Not exact matches
As we anticipate the quincentenary of the events in Wittenberg in 1517, it's good to remember the
contrast between Francesco Bernardone and Martin Luther
drawn by Georges Bernanos:
Sometimes the point is
by contrast, sometimes
by likeness, sometimes the various elements of a parable can not be
drawn straight across in a one - for - one manner.
The fold - out brochure, which landed in Iowa mailboxes last week and was provided to CNN
by a Des Moines - area voter,
draws a series of
contrasts between Obama and Mitt Romney on the issues of abortion, same - sex marriage and insurance coverage for contraception.
For
by Hartshorne's own criterion of the difference between an analogy and a mere symbol — namely, that the first differs from the second in not
drawing a comparison between God and one concrete species of entity in
contrast to all others — any comparison between God and the thinking animal can not possibly be an analogy but only a symbol (1962, 134).
The
contrast, which out of concern for the truth I have found it necessary to
draw between the courageous and joyful primitive Christian hope of the resurrection of the dead and the serene philosophic expectation of the survival of the immortal soul, has displeased not only many sincere Christians in all Communions and of all theological outlooks, but also those whose convictions, while not outwardly alienated from Christianity, are more strongly moulded
by philosophical considerations.
Given the parallel
drawn in the passage
by Whitehead between the consequent nature's evolution and the evolution of the world, and given the
contrast he made there between the consequent nature's evolution and the completeness of the primordial nature, we can only conclude that since the consequent nature evolves it is incomplete, it grows, and it changes.
This can only be done
by drawing contrasts that mislead, even to the point of caricature: e.g., Christology «from above» vs. Christology «from below,» or «oikoumene of domination» vs. «oikoumene of solidarity.
A
contrast is sometimes
drawn between religion and science
by saying that science thrives on change whereas religion clings to the past.
Excellent results such as a 0 - 0
draw at the Etihad and a 1 - 0 home win against Tottenham have been
contrasted by 4 - 1 defeats to Aston Villa.
In stark
contrast is that of Sunderland, who haven't lost a league fixture since being downed
by West Brom in just their second game of the term, going unbeaten in their last seven matches and will arrive at St James» in buoyant mood after a 1 - 0 win at home to Aston Villa last weekend ended a run of five successive
draws.
In the online world,
by contrast,
drawing distinctions among channels is meaningless, since audio, video and text are delivered the same way: they're just slightly different flavors of digital content.
President Obama implored the next generation of U.S. military leaders not to give in to isolationism or pull back from U.S. leadership in the world,
drawing a
contrast with a foreign policy vision that's been laid out
by Trump.
Drawing a sharp
contrast between himself and de Blasio, Cuomo said he'd gotten bills passed on gun control, same - sex marriage and sexual assault on college campuses «
by working with people, staying calm, not getting personal and finding commonality.»
By taking to the streets in Howard Beach, bashing NYCHA's sluggishness in restoring power and heat in Red Hook, and pushing for lefty favorites like the paid - sick - leave bill, De Blasio is trying to
draw a
contrast with Quinn as out of touch with real working New Yorkers, beholden to big business, and too close to Bloomberg.
Hochul's appointment was part of a larger push
by Democrats to emphasize their diversity and
draw contrast with Republicans.
Doyle,
by contrast, insists that his analyses
draw from the gritty details of how things actually work.
«In
contrast to the long tradition of field guides authored
by expert natural historians, Map of Life
draws on collective wisdom, amalgamating global data sets of species observations from published sources and using a series of modeling techniques to convert them into species range maps,» Goldsmith wrote.
By contrast, the brilliant «Paprika,» directed by Satoshi Kon — a masterly example of Japanese anime, intended for adults — is partly hand drawn, and features multiple areas of visual activity layered at different distances from the picture plan
By contrast, the brilliant «Paprika,» directed
by Satoshi Kon — a masterly example of Japanese anime, intended for adults — is partly hand drawn, and features multiple areas of visual activity layered at different distances from the picture plan
by Satoshi Kon — a masterly example of Japanese anime, intended for adults — is partly hand
drawn, and features multiple areas of visual activity layered at different distances from the picture plane.
