That became the conventional wisdom once their stateside epigones took up the cry.
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Partly, it levels the terrain somewhat for comparisons with Munch's epigones—his valleys meet their peaks.
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There's contempt for the rule of law, exemplified by the behavior of Prime Minister Benjamin Netanyahu and copied by his epigones.
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Some of its manifestations are more common in conservative America — where they usually have an evangelical and commercial gloss, as with Joel Osteen and his epigones.
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Members of Kuma's firm make the relatively grueling trip a few times a month, and the second day I was there, I ran into one of his many overworked epigones, looking cadaverous and damp-haired as he sucked down a can of cold Starbucks espresso; he and his team had stayed up all night working on a project before catching the train from Tokyo.
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But when I look back at the movies of 2015 in search of popular art that reflects the realities and nourishes the dreams of the world I inhabit, I find myself thinking of "Furious 7," with its multihued family of noble gearheads; of the "Hunger Games" heroine Katniss Everdeen and her epigones, Rey from "The Force Awakens" and Furiosa from "Fury Road"; of Finn (also from "The Force Awakens") and Adonis Johnson, also known as Creed.
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His collection of poems În flăcări (In the flame) came out in 1931, revealing considerable artistic and ideological development. His poetry collection Nikita depicted class struggle in the collective farm. Caderea Epigonilor (The Fall of the Epigones) demonstrates his introduction into socialist realism.
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As a prose writer, he is ranked among the epigones of sentimentalism. He was the publisher of the magazines "Moscow Spectator" (1806), "Aglaia" (1808–1812), and "Ladies' Magazine" (1823–1833). He was also the editor of the newspaper "Moskovskiye Vedomosti".According to the Russian Biographical Dictionary, he was an editor from 1813 to 1836.
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Drăguț et al., p.152 The magazine hailed the painter as the model to follow, but only selected those aspects of his work which it could fit within its approach, largely ignoring his urban-themed works.Drăguț et al., p.169–172; Grigorescu, p.427 Sămănătorism directly encouraged visual artists occasionally described as "Grigorescu's epigones", who concentrated on rural, pastoral and picturesque subjects.
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Thwaites viewed art as a mirror revealing the human experience of any epoch. According to him true artists are those who truthfully and originally interpret that reality, in contrast with "shameless epigones" whom he believed to be just chasing after success by following trends. His bête noire was Joseph Beuys, who was not an artist in his opinion, but a demagogue and seducer whom he eventually compared with Hitler.Eickhoff, p 212.
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In Communist Romania, he was almost never publicly mentioned. One exception to this rule is a fugitive 1983 note written by critic Constantin Ciopraga, who simply described Cugler as one of Urmuz's epigones, and argued that he lacked Urmuz's concision. In 1969, at a time when the Nicolae Ceauşescu regime offered a degree of liberalization, Surrealist writer Saşa Pană included Grigore Cugler in his anthology of Romanian avant-garde texts. He was not however present in similar collections, including the one edited by Ovid Crohmălniceanu.
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Elena Usievich edited the journal Literaturnyi kritik, founded in 1933. In May 1937 she published a controversial article there, 'On Political Poetry', arguing that poetry needed to be "sincere" and encompass the full range of human feelings, rather than be simplistic and "impersonal" translations of political platforms into verse. As Usievich put it, "in Maiakovsky's cries about love unrequited there was more social content than in many lamentations on political themes written by the minor epigones of popular poetry."Usievich, 'K sporam o politicheskoi poezii', Literaturnyi kritik, Vol.
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While Brendel did not explicitly cite their names, from the context it is clear that Berlioz and Liszt were intended. According to Brendel in his essay F. Liszt's symphonische Dichtungen of 1858, it was his conviction that Liszt's Symphonic Poems were the most perfect ideal of instrumental music of that time. They were what had to come if progress was to be gained. In contrast to this, the Symphonies of Schubert, Mendelssohn and Schumann, however magnificent and beautiful they were, could only be regarded as the works of epigones [i.e.
