sculpturesque


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sculp·tur·esque

 (skŭlp′chə-rĕsk′)
adj.
Suggestive of or having the qualities of sculpture.

sculp′tur·esque′ly adv.

sculpturesque

(ˌskʌlptʃəˈrɛsk)
adj
resembling sculpture
ˌsculpturˈesquely adv
ˌsculpturˈesqueness n

sculp•tur•esque

(ˌskʌlp tʃəˈrɛsk)

adj.
suggesting sculpture.
[1825–35]
sculp`tur•esque′ly, adv.
ThesaurusAntonymsRelated WordsSynonymsLegend:
Adj.1.sculpturesque - resembling sculpturesculpturesque - resembling sculpture; "her finely modeled features"; "rendered with...vivid sculptural effect"; "the sculpturesque beauty of the athletes' bodies"
shapely - having a well-proportioned and pleasing shape; "a slim waist and shapely legs"
References in classic literature ?
Particularly sculpturesque and plastic, so to say, and richly colored is that passage where you feel Cordelia's approach, where woman, das ewig Weibliche, enters into conflict with fate.
The Classical style has well been called sculpturesque, the Romantic picturesque.
Yet, if dancing were to be all about holding sculpturesque balances forever, or executing fast footwork, it would be difficult to sustain over the years.
The local deities are aniconic or represented through insignia as opposed to the sculpturesque Mirkula Devi.
The sculpturesque drawing when chiseled in a marble block by Michelangelo brings it to life.
Dod Procter, on the other hand, rightly engaged the eye of Chamot who called her 'the most sculpturesque painter living'.
The complex imagery of these works incorporates a range of creative endeavors: Performance is arrested into representations of sculpturesque figures that dissolve into an allusive matrix of modernist and natural forms.
In the period in which he published his first volume of poetry (1816), Keats had reached a "sculpturesque" ideal of poetry: conceptual power and greatness firmly controlled, which Bate (1963: 128; 1964: 55) decodes as "power kept in reserve." This itself is a "Janusian" process, since this kind of controlled power presupposes the simultaneous presence of freedoms (the active energies of the power to act) and the restrictions set to those freedoms (the passive energies of the firm will to curb free action).
The group will present the full range of dances in the traditional order of an Arangetram, showcasing the grace and sculpturesque movements of the ancient dance form.
The whole of her tragic acting is now cast in an ideal, almost monumental, style, which is in itself less exhausting that one which depends in its nature upon the detailed and the momentary; more on a large, almost sculpturesque, presentment of emotions and events, such as we could imagine as consonant with the spirit of Greek tragedy, than on one harmonizing with that of modern times.