Also, the story is able to
draw on both Christian and traditionally Korean shamanistic traditions and combine them with the history of Japanese colonialism to create its morbid atmosphere, which has the ability to chill even without a belief in any of its superstitions.4 That said, the bludgeoning nature of the approach kept the movie from achieving the masterpiece status many other critics have assigned it.5
By contrast, Park Chan - wook's latest, Agassi (The Handmaiden), has received a mixed reception, but I feel it is his best since 2003's Oldboy.6
In Östlund's international breakthrough, Force Majeure, a father's duty to protect his family paled in the face of his impulse for self - preservation, and The Square
draws an even more pointed
contrast between high - flown ideals and baser instincts, not least via a long and uncomfortable scene where guests at a black - tie dinner party are amused and then menaced
by a performance artist all - too - convincingly mimicking a wild ape.
Asch is content to fit the story into an over familiar mold, and is
drawn to blunt, obvious
contrasts, such as that between Sam's righteous father (well played
by Mark Ivanir) and the unscrupulous Yosef.
KCRW news program director Gary Scott said he hopes today's debate, to be held at the Peterson Automotive Museum at 2 PM and hosted
by Warren Olney, will
draw contrasts between the two candidates.
By studying live spiders, comparing and
contrasting different types, and creating iterative versions of their
drawings, students construct their own understanding about arachnids, which the teacher can easily assess through the works of art.
(
By contrast, in Finland teachers are
drawn from the top 10 percent of their college classes.)
«A summative rating, in
contrast, necessarily glosses over differences in performance across indicators and inappropriately
draws school leaders, stakeholders and the public focus on the single rating rather than a more robust reflection of performance demonstrated
by the individual indicators,» they wrote.
They tell it as a story of an idea stolen and betrayed,
drawing a
contrast between good charters — those described
by Shanker — and what the schools have become today.
Your partnership with our brand is appreciated
by all of us at BlackBerry, and
draws a sharp
contrast with the behavior of our longtime business partner.
With specially tuned
contrast, sharpness, and detailed line, eOneBook portrays the
drawings created
by manga artists as beautifully as those seen in printed manga.
The report
draws on comments made
by BlackBerry's Francois Mahieu and TCL's Alain Lejeune and
contrasts them with numbers -LSB-...]
By contrast, on my iPad 2, which has no active digitizer, inking feels more like
drawing, if not finger - painting.
By contrast, HELOC borrowers only pay interest on whatever amount of credit they decide to
draw.
By contrast, Goodnow says good - quality catnip leads to positive experiences that
draw the consumer back into the store time and again, helping grow repeat sales and encouraging customer - to - customer recommendations.
«1001 Spikes»
by Nicalis «Calibre 10 Racing Series»
by Bongfish GmbH «CastleStorm»
by Zen Studios «Chariot»
by Frima «Chuck's Challenge 3D»
by Niffler «
Contrast»
by Compulsion Games «Divekick Addition Edition +»
by Iron Galaxy Studios «Forced»
by BetaDwarf ApS «FRU»
by Through Games «Guacamelee Super Turbo Championship Edition»
by DrinkBox Studios «Gunscape»
by Blowfish Studios «Habitat»
by 4gency «Hyper Light Drifter»
by Heart Machine «It
Draws a Red Box»
by Other Ocean «Nutjitsu»
by NinjaBee «Pinball Arcade»
by FarSight Studios «Q.U.B.E. Director's Cut»
by Toxic Games «Riptide GP2»
by Vector Unit «Roundabout»
by No Goblin «Sixty Second Shooter Prime»
by Happion Laboratories Spectra: 8bit Racing»
by Gateway Interactive «Strike Suit Zero»
by Born Ready Games «Super Time Force»
by Capybara «The Last Tinker»
by Mimimi Productions «Wulverblade»
by Darkwind Media
He goes on to define what he means
by high and low art and as an example he
draws the
contrast between a poem
by T. S. Eliot and a Tin Pan Alley song; or a painting
by Georges Braque and a Saturday Evening Post cover; all being examples of contemporaneous culture.
Two
drawings by the Scottish - born Eduardo Paolozzi are hung beside each other to show the playfully
contrasting capabilities of
drawing.
Two Reflections
draws thematic connections and
contrasts between the visual languages of these artists, each of whom portrays a common sense of anguish brought about
by different fundamental and inescapable forces in life: nature and humanity.
In the upstairs gallery,
by contrast, hangs a selection of sixteen
drawings from a series completed over the past three years.
Fishermen at Sea,
by contrast, did not rely upon accurate detail or patriotic sentiment to attract an audience, but rather
drew attention to the facture of the painting itself.
