Sentences with phrase «most of us realists»

Not exact matches

I'm an optimist by nature, but I am one of the most focused realists you will find.

We do not miss the loyalty of David's mercenary troops (15: 19 - 21); the narrator's conviction of the mature quality of David's faith (15:25 f.; 16:12); the essential gentleness of David in these most wretched hours (16:5 - 14); the brilliant, carnal symbol of Absalom's irrevocable usurpation (16:20 - 22) and its portentous recall of the David - Nathan encounter (II 12:11 - 12); the arch Old Testament realist, the remarkable pragmatist Ahitophel (17: 1 - 23); Joab, who always acts like Joab (18:10 - 15; 19:1 - 7; 20A - 13); David's pathetic concern, implicit throughout, for the defiant son (18:1 - 5); the moving grief of a father's utter brokenness in the loss of his son (18:33); the reassertion in this critical time of the old and always fundamental north - south cleavage (19:11,41 - 43); David's profound and probably chronic annoyance with the crude, brash, «muscular» ways of Joab and his brothers, the sons of Zeruiah (16:10; 19:22; see also 3:34 b; 3:38 f.); and finally, in a kind of pausal summary before the last scene of David's reign in I Kings 1 - 2, the statement of David's very modest bureaucracy (20:23 - 26; cf. the extensive elaboration of this structure under Solomon, I Kings 4:1 ff.).

A finely tuned sensitivity to human need and suffering may be a sufficient guide to action for the optimist who believes that the state can make everybody happy, but the realist who understands that every state rests on power and coercion is the one who most needs an ideal of power guided by justice.

I suspect that, very much as Coleridge said that all men were at bottom either Platonists or Aristotelians, so we are, most of us, if we are informed enough philosophically to be self - conscious about these things, idealists or realists.

Yet Fukuyama is undoubtedly correct in recognizing that most conservatives, thinking themselves to be hard - nosed realists, have not faced the reality that politics today is preeminently the politics of culture.

It is evident that at least part of the meaning of one of Whitehead's most important self - descriptions is to be understood in the context of his realist rendering of Bradley's «Julius Caesar»: «Perishing», he says, «is the one key thought around which PR is woven, and in many ways I find myself in complete agreement with Bradley» (ESP 117).

An area of basic disagreement is the role of ethical principles, such as freedom and equality, which most realists, including Morgenthau, who is at times ambiguous on the point, deny.

And what normally happen's at the end of the season, Is that you lot end up moaning the most, whilst the realists have already gotten over it!??

Gunner - realist - Mates, most of the supporters are narrow - minded here.

I'm a stay at home now single father of four and what I know is every one bitching and moaning needs to suck it up and stop being a baby and relize that guys do the most and woman are never satisfied I'm not sexisit I'm a realist and watch every woman in a relationship you know really watch and investigate and you will see I'm right.

Of course, most of us believe we can do it better (and I believe people can; that's why Susan Pease Gadoua and I are writing The New I Do: Reshaping Marriage for Skeptics, Realists and RebelsOf course, most of us believe we can do it better (and I believe people can; that's why Susan Pease Gadoua and I are writing The New I Do: Reshaping Marriage for Skeptics, Realists and Rebelsof us believe we can do it better (and I believe people can; that's why Susan Pease Gadoua and I are writing The New I Do: Reshaping Marriage for Skeptics, Realists and Rebels).

I'm on record as being a realist, and so far Big Food and Big Ag have had a pretty solid track record of decisively crushing most attempts at reasonable food reform.

Realists, in contrast, for the most part believe that there needs to be a fundamental re-focus of attention to the exigencies and practicalities of politics itself.

One way to look at this conscientiously mature, strategically magic - realist movie is as its creators» most ambitious joint effort to date, yet it's actually this same, superficial «daring» that points up their work's underlying lack of real imagination.

