Those explanations typically revolved around ever more baroque claims of biological difference.
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For that reason, computers have allowed humans to build—and execute—ever bigger and more baroque algorithmical constructs.
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It's getting more lyrical than it used to be, less stark and a little more baroque in its horror.
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The writer later adopted a quite different style of writing, "more baroque, more in-your-face personal," Mr. Schiferli added.
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Ribalta's "Christ" elevates the religious subject matter, creating a more baroque, lofty image of holy deification, in line with Catholic thought.
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"You really saw [production designer] Anton Furst's designs start taking hold, and the city becoming more baroque and more unique looking," says Lee.
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The early 10s goth-crunk of Mike Will Made-It and Lex Luger only furthered that approach, getting ever more baroque and theatrical.
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As for Mr. Araki, his photographs of buxom women trussed up in ever more baroque rope bondage are as acquired a taste as Marmite.
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But given Trump's penchant for stream-of-consciousness rambling, odds are he'll say something even more baroque by the time you're done reading this sentence.
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More baroque forms of torture include forcing detainees to act like animals, beat or kill one another, and dousing them with fuel and burning them.
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As the mood and tone darken, the narrative grows more baroque, creepier, and this speculative fiction turns into a freakout, or at least tries to.
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You might think that their structures are also more elaborate, but the opposite is generally true: the simpler the society, the more baroque its morphology.
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It's a little more baroque, a little more spacious; there's a longer moment of walking the room and figuring out the terrain before taking action.
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Lima's cathedral, with its pair of neo-Classical spires framing an epic door, appears here blown up to mural size; a smaller photo captures Mexico City's more Baroque cathedral, lording over the massive Zócalo.
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With the G1X Mark III, Canon's ditched the flat profile in favor of that more baroque knob-and-dial style of the G5X, with a few touches of red serving as the only distinguishing features.
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She also took comfort in Sansa — even as the poor girl was being put through an ever more baroque series of horrors, Turner often found it a more comfortable space to occupy than her own skin.
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More baroque sequences, like the "Battle of Bastards" combat montage from last season, in which forces led by Jon Snow and Sansa Stark overcame the Bolton army, took on new clarity presented on the expansive screens.
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The killing teams have become bolder, sometimes not bothering to hide their faces and exploring more baroque forms of cruelty, like covering their victims' faces with masks of packing tape, occasionally decorated with cartoon eyes and mouths.
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As I wrote two years ago, in my first Death To C piece: In principle, as software evolves and grows more mature, security exploits should grow ever more baroque … But this is not the case for software written in C/C++.
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Other anecdotes are more baroque: conspiracy theories about CIA drug smuggling, reconstructions of private conversations between Ross Perot and George H.W. Bush, a tale about Joe Biden trying to cut to the front of the dinner line at a casino in Delaware.
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It's hard to imagine that either one of them would work very well with anyone else, and as it happens they don't so much work together as in competitive parallel, with one elbowing in front of the other in progressively more baroque ways.
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Season 1 was unabashedly Scottish, utilizing Celtic instrumentation like the robust sounds of bagpipes and drums, while Season 2 had a decidedly more Baroque influence as Jamie and Claire traveled to France, using a string instrument called the viola de gamba for a distinctly Parisian sound.
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Second, Holopainen subtly shifted gears, dropping the band's more baroque orchestral trappings in favor of something more cinematic; less Phantom of the Opera and more more Lord of the Rings/final act of a Pirates of the Caribbean movie (Say what you will about the movies, the soundtrack had staying power).
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We've been talking for the past few weeks about how this season of The Handmaid's Tale has had a more baroque tone than the stark horror of season one, and how the new tone feels more sustainable for a TV show that has to keep running and generating story outside the bounds of a novel.
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Because the US is a deeply parochial society, not much given to seeing itself from the outside, what seems obvious to an external observer – the fact that the more baroque forms of political correctness represent the latest outbreak of good old-fashioned American Puritanism – seems not to be much recognized at Yale or Columbia.
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So one might hope, in this specific case, that having an establishment figure like Robert Mueller rendering a skeptical verdict will suffice to put the more baroque Trump-Russia conspiracies to rest … or at least to banish them from cable and newsprint, and back to the extremely long Twitter threads where they first flourished, and ultimately belong.
