intimism


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intimism

(ˈɪntɪmɪzəm)
n
(Art Terms) a school of impressionist painting in early 20th century France whose painters portrayed everyday, usually domestic, scenes
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Stark's employ of Intimism extended to the literal.
In so far as the most interesting poems, short stories and novels are usually produced by beginners and novices (Tadeusz Borowski, Tadeusz Rozewicz, Stanislaw Lem, also Leopold Buczkowski, who did not publish any book before the war and, thus, can be treated as a beginner), in the intimism, we can hear the voice of authors representing the older generation, also enjoying recognition--apart from Buczkowski--in the interwar period.
Such awareness allows them to react against reification and return to subjectivity not as intimism or privacy, but in the sense that Daghini mentioned before.
Schuyler is important for his extension of the "I do this I do that" mode in the direction of Intimism, his shrewd ear (the best of all poets of the New York School), and the precision of his observations.
In aiming for nothing less than the representation of life,(51) Tarkovsky managed to reconcile visual historicity, the psychological dimension, intimism and panorama in a lyricism peculiar to his work.
While contextualizing Gray's production in relation to the fin-de-siecle Aesthetic Movement, and in particular its Japonisme, this exhibition design also had the advantage of suggesting the slippages between intimism and fetishism, between aristocratic detachment and commercial fantasy, that infused Gray's oeuvre.
Probably Crepuscolarismo will leave a trace, for example of intimism, that will not perhaps die; (2) but the love for the crackling objects of the futurists will install itself in our little human hearts forever.
The perfect wedding of romantic intimism and sesquipedalian egotism: in short, the essence of the myth of the artist.
Howard Hodgkin once called a painting After Vuillard; the title sums up much of what some admire about his work as well as what leaves others so indifferent: the echoes of Ecole de Paris intimism and an Epicurean redeployment of stylistic features abstracted not just from Vuillard but also from Bonnard and Matisse.
Some, like Wesendock Villa, 2002, and Strand mit Menschen (Beach with People), 2001, recall the intimism of artists such as Gabriele Munter and Gwen John but are entirely contemporary in their simultaneous intensification and abstraction of the original image.
Two keys to Greenwold's work are a lapidary intimism and a close familiarity with the grid.
Interior intimisms such as The Sick Child by Gabriel Metsu, the various taffetas and shining coiffures of Terborgh, or the views of Haarlem across the linen-bleaching fields by Jacob Ruisdael: these, and hundreds of others, are paintings in which partial, or tiring, reference has been made to a projected image.