Sentences with phrase «other early twentieth»

The Bar is situated next to the restaurant and is decorated with a very rare Chinese antique liqueur screen, and lithographs by Henry Moore, Robert Motherwell, and other early twentieth century painters.

Not exact matches

Altizer is closer than any other contemporary theologian to the first radical of twentieth - century theology: the early Barth of The Epistle to the Romans.

Having in mind the shameful jurisprudence inaugurated by the Court in Dred Scott in the mid-nineteenth century, Lochner v. New York in the early twentieth, and Roe v. Wade and numerous other partisan decisions in our own time, one might say: «I'm sorry, but that is, to say the least, not persuasive.»

Since the early twentieth century, German Protestant theology has sought forms in which first - person confession and second - person address, or, in other words, witness and proclamation, can shape the exposition of Christian theology.

For like Whitehead and Dewey, Kadushin understood that the concept of organic thinking offered an approach to logic and the foundations of knowledge that was an alternative to the perversions of the sort of blind faith in natural science that had come to dominate the intellectual cultures of the late nineteenth and early twentieth centuries; an alternative that did not attempt to devalue science or replace it with a nonrational mysticism, but which did attempt to place scientific thought into a broader cultural context in which other forms of cultural expression such as religious and legal reasoning could play important and non-subservient roles.

Together with other developments in the «new science» it caused a series of reactions among Protestants which by the early twentieth century had resulted in a sharp cleavage between liberalism and fundamentalism.

In a more recent work, American Catholic Biblical Scholarship: A History From the Early Republic to Vatican II, Fogarty offers, among other things, a useful antidote to the claims of some Catholic «restorationists» that the anti-Modernist excesses of the early twentieth century were the invention of fevered post-Vatican II liberal imaginatEarly Republic to Vatican II, Fogarty offers, among other things, a useful antidote to the claims of some Catholic «restorationists» that the anti-Modernist excesses of the early twentieth century were the invention of fevered post-Vatican II liberal imaginatearly twentieth century were the invention of fevered post-Vatican II liberal imaginations.

The first Amazons in gladiators in the early twentieth century, have become of Brigitte Bardot, Diana Vreeland and many other fashionistas.

For the Russian population to have risen up in the early part of the twentieth century in three revolutions, for instance, would have been that much more difficult without the saturation of decisive layers of the population by the humanizing, sensitizing efforts of, among others, Gogol, Lermontov, Turgenev, Goncharov, Ostrovsky, Dostoyevsky, Leskov and Tolstoy.

My dissertation, based on archival research in museums and libraries across the United States, offers a historical assessment of exhibitions staged from the early twentieth century to the present that featured dinosaurs and other long extinct animals as the main attractions.

Despite its early popularity, however, the Shorthair almost became extinct in the mid twentieth century, as other breeds were developed.

The breed soon spread to other parts of Europe and Asia and were appearing in English cat shows almost immediately and in American shows by the early twentieth century.

Much altered and extended in the early twentieth century by Ernest William Beckett, today the villa is composed of many salvaged architectural elements from other parts of Italy and elsewhere; little of the original structure remains visible.

The episodes are very reminiscent of the silent films of the early twentieth century, as there is no spoken dialogue whatsoever (there are sheep bleets, human grumbles and other sound effects, of course) and the comedy is often physical in nature.

Inspired by the weird fiction (and other tales of the macabre) from the early twentieth century, The Vanishing of Ethan Carter aims to significantly evolve immersive storytelling in games.

Other strengths of the twentieth - century collection include: sixty works by members of the Ash Can School; significant representation by early modernists such as Alfred Maurer, Marsden Hartley, John Marin, Georgia O'Keeffe, and Max Weber; important examples by the Precisionists Charles Demuth, Charles Sheeler, Preston Dickinson and Ralston Crawford; a good showing by the American Scene painters Charles Burchfield and Edward Hopper; a broad spectrum of work by the Social Realists Ben Shahn, Romare Bearden, Jacob Lawrence and Jack Levine; and ambitious examples of Regionalist painting by Grant Wood, John Steuart Curry and Thomas Hart Benton, notably the latter's celebrated five - panel mural, The Arts of Life in America (1932).

