Stead's article with its account of "gentlemen" buying underage prostitutes popularised the image of the sexually predatory upper class male. Given the preexisting popular image of the East End as a place of crime and sexual depravity, the "Jack the Ripper" murders of 1888 with five prostitutes gruesomely murdered caught the public's imagination as a symbol of "sexual danger" associated with London and above all the East End. Bloom also noted that the popular descriptions of the exotic "Oriental" Ashkenazi Jewish prostitutes from Eastern Europe, whose "voluptuousness" and dark looks made them popular with johns on the East End, matched the descriptions of the Count's female followers in both Makt myrkranna and Dracula.
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In style the Esquiline Venus is an example of the Pasitelean "eclectic" Neo-Attic school, combining elements from a variety of other previous schools - a Praxitelean idea of the nude female form; a face, muscular torso, and small high breasts in the fifth-century BC severe style; and pressed-together thighs typical of Hellenistic sculptures.Robinson: "the Esquiline Venus is an anomalous work, for while the body is modelled with a voluptuousness that almost oversteps the line dividing the nude from the naked, the head is treated with archaic severity, in the style of the first half of the fifth century", quoted in Edmund von Mach, A Handbook of Greek and Roman Sculpture 1905, plate 318 and p 348f. Its arms must have broken off when the statue fell after the imperial park in which it stood fell into neglect after antiquity. They have been frequently restored in paintings (see below), but never in reality.
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In his book contribution "Dracula and the Psychic World of the East End of London," Clive Bloom noted that the Dracula of Makt myrkranna is more closely associated with the East End of London than he is in Dracula, which he argued was meant to link the Count to Jack the Ripper, and to the East End. In the Victorian era, the East End was a center of poverty, disease and crime, especially prostitution. Given the preexisting popular image of the East End as a place of crime and sexual depravity, the "Jack the Ripper" murders of 1888 with five prostitutes gruesomely murdered caught the public's imagination as a symbol of "sexual danger" associated with London and above all the East End. Bloom also noted that the popular descriptions of the exotic "Oriental" Ashkenazi Jewish prostitutes from Eastern Europe, whose "voluptuousness" and dark looks made them popular with johns on the East End, matched the descriptions of the Count's female followers in both Makt myrkranna and Dracula.
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In 1765 his Coresus et Callirhoe secured his admission to the Academy. It was made the subject of a pompous (though not wholly serious) eulogy by Diderot, and was bought by the king, who had it reproduced at the Gobelins factory. Hitherto Fragonard had hesitated between religious, classic and other subjects; but now the demand of the wealthy art patrons of Louis XV's pleasure-loving and licentious court turned him definitely towards those scenes of love and voluptuousness with which his name will ever be associated, and which are only made acceptable by the tender beauty of his color and the virtuosity of his facile brushwork; such works include the Blind Man's Bluff (Le collin maillard), Serment d'amour (Love Vow), Le Verrou (The Bolt), La Culbute (The Tumble), La Chemise enlevée (The Shirt Removed), and L'escarpolette (The Swing, Wallace Collection), and his decorations for the apartments of Mme du Barry and the dancer Madeleine Guimard. The portrait of Denis Diderot (1769) has recently had its attribution to Fragonard called into question.
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Ian Pye of Melody Maker stated that the group's "melodramatic aspirations" needed a voice like MacKenzie's to be able to carry them out successfully, and said, "In parts, Sulk is really over-produced, the stamp of perfectionists, and while there's nothing to match the commercial appeal of their two [singles], this record has an almost timeless majesty that can only make Billy Mackenzie's rapturous grin grow wider still". Paul Morley of NME wrote "Sulk deals with everything, in its hectic, drifting way ... There is an uninterruptible mix-up of cheap mystery, vague menace, solemn farce, serious struggle, arrogant ingenuity, deep anxiety, brash irregularity, smooth endeavour ... Sometimes Sulk is simply enormous: and then again it is fantastically unlikely." Reviewing the 2000 reissue David Peschek of Mojo called Sulk "their florid, hysterical masterpiece" and observed, "This remains extraordinarily potent music, a repository of the otherness contemporary pop so lacks". Simon Reynolds stated in Uncut that "Sulk is so lovely it's harrowing... Associates crammed all the derangement and texture-saturated voluptuousness of psychedelia into pop".
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In his book contribution "Dracula and the Psychic World of the East End of London," Clive Bloom noted that the Dracula of Makt myrkranna is more closely associated with the East End of London than he is in Dracula, which he argued was meant to link the Count to Jack the Ripper, and to the East End as a "wild frontier" region of Britain. In the Victorian era, the East End was a center of poverty, disease and crime, especially prostitution. Given the preexisting popular image of the East End as a place of crime and sexual depravity, the "Jack the Ripper" murders of 1888 with five prostitutes gruesomely murdered caught the public's imagination as a symbol of "sexual danger" associated with London and above all the East End. Bloom also noted that the popular descriptions of the exotic "Oriental" Ashkenazi Jewish prostitutes from Eastern Europe, whose "voluptuousness" and dark looks made them popular with johns on the East End, matched the descriptions of the Count's female followers in both Makt myrkranna and Dracula.
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Etty's alt=Large number of semi-naked people Etty exhibited the painting in February 1828 at the British Institution under the title of Venus Now Wakes, and Wakens Love. It immediately met with a storm of derision from critics for the style in which Venus was painted; one of the few positive reviews was that of The New Monthly Magazine, whose critic considered "the figure of Venus is delightfully drawn and most voluptuously coloured; and the way in which she awakens love, by ruffling the feathers of his wings, is exquisitely imagined and executed". The Times commented that "the drawing is free and flowing" and "the colouring, though rich, is perfectly natural", but felt that "the subject is, however, handled in a way entirely too luscious (we might, with great propriety, use a harsher term) for the public eye". The Literary Gazette conceded that the painting was "very attractive, especially in colour", but considered the painting's "voluptuousness" as "one of the most unpardonable sins against taste", and chided Etty's "careless" drawing, observing that "it is impossible that an artist who has for so many years, and so unremittingly, studied the living model, can err in that respect from want of knowledge".
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