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Four seasons of hoping for a return to the trajectory his brilliant beginnings suggested gave way to four seasons of progressively more baroque injuries; in that context, the broken orbital bone that confined Rose to a darkened bedroom for the better part of a month because the light of day was too piercing to his damaged eye barely stood out.
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A much smaller fraction of the fraction is left for the more baroque theory, elaborated (with caveats, but also way too much credulity) by Jonathan Chait in New York magazine recently, that Trump was actually compromised-cum-recruited by Russian intelligence all the way back in 1987, and that his whole worldview was somehow made in Moscow to help unmake the West.
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Sandy K. Wurtele, a professor of psychology and an associate dean at the University of Colorado in Colorado Springs, was the lead author on a 1992 research study showing that preschoolers in Head Start knew the correct names for other body parts, but referred to their genitals by a wide array of slang terms, from the familiar (my peepee, my weewee) to the more baroque (my coochie, my piddlewiddle).
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So conspiracy theorists create increasingly minutely detailed timelines and surround them with ever-more baroque theories, as when One Direction announced it was going on hiatus and everything that didn't fit the Larry narrative was declared a casualty of an all-out PR war between the band's old team (which was anti-gay and intent on tanking the 1D brand if they couldn't own it) and their new team, an enlightened group which would finally allow The Coming Out to come.
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His palette was likely influenced by his exposure to Italian art and was more striking than that of Snyders. His works show gradually more dynamic movement and asymmetry. Fyt’s frenetic nervous brushstrokes, and his freer and more Baroque compositional style differed also from those of Snyders.
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For sculpture Louis XIV's reign also proved an important moment thanks to the King's protection of artists like Pierre Puget, François Girardon and Antoine Coysevox. In Rome, Pierre Legros, working in a more baroque manner, was one of the most influential sculptors of the end of the century.
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Juan José Domenchina was born in Madrid in 1898. He trained as a teacher but never taught. His early poetry shows the influence of Juan Ramón Jiménez, although it has a more Baroque quality. Apart from poetry he wrote at least two novels, La túnica de Neso (1919) and Dédalo (1932).
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Uherčice castel Heissler of Heitersheim acquired the castle of Uherčice and added to its embellishment. His modifications gave a more baroque aspect to the castle, thanks to the involvement of the architect Francesco Martinelli. Under the aegis of the Count, Baldassarre Fontana created the very beautiful decoration in stucco in the chapel and several rooms.
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Martin, pp. 58, 64, 75–76, 83, 87 and 90. The front of the palace on Place du Château (called Place del'Évêché between 1740 and 1793), designed in a more Baroque style than the rest of the palace, is wide and curved. The central gate is framed by two pairs of columns and juts out in the shape of a Triumphal arch.
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James turned from smooth jazz to classical music to record Rameau (1984), his interpretations of Baroque-period composer Jean-Philippe Rameau. In later albums, he interpreted the work of two more Baroque composers, J. S. Bach and Domenico Scarlatti. A year after Rameau, he collaborated with David Sanborn on Double Vision (Warner Bros, 1986). The album won a Grammy Award for Best Jazz Fusion Performance.
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It would take longer to recover the Marten de Vos triptych which finally ended up in the Museum of Fine Arts, Antwerp. In the early 19th century, more Baroque furniture and paintings, mainly retrieved from churches and monasteries destroyed or closed during the French occupation, were added to the church. The church suffered major damage during the Dutch bombardment of Antwerp in 1830 and burnt down partially.
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Both of these buildings were designed in the newly introduced Palladian style. Palladian architecture was currently enjoying a revival that was to sweep across Europe and be adopted with a fervour in Ireland. Cassels was well versed in the concepts of Palladio and Vitruvius, but was also sympathetic to the more Baroque style of architecture. In Dublin itself, Cassels worked on the Houses of Parliament with Pearce, his mentor and friend.
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Friesian Sporthorses can come in a variety of colors and sizes, with no limitations on acceptable colors or markings. Their body type can range from a sport horse build to a heavier more Baroque build. A higher-set and more arched neck is also common among Friesian Sporthorses. They tend to have the gentle temperament and striking appearance of the Friesian, but with an increased athleticism, stamina, and hybrid vigor, when responsibly crossbred.