Etta and Claribel Cone were ardent and early patrons of the French avant - garde, meeting Matisse, Pablo Picasso and other artists during their trips to Paris in the first decade of the twentieth century.

With material from the seventeenth century to the early twentieth century primarily from the United States, and to a lesser degree Great Britain and several other countries, the exhibition demonstrates the breadth of The Amistad Center's permanent collection.

The exhibition is divided into several sectors: On the seventh floor, the section «Portrait of the Artist» brings together self - portraits with portraits of artists and other members of the creative community; Early Twentieth Century Celebrity and Spectacle; under the rubric of «Street Life» the exhibition presents artists who took to the pavement with their cameras, photographing subjects as they encountered them, sometimes surreptitiously; Portraits Without People; Body Bared (nude portraits); Self Conscious; Institutional Complex and Postwar Celebrity.

The addition of motion and sound brought new dimensions to the abstract art pioneered by Wassily Kandinsky and other avant - garde painters of the early twentieth century.

Greenough notes the insights provided by the correspondence on their art, their friendships with many key figures of early twentieth - century American art and culture, and, most especially, their relationship with each other.

Return of the Repressed looks at how artists adopted, often at great personal risk, the styles of the early twentieth - century Russian avant - garde and other modernist styles in defiance of Soviet aesthetics.

Then, inspired by early twentieth century art, Tadeusz started looking for some other kinds of depicting reality and expressing emotions.

Author and Project Director at the Wildenstein Institute Roberta Bernstein observes: «the crosshatchings are the first Jasper Johns paintings that can be properly called abstract, though they are more like drawings than the gestural abstractions of Jackson Pollock or Jack Tworkov, and they bristle with citations from Henri Matisse, Pablo Picasso, the Surrealists, and other early - twentieth - century figures.»

These temples, which were carved into mountains of northern China and lavishly decorated with sculpted images of the Buddha and other celestial beings were damaged during the early twentieth century, when many carvings were removed.

Other items he noted included a mysterious early twentieth - century chalkboard globe that tripled its modest high estimate to sell for $ 1,625, and a rare map detailing the proceedings of the Revolutionary War near Charleston, SC ($ 21,250).

In the early twentieth century, artists such as Robert Henri, George Luks, John Sloan, and others were interested in the gritty details of modern urban life.

Charles Gaines's new original master composition for the Art Biennale is derived from his most recent body of work, Notes on Social Justice, a series of large - scale drawings of musical scores from songs, some borrowed from as early as the American Civil War (1860 — 1865) and others dating from the mid twentieth century.

The many references to the works of El Greco, Goya, Ingres, Renoir and others that run through his drawings link them indirectly with the museum's permanent holdings, while the sheets exude the radical new spirit of the early twentieth century.

Breton's continuing links to Lam not only reflect the internationalist perspective that Breton and the other Europeans brought to the New York art scene in the early 1940s, but Lam's work and even the person of the artist himself (whose father was Chinese) also exemplify the rich mix of cultures in the New World that increasingly shaped the second half of the twentieth century and its art.

The work will be exhibited in the museum's Early Twentieth - Century Art Gallery, among works by other modern American masters such as Georgia O'Keeffe, Charles Sheeler and George Bellows.

Panter liked George Grosz and other early - twentieth - century painters, saying, «We could learn from art up to 1920 forever.»

Sea levels continue to rise at a rate never envisioned by climatologists and other scientists in the late twentieth and early twenty first centuries due to the unforeseen effects of

These few events point out the vulnerability of an electric grid — any electric grid, whether here in the so - called First World or other parts of the planet, whether today, twenty - seven years ago, or in the early part of the twentieth century.

While some types of plankton bloomed 30 days earlier at the beginning of this century than in the middle of the twentieth century, other types maintained their seasonal cycles throughout that period.7 Mismatches in marine communities and disruption of the food chain are the result.

Tett SFB et al., JGR 2002 (Estimation of natural and anthropogenic contributions to twentieth century temperature change,) says «Our analysis suggests that the early twentieth century warming can best be explained by a combination of warming due to increases in greenhouse gases and natural forcing, some cooling due to other anthropogenic forcings, and a substantial, but not implausible, contribution from internal variability.