Most of the features that make Lewis» directorial work such a remarkable exception to the dominance of a realist aesthetic in Hollywood filmmaking are brilliantly apparent in The Errand Boy, including the foregrounding of sound manipulation (most blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the cameMost of the features that make Lewis» directorial work such a remarkable exception to the dominance of a realist aesthetic in Hollywood filmmaking are brilliantly apparent in The Errand Boy, including the foregrounding of sound manipulation (most blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the camemost blatant in the sequence involving the post-synchronisation of the song «Lover» for a musical film, and in the tape manipulation of Kathleen Freeman's reaction to having been left by her driver in the back seat of a convertible receiving a car wash) and the placement of actors in a shot so as to highlight the presence of the camera (as when Morty, an undirected and oblivious extra in a film - within - the - film cocktail - party scene, keeps looking at the camera from the background of a shot in which other extras, in their roles as party guests, intermittently block him from the camera).

Though The Red Shoes is possibly the most popular and visually entrancing dance film of all time, the producing, directing, and writing team of the British Michael Powell and the Hungarian Emeric Pressburger created numerous other odes to the power of art and the imagination, always going against the realist strain of British cinema.

Yet Ulrich Seidl would seem to be the most obvious candidate to address this issue: his documentaries and docu - realist fiction features have examined the bizarre and the grotesque side of bourgeois Austria, finding non-professional actors to inhabit his strange worlds - some of truly Diane - Arbus - type weirdness.

What may be the most unpleasant dinner party of all time brings together a perfectly presentable group of middle class English friends — a politician, artists, a banker, a professor, a realist and a healer.

Tom Courtenay, most famous perhaps for his portrayal in «Dr. Zhivago» and known for social - realist «kitchen sink» drama of the sixties, turns in a performance (did I say «restrained»?)

He writes, «To combine the strange with the familiar: that was what Ferguson aspired to, to observe the world as closely as the most dedicated realist and yet to create a way of seeing the world through a different, slighting distorting lens.»

In a lively and engaging narrative, Ellis recounts the sometimes collaborative, sometimes archly antagonistic interactions between these men, and shows us the private characters behind the public personas: Adams, the ever - combative iconoclast, whose closest political collaborator was his wife, Abigail; Burr, crafty, smooth, and one of the most despised public figures of his time; Hamilton, whose audacious manner and deep economic savvy masked his humble origins; Jefferson, renowned for his eloquence, but so reclusive and taciturn that he rarely spoke more than a few sentences in public; Madison, small, sickly, and paralyzingly shy, yet one of the most effective debaters of his generation; and the stiffly formal Washington, the ultimate realist, larger - than - life, and America's only truly indispensable figure.

Keeping It Real Beijing artist Liu Xiaodong's expressive realist portraits, touching on some of the most vital social problems in China, have brought him respect in his home country — and a high level of visibility internationally Barbara Pollack

Or, as Linda Nochlin argued back in 1971, realist painting has long been seen as the province of the domestic, of women's labour, even in its most hyper - mediated forms.

Cartoonist Peter Duggan records the moment John Constable helped French realist painter Gustave Courbet name one of his most famous works

The vibration of the artist's heart and his unique skills are the most valuable and exciting part of realist painting,» says Leonid Gervits.

Hopper has been misunderstood «as a simple homespun realist... We have mostly seen him as a purveyor of alienation, one of the most overused and misconceived clichés in American art history.»

Lucian Freud's oeuvre is comprised of expressive, realist portraits, most often of female nudes or of himself, but also of various public figures, such as Clint Eastwood, Leigh Bowery, and Queen Elizabeth II.

And by 1964, with Race Riot, «Andy Warhol establishes himself as the most relentless of social realist and social protest artists the country has produced.»

He is a magic realist whose way of seeing makes most of our feted British artists look silly.

Think of Ed Paschke, the great American painter who died in 2004, was a formalist in wolf's clothing, or the most abstract of Photo Realists.

Acknowledged as the most important realist painters of 20th - century, Edward Hopper's visions of reality was a selective one.

Like Francis Bacon, though, it pleased Hodgkin to refer to himself as a figurative painter; and, as with Bacon's suggestion that his own smeared agonies were realist, Hodgkin's use of the term figurative seemed to most viewers of these sumptuously coloured abstractions nothing more than a tease.