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Like many such songs, it began with the bass chanting nonsense syllables (in this case the title), followed by the tenor singing over repetitions of it. "Mama-Oom-Mow-Mow", an even more baroque rewrite of the theme, failed to sell, but they returned to the charts the following year with "The Bird's the Word". The B-side of "Mama-Oom-Mow-Mow" was "Waiting" (Liberty #55528). After their two hit singles, the Rivingtons struggled to hit the charts.
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When the plague epidemic hit Bologna in 1630/1631, he helped organize the health care system there. From 1631 he served again in Rome, filling several influential positions in the Curia. In 1632 he purchased what is now called the Palazzo Spada in the rione Regola, facing Piazza Capo di Ferro with a garden looking over the Tiber, and commissioned Francesco Borromini to modify it for him in a more Baroque style, to house his growing collections.
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Poussin's 1627 version of the Arcadian Shepherds, in Chatsworth House, depicting a different tomb with the same inscription. Poussin's own first version of the painting (now in Chatsworth House) was probably commissioned as a reworking of Guercino's version. It is in a far more Baroque style than the later version, characteristic of Poussin's early work. In the Chatsworth painting the shepherds are actively discovering the half-hidden and overgrown tomb, and are reading the inscription with curious expressions.
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It was subsequently rebuilt in a more baroque style. In 1705, Baroque composer Georg Philipp Telemann became Kapellmeister to Erdmann II of Promnitz, privy Councillor to Augustus II the Strong, elector of Saxony and king of Poland, and spent considerable time at the Pszczyna Palace when the latter's court summered there. This gave Telemann an opportunity to study Polish and Moravian folk music, which fascinated and inspired him. In 1742 Pless became part of Brandenburg-Prussia.
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Vincent Adriaenssen was a very productive battle painter. This genre was very popular around the middle of the 17th century in Rome. His style situates itself between that of the late Cavalier d'Arpino and Tempesta and the more Baroque touch of Rubens and the Baroque innovations of the leading battle painter in Rome, the Frenchman Jacques Courtois, known as "ll Borgognone". These qualities are evident in his Battle with cavalry on a bridge (At Hampel on 1 July 2015 in Cologne lot 705).
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During WWI Ludwig served in the German military as a French interpreter and an infantry soldier. After the First World War Meidner turned to Orthodox Judaism and began producing more baroque-like religious paintings including a long and repetitive series of portraits of "prophets." He was an habitual self portraitist producing a series of Rembrandt-inspired self-portraits. His portraits from 1915 to the end of the 1920s are a gallery of the leading expressionist and Dada writers and poets.
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Reni, who had a great fear of being poisoned (and of witchcraft), chose not to outstay his welcome. After leaving Rome, Reni alternately painted in different styles, but displayed less eclectic tastes than many of Carracci's trainees. For example, his altarpiece for Samson Victorious formulates stylized poses, like those characteristic of Mannerism.The victorious Samson (Wikicommons) In contrast, his Crucifixion and his Atlanta and Hipomenes depict dramatic diagonal movement coupled with the effects of light and shade that portray the more Baroque influence of Caravaggio.
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The Royal Dramatic Theatre He became involved in the project for the Royal Dramatic Theatre in 1901. He started with a classical design, which eventually developed a more Baroque character. In the end a he produced a design that took some of the volumes from Neo- Baroque architecture but with ornamental and sculptural forms borrowed from Swedish nature but influenced by continental Art Nouveau, which, by the time the building was completed in 1908, had already started to go out of fashion.Andersson & Bedoire, p. 160.
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Although Reilly objected to the more baroque aspects of the Beaux-Arts school, many of his precepts were based on what he believed to be Beaux-Arts principles. Stamp argues that Reilly's concept of Beaux-Arts was filtered through its American practitioners, and put too much emphasis on classical design. The architectural historian Alan Powers writes: Fashion in British architecture changed rapidly in the first quarter of the 20th century. Victorian Gothic was rejected, and Charles Rennie Mackintosh found his Scottish version of Art Nouveau outmoded.
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Jarre's follow-up album, Équinoxe, was released in 1978. It was composed with sequencers, particularly on the bass, and features a more baroque and classical style than Oxygène, with more emphasis on melodic development. Though its sales were still healthy, it had less of an impact than Oxygène, but the following year Jarre held a large open-air concert on Bastille Day, at the Place de la Concorde. The free outdoor event set a world record for the largest number of spectators ever at an open-air concert, drawing more than 1 million spectators.
