The figures are squat and ill-proportioned, and it lacks the intense luminosity of his later works.
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Worse, Schnabel's shameless self-presentation of his gross gargantuan canvases within this refined European "high art" context may seem an example of classic ugly Americanism, here performed as ill- proportioned psychic dominance.
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It shows the late, lamented boy on a dirt road against a distant background of houses and a moody sky, his pink-cheeked, preoccupied face tacked onto an ill-proportioned, generic body.
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The way the galleries are laid out in relation to one another creates an easy and unconscious flow, unlike the rooms where the work was shown at MoMA, which felt dark, cramped, and ill-proportioned.
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The symbol of the city is the Mole Antonelliana, a superbly weird and violently ill-proportioned tower, stacked with alternating tiers of minuscule colonnades, swelling to a quadrilateral roof and rising with an aluminum spire to the height of 22016 feet.
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The future king was highly intelligent but physically weak, with pale skin and a thin, ill-proportioned body. This made a sharp contrast to his father, who was tall, strong and sandy-haired.
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27 Scamozzi, a rigid classicist, was critical of the arches on the ground floor, considered to be dwarfed and ill- proportioned, and the excessive height of the Ionic entablature with respect to the columns.Scamozzi considered appropriate a ratio between the height of the entablature and the column of 1 to 4 for the Doric order and 1 to 5 of the Ionic order, whereas the ratios in the library are 1 to 3 and 1 to 2 respectively. See Vincenzo Scamozzi, L’Idea dell’Architettura Universale (Venetiis: expensis auctoris, 1615), Lib. VI, Cap.
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Towards the end of the Second World War, Charles Hayward is in Cairo and falls in love with Sophia Leonides, a smart, successful Englishwoman who works for the Foreign Office. They put off getting engaged until the end of the war when they will be reunited in England. Hayward returns home and reads a death notice in The Times: Sophia's grandfather, the wealthy entrepreneur Aristide Leonides, has died, aged 85. Due to the war, the whole family has been living with him in a sumptuous but ill-proportioned house called "Three Gables"–the 'crooked house' of the title.
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As Stuart commences his walk to work, he notices an animal "about the size of a cat, naked looking, with leathery, hairless skin and thin, spiky limbs that seemed too frail to support the bulbous, ill-proportioned body." American Gothic Tales: edited with introduction by Joyce Carol Oates, New York: Plume, 1996 Disgusted and horrified by the appearance of this animal, he crushes it with his foot. Immediately, he is remorseful and his first instinct is to call his wife Jenny. Since he is not sure what her reaction will be, he waits to call her at the normal time in the afternoon.
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This is a > coarse and very irregular building; the body, which is formed of brick, and > ornamented with stone rustic work at the corners, is ninety-three feet in > length, sixty-three feet in breadth; and the height of the tower and turret > is eighty feet. The principal door is ornamented with a kind of rustic > pilasters, with cherubs’ heads by way of capitals, and a pediment above. The > body is enlightened with a great number of windows, which are of various > forms, and different sizes, a sort of Venetian, oval and square. The square > windows have ill-proportioned circular pediments; and the oval, or more > properly elliptic windows, some of which stand upright and others cross- > ways, are surrounded with thick festoons.
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The more ornamental examples had cane seats and ill- proportioned cane backs. From these forms was gradually developed the Chippendale chair, with its elaborately interlaced back, its graceful arms and square or cabriole legs, the latter terminating in the claw and ball or the pad foot. George Hepplewhite, Thomas Sheraton and Robert Adam all aimed at lightening the chair, which, even in the master hands of Thomas Chippendale, remained comparatively heavy. The endeavour succeeded, and the modern chair is everywhere comparatively slight. 18th-century chairs A reading of Molière, Jean François de Troy, about 1728 Informal, galante manners and a new half- reclining posture that replaced the former bolt-upright demeanor of court and aristocracy in the age of Louis XIV went hand-in-hand with new commodious seat furniture, developed in Paris about 1720 (illustration, right).
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He manifests the same surprising variations of quality that are noticed in the work of nearly all the English cabinet-makers of the second half of the 18th century, and while his best had an undeniable elegance, his worst was exceedingly bad: squat, ill-proportioned and confusing. Some of his chairbacks are so nearly identical with Chippendale's that it is difficult to suppose that the one did not copy from the other, and most of the designs of the greater man enjoyed priority of date. During a portion of his career, Manwaring was a devotee of the Chinese taste; he likewise practised in the Gothic manner. He appears to have introduced the small bracket between the front rail of the seat and the top of the chair leg, or at all events to have made such constant use of it, that it has come to be regarded as characteristic of his work.
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Writers of the past few years tend to ignore the sales success of the Mustang II, pointing out flaws in the design compared to cars that came before and after, symbolizing the very start of the Malaise era in American auto design. Opinions include noting in 2003 that "[i]f there were any steps forward in technology with the Pinto chassis, it was that it had a rack-and-pinion steering gear rather than the Falcon's recirculating ball, and front disc brakes were standard," Edmunds Inside Line wrote of the Mustang II: "It was too small, underpowered, handled poorly, terribly put together, ill- proportioned, chintzy in its details and altogether subpar. According to Edmunds, the 1974 base engine's was "truly pathetic" and the optional V6's was "underwhelming." (With the addition of mandatory catalytic converters in 1975 these outputs fell to 83 and respectively.) In 1976 the "standard four [-cylinder] swelled to a heady , the V6 increased to , and [sales were] a surprisingly stable 187,567 units—a mere 1,019 less than in '75." In 1977 the engines’ power outputs dropped again, to 89 and respectively, and production dropped "about 18 percent to 153,117 cars.
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