Join Chartwell Collectors Circle for a tour of the Howard A. and Judith Tullman art collection, one of the largest and most diverse collections of contemporary realist art in America.

[8] An important Realist movement beyond France was the Peredvizhniki or Wanderers group in Russia who formed in the 1860s and organized exhibitions from 1871 included many realists such as genre artist Vasily Perov, landscape artists Ivan Shishkin, Alexei Savrasov, and Arkhip Kuindzhi, portraitist Ivan Kramskoy, war artist Vasily Vereshchagin, historical artist Vasily Surikov and, especially, Ilya Repin, who is considered by many to be the most renowned Russian artist of the 19th century.

«Initial concepts for Modern Era referenced early 20th century geometric and realist sans - serif typefaces, most notably Futura and Neuzeit,» explains James Kape, one of the designers behind Omsetype.

While the exhibition's organizers, a group of artists led by Walt Kuhn and Arthur B. Davies, aimed to show off the talents of the most radical American artists, who were mostly realists, the unexpected outcome of the show was a virtual hijacking of the headlines by the European avant - garde.

★ Ed Paschke (closes on Friday) A formalist in wolf's clothing, or the most abstract of Photo Realists, Paschke produced dystopic visions of a Chicago - inspired dark side, where crime, race, clubs and an eerie glamour mixed with intimations of violence.

A photographer who started out as a fantasist — staging scenes of young girls escaping together into idyllic landscapes — has turned into one of our most talented realists.

Although realist sculpture first emerged in the form of portrait busts of Roman Emperors (compare these gritty works with romantic Greek sculpture), and was continued most memorably by sculptors like Auguste Rodin (1840 - 1917), it wasn't until the advent of Pop - Art in the 1960s that artists like Duane Hanson (1925 - 96), John De Andrea (b. 1941) and Feuerman began to produce superrealist figurative sculpture.

One of the most famous painters of the American realist school, Andrew Wyeth was the first native - born living American artist to receive a retrospective exhibition at the Metropolitan Museum of Art in New York.

The Dresden painter Gerhard Richter (b. 1932) has been re-confirmed as the world's most valuable living artist, following the sale of his 1968 photo - realist painting Domplatz, Mailand (Cathedral Square, Milan) for a whopping $ 37.1 million at Sotheby's contemporary art auction in New York, yesterday.

Patrick Angus was a New York City - based realist painter of the city's homosexual milieu, who was active in the 1970s and»80s; he's perhaps most known for his depictions of bathhouse and porn cinema interiors — such as the Gaiety Theater — crowded with men cruising, hooking up, or lounging.

Thus - in sharp contrast to the conventional and rather genteel American Impressionism that represented the most popular American art of the period - these American Realists set about capturing the spontaneous moments of urban life.

Exhibition to see in London S2 the Sotheby's gallery will be showcasing Taner Ceylan's first landmark solo show in London — Ceylan is Turkey's most prominent painter and the exhibition will be titled «I Love You,» which is a major new body of work comprising of six astounding photo - realist paintings.

The realist movement today is populated with many of the most important artists working in America.

Abstract Expressionism, the most important art movement to emerge after World War II, Minimal art, Pop art, and new realist styles of the late 1960s, among others, all had their beginnings in New York.

Highlights include the country's largest collection of 19th and early 20th century paintings and drawings by American realist William Glackens; the most extensive holding in the U.S. of works by post-World War II, avant - garde Cobra artists from Copenhagen, Brussels and Amsterdam; and a celebrated Latin American art collection.

With «Tonic», Alyssa Monks has created a thing of beauty, while pushing the boundaries on what most classical realists are doing.

To most people in the art world, the name Gerhard Richter is synonymous with blurry photo - realist paintings with echoes of post-war East Germany.

Most renowned for his oil paintings depicting both urban and rural scenes, American realist Edward Hopper has cemented his place amongst the greats of American modern art.