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The band also released their fifth album, Ül in 1996. The following year, Kispál és a Borz's music was featured in the film Dollybirds, resulting in a new level of commercial success for the band. They also released their sixth album, Bálnák, ki a partra in 1997. In 1998, they released Holdfényexpressz, and two of the band's guest musicians, keyboardist Ákos Dióssy and guitarist Ferenc Vittai, officially joined Kispál és a Borz, resulting in a new, more baroque pop-like sound which was particularly apparent on 2000's Velőrózsák.
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The group's next album was an acoustic blues record Drunk On Muddy Water (1990). Their Let's Go Get Stoned (1994) was a mix of slightly post-Aftermath Stones covers and originals in the Stones' style. Surfin' Rampage (1997) featured pop harmonies; Where the Action Is (1999) was a return to garage band roots, a mix of covers and 1960s-styled originals. The Mindbending Sounds of the Chesterfield Kings (2003) pays tribute to the more baroque side of the 1960s underground, evoking at times the sound of the Electric Prunes ("Transparent Life", "Disconnection"), and featuring appearances by Jorma Kaukonen on two tracks.
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The rape of Europe Piola's early copies after Giovanni Benedetto Castiglione and his working relationship with Valerio Castello in the late 1640s and early 1650s encouraged the development of a more Baroque style. Piola absorbed Castiglione's work as is visible in The Communion of Clare of Montefalco (London, British Museum) and his paintings in the Oratory of St John the Baptist at Spotorno. Piola's style was fully matured by 1670. The influence of Parmese art was strengthened after the return of Gregorio de’ Ferrari from Parma circa 1672. Correggio’s style encouraged Piola's own predilection for diagonal movement, bright colours and strongly foreshortened figures.
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At Lyme, while the central portico, resting upon a base reminiscent of Palladio's Villa Pisani, dominates the facade, the flanking wings are short, and of the same height as the central block, and the terminating pavilions are merely suggested by a slight projection in the facade. Thus in no way could the portico be seen as a corps de logis. This has led some architectural commentators to describe the south front as more Baroque than Palladian in style.The house is frequently described as being Palladian in style, but not all experts agree that it is truly Palladian.
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Gateway and north front of house House and pond The symmetrical 15-bay three-storey south front overlooking the pond is the work of Leoni. Although Leoni had been influenced by the works and principles of Palladio, () both Pevsner and the authors of the citation in the National Heritage List for England agree that the design of this front is more Baroque than Palladian. The bottom storey is rusticated with arched windows, and the other storeys are smooth with rectangular windows. The middle three bays consist of a portico of which the lowest storey has three arches.
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The Annunciation is an oil painting by the Italian master Michelangelo Merisi da Caravaggio, finished around 1608. It housed in the Musée des Beaux-Arts de Nancy. The painting has been considerably damaged and retouched, and what remains of Caravaggio's brushwork is the angel, who bears a resemblance to the figure in John the Baptist at the Fountain. The illusionistic treatment of the angel, floating on his cloud and seeming to protrude outside the picture plane, is more Baroque than is normal for Caravaggio, but the contrast between the energetic pose of the heavenly messenger and the receptive Mary is dramatically and psychologically effective.
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Cornelis van Haarlem, Massacre of the Innocents, 1590 Cornelis van Haarlem's Massacre of the Innocents (1590, Rijksmuseum), more Baroque than Mannerist, may involve his childhood memories of the killings (in fact only of the garrison) after the Siege of Haarlem in 1572-3, which he lived through. Brughel's completely un-mannerist version of the same subject was bought by Rudolf, who had someone turn many of the massacred children into geese, calves, cheeses, and other less disturbing spoils.Shawe-Taylor, 88–91. Rudolf's prime version is now in the Royal Collection, other versions show the original details, some of which are now also showing through thin overpaint on the original.
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But not everyone was impressed. There were those who interpreted rebukes in his sermons as personal insults and other who thought their life choices were no business of this tiresome preacher. From fellow clerics, steeped in the traditions of a more baroque approach to sermons and written religious pieces, came the criticism that the colloquial syntax of his delivery was inconsistent with the serious purposes of a sermon - any sermon. It soon became evident that as his sermons became ever more widely discussed, Schupp would have to learn to face criticism from both wings of the Christian faith among the good Protestant citizens of Hamburg.
