Not exact matches
Religion paves the moral main street of a white -
clapboard America inhabited
by independent individuals who lend each other a helping hand to earn their own way, support their own families and worship their own God, instead of depending for handouts on a welfare state that regulates hardworking individuals out of existence and replaces Christian charity with legal entitlements.
Reef House,
by contrast, is unobtrusive and simple — three tidy
clapboard cottages open to the trade winds, a natural swimming hole back of the coral reef and, thanks to Kepler's two cooks, Juanita and Olive, the best cuisine south of Joe's Stone Crab in Miami.»
Khoshnevis points out that the exterior trowel could be followed
by a rolling die that prints a brick, shingle, or
clapboard pattern in the wet concrete, while the interior could be painted using ink - jet technology in any color, or even in wallpaper patterns.
On one side is a verdant park, with a gazebo and a children's slide, surrounded
by a handful of small, tidy
clapboard homes with well - tended lawns.
He is God's clinically depressed man — a former military chaplain, an alcoholic haunted
by his son's death in the Iraq War, privately humiliated
by the example of Christ and the stern Dutch ministers who once hid runaway slaves under the floorboards of this small
clapboard church.
Our cover shoot,
by photographer Art Streiber, placed these two modern filmmakers in a classic Hollywood milieu — all chalky
clapboards, saddle pants, and smoky screening rooms.
«A dream realized
by Italian fashion designer, Piergiorgio, this white
clapboard inn has a wrap - around verandah adorned with ornamental gingerbread, characteristic of Sosua's glory days in the Victorian era.
This is something that would happen in DC when I was growing up, where you walk
by a house and there was that weird moment where it's stucco or something and then
clapboard and then you look and there's that green that in DC is so intense and you see that backyard green zoom right through the dark inside of the house.
Founded in 1964
by Larry Aldrich, the museum is housed in an 18th century converted church and general store, and maintains a white,
clapboard appearance (along with a modern glass extension).
«Lois Dodd: Catching the Light,» the modest retrospective of Ms. Dodd's work at the Portland Museum of Art here is populated
by paintings of landscapes, interiors and river views; of flowers, garden sheds and lawns; of compact
clapboard houses and barns,
by the light of the moon or sun; of wood - slat doors and steep farmhouse steps; and, quite often, of reflection - catching four - pane windows.
Clapboard siding, floorboards, cabinets, and window frames, were often all that remained of homes torn apart
by the storm's ferocity.
Hopper's watercolor views of
clapboard houses, electric lines and windswept landscapes are displayed alongside black - and - white photographs
by Robert Adams, Diane Arbus and Lee Friedlander, as well Stephen Shore, a pioneer of color photography, whose works here eerily echo Hopper's depictions of domestic architecture.
It has minimal upkeep, is rot -, fire - and termite - proof, unaffected
by wind and cold, and can mimic the look of wood
clapboards, shingles, stone or brick.