The survey also includes rarely seen
drawings and prints influenced
by Abstract Expressionist Hans Hoffman's theory of «push - pull,» in which bright
contrasting colors activate the space — a practice Krushenick continued to use throughout his career.
Look for the series of muted, monochromatic watercolors
by Paul P., moody photographic botanical studies
by Milijohn Ruperto and Ulrik Heltoft, Charline Von Heyl's wall of
contrast - rich collaged abstractions, and Karl Haendel's painstaking pencil
drawings all executed in grayscale.
The works on display are: 432Hz (2009 - 2014), a wooden shell that contains honeycombs; Vorkuta (2003), a refrigeration chamber where the temperature of -30 °C
contrasts with a chair maintained at a constant +37 °C
by an internal thermostat; Mindfall (2004 - 2007), a container which contains a chair and tables, on which 21 electric motors turn on intermittently, one after the other, creating a sort of musical composition; Untitled (2003), a small iron room crossed
by blasts of hot and cold air channelled into the space
by powerful fans; and Sub (2014), a new work specially created for the exhibition at HangarBicocca, an assembly of aluminium and glass display units which the artist originally designed to exhibit her Inner Disorder (1999 - 2001) series of
drawings.
Diane Ayott,
by contrast, attempts to erase any distinction between foreground and background, thereby creating an orchestrated relationship in which her use of color and geometric forms interacts with viewers and constantly
draws attention from the surface deep into the structure of the work and then seamlessly back again.
From his earliest work, dated to the late 1990s and inspired
by the writings of Charles Fourier, an 18th - century utopian thinker, and the
drawings of Henry Darger, an outsider artist and writer who produced a voluminous illustrated manuscript about pre-pubescent Amazons leading a rebellion against child abusers, Chan has been fascinated
by the
contrast between ideal visions and the violent, sexually charged feelings and sensations that inspire them.
Levi van Veluw's charcoal
drawings are often characterized
by a great
contrast between light and shadow areas.
A desire to dig deeper into pictorial space, coupled with her careful study of Cézanne, especially his practice of
drawing with colour, led to a new structure — the introduction of planes formed
by the junction of intersecting verticals and diagonals — and of colours and
contrasts.
«The
contrast between the
drawings and paintings reveal Blatt's stylistic evolution as he adapts the vast trove of art history to the hyper - speed of the digital age
by way of Ingres, Wateau and Haeckel.»
By contrast, the charmingly folkloric style of Cambodian artist Vann Nath's paintings jars with the first - hand recollections of torture by the Khmer Rouge that they depict, while Dinh Q. Lê, whose family was driven into exile by the Khmer Rouge, has curated a lyrical exhibition of observational drawings by artists in the Vietcong of downtimes between engaging the enem
By contrast, the charmingly folkloric style of Cambodian artist Vann Nath's paintings jars with the first - hand recollections of torture
by the Khmer Rouge that they depict, while Dinh Q. Lê, whose family was driven into exile by the Khmer Rouge, has curated a lyrical exhibition of observational drawings by artists in the Vietcong of downtimes between engaging the enem
by the Khmer Rouge that they depict, while Dinh Q. Lê, whose family was driven into exile
by the Khmer Rouge, has curated a lyrical exhibition of observational drawings by artists in the Vietcong of downtimes between engaging the enem
by the Khmer Rouge, has curated a lyrical exhibition of observational
drawings by artists in the Vietcong of downtimes between engaging the enem
by artists in the Vietcong of downtimes between engaging the enemy.
Highlights of the exhibition include
Drawings, which reveal the artist's exuberant hand; Baskets, a series which recently celebrated 40 years; delicate and fluid Seaforms; the richly - colored and
contrasting hues of Macchia; Venetians, which were inspired
by Art Deco Venetian vases; Ikebana, inspired
by the Japanese art of flower arrangement; Persians, a celebration of wild asymmetry and colour; and Chandeliers, which are comprised of hundreds of blown glass forms.
Klosterman has been developing her own process of
contrasting elements, on one side the hard materials of the sculptural series and on the other side the soft delicate silks and fabrics of her canvases, meticulously hand painted,
drawing from imagery she creates inspired
by the Fibonacci Sequence.
In
contrast to Konrath's rich and intimate photographs, also included are images of individual works shown silhouetted out of their original context, an attempt
by the artist to
draw the viewer away from typical ways of experiencing sculpture.