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The grave of Take Ionescu, an influential political figure and one-time Prime Minister of Romania who was Heliade's descendant, is situated in Sinaia Monastery, in the immediate vicinity of a fir tree planted by Heliade and his fellow 1848 revolutionaries. Marius Dobrin, "Take Ionescu—un mare democrat, un mare european", in Respiro (retrieved June 5, 2007) In his 1870 poem Epigonii ("The Epigones"), Mihai Eminescu paid tribute to early Romanian-language writers and their contributions to literature. An entire stanza is dedicated to Heliade: During the early 1880s, Alexandru Macedonski and his Literatorul attempted to preserve Heliade's status and his theories when these were faced with criticism from Junimea; by 1885, this rivalry ended in defeat for Macedonski, and contributed to the disestablishment of Literatorul.Vianu, Vol.
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The 1996 posthumous anthological exhibition at Palazzo delle Esposizioni (Rome) was successfully repeated at Lenbachhaus (Munich) and at the Centre for Fine Arts, Brussels. In 2015–16 the major retrospective exhibition The Trauma of Painting organized by Emily Braun at the Solomon R. Guggenheim Museum in New York (later at the Kunstsammlung Nordrhein-Westfalen, Düsseldorf in 2016) received much international attention to the painter's art. At the conclusion of the centenary of Alberto Burri's birth, the exhibition titled Burri Lo spazio di materia tra Europa e USA curated by Bruno Corà established a comparison between the epigones of 20th century material art. The exhibit was held in Città di Castello, in the exhibition space of the former tobacco drying sheds which, since 2017, house the painter's graphic collection.
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Marcus Behmer's grave in Friedhof Heerstraße, Berlin- Westend His artistic beginnings were, as he writes in a letter, in 1896, with his first major success with the illustrations for Wilde's Salome for Insel- Verlag, in 1903. The early works show the influence of Illustration Art Aubrey Beardsley. In the past reception it is this initial dependence in his Salome 's undoing, since many art historians call Behmer afterwards, but the later the inaccurate, as Beardsley epigones. It is true that he soon broke away from this influence and in parallel with the rise of Expressionism and the new impulses of the Wiener Werkstätte developed only its inherent design. On 1 October 1903, Behmer entered military service, was appointed a corporal on 10 June 1904 and promoted on 22 September 1907 to sergeant.
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It is here that he sets forth a famous characterization of "the peculiar form which it [courtly love] first took; the four marks of Humility, Courtesy, Adultery, and the Religion of Love"—the last two of which "marks" have, in particular, been the subject of a good deal of controversy among later scholars. In the second chapter, Lewis discusses the medieval evolution of the allegorical tradition in such writers as Bernard Silvestris and Alain de Lille. The remaining chapters, drawing on the points made in the first two, examine the use of allegory and personification in the depiction of love in a selection of poetic works, beginning with the Roman de la Rose. The focus, however, is on English works: the poems of Chaucer, Gower's Confessio Amantis and Usk's Testament of Love, the works of Chaucer's epigones, and Spenser's Faerie Queene.
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In the continued debate on Rommel and his legacy, Christopher Gabel criticises the documentary Rommel's War (made by historians and Jean-Christoph Caron) for using false analogy to prove that Rommel was a war criminal by association, without providing any evidence even of Rommel's knowledge about crimes in his areas of operation. According to Matthias Stickler, attacks on Rommel's integrity and attempts to link him to war crimes, which were started by the "journalist side" in the 1990s, have been largely repudiated by serious research despite having been repeatedly rehashed and refreshed by some authors and their epigones. Stickler gives recognition to both Remy and Reuth for offering possible explanations for Rommel's character evolution. Numerous English-speaking authors use the "Rommel Myth" ambiguously, like Bruce Allen Watson who states that "the masks he wore reflected the genuine plurality of the man", or Jill Edwards, who notes that, below all the layers historians have removed and added to, what remains seems enough to qualify Rommel as, if controversial, a great captain.
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