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Near to this, the original and recently restored official plaque of the Polish Republic is still affixed to the wall of the palace. Additional elements of the palace's design include its long garden, bordered by an elaborate wrought iron screen fence and enhanced within by the addition in the late 19th century of a small fountain. It is from a mast within this garden that the state flag of the Polish Republic now flies. Internally the palace is characterised by a more baroque styling, which includes a monumental stone staircase which extends from the grand reception hall into the first floor of the palace.
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The first movement consists of two opposing sections: the "museum" (tonality) and the "uncertain present" (atonality). Even though Schnittke labelled the beginning of the first movement as neo-classical, most scholars tend to agree that it has more baroque or neo-baroque references than neo-classical ones. The concerto starts in G minor, but its chord progression doesn't come anywhere near a cadence, and keeps drifting further from the original key in thirds: E major, A major, F major, D major, B-flat major, G major, C minor, and A major. The second section, marked by the sudden sound of the BACH bells in measure 28, announces the "explosion of the museum".
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His Maria Maddalena of Austria (Wife of Duke Cosimo II de' Medici) with her Son, the Future Ferdinand II (Flint Institute of Arts, 1623) shows his familiarity with the work of Scipione Pulzone, in particular his Portrait of Christine of Lorraine (Uffizi). The cloakroom of the Villa di Pratolino with hunters and cooks of the Medici family During his years in Vienna in 1623 and 1624 he painted in a more painterly style which possibly was under the influence of the works of Hans von Aachen and Josef Heintz. Later, his work became more Baroque, under the influence of Flemish painters such as Rubens, Antony van Dyck and Cornelis de Vos. His Portrait of Prince Waldemar Christian of Denmark (Galleria Palatina) shows the influence of Rubens.
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Jon Lord was Deep Purple's spokesperson and the only band member with whom their managers talked. As is the case with most of the material on their previous two albums, the songs of Deep Purple mix elements of progressive rock, hard rock and psychedelic rock, but this time in a darker and more baroque atmosphere. Perhaps in response to British audiences craving more blues-based rock, the band also incorporated a 12-bar blues structure on the songs "The Painter" and "Why Didn't Rosemary?" "Emmaretta" is a pop rock song written to be a commercial single, but the sound of the album is heavier and more guitar- oriented than previous works, similar to how the band sounded live during this period.
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Likewise, the "cut" (referring to the depth of the shallot and the shape of the opening) and the closed-end shape (whether the closed end of the shallot is flat, domed, or Schiffschen) determine whether the tone is more Baroque or more Romantic. In addition, the type of block (whether a standard shape or a French "double-block") in which the reed assembly is set has an effect on the sound. Scaling is important when determining the final tone color of a reed pipe, though it is not of primary importance as it is in flue pipe construction. This is because reed pipe resonators simply reinforce certain partials of the sound wave; the air column inside the resonator is not the primary vibrator.
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Referring to the south front, English Heritage says "For a garden front it is magnificent but more Baroque than Palladian" and makes no other reference to the Palladian style. Pevsner, p260 says: "But his [Leoni's] great south front is not a Palladian front." However, at this early stage his career Leoni appears to have been still following the earlier and more renaissance-inspired Palladianism which had been imported to England in the 17th century by Inigo Jones. This is evident by his use of classical pilasters throughout the south facade, in the same way that Jones had used them, a century earlier, at the Whitehall Banqueting House and Leoni's mentor, Alberti, had employed them at the Palazzo Rucellai in the 1440s.
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The only other brightness in the picture comes from the white flesh, the red blood of the corpse, and the white knuckles of Saturn as he digs his fingers into the back of the body. There is evidence that the picture may have originally portrayed the titan with a partially erect penis,Morden and Pulimood in Farthing, 375 but, if ever present, this addition was lost due to the deterioration of the mural over time or during the transfer to canvas; in the picture today the area around his groin is indistinct. It may even have been overpainted deliberately before the picture was put on public display.Connell, 209 Peter Paul Rubens' more Baroque-style Saturn Devouring His Son (1636) may have inspired Goya.
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At first, she used rounded stones from the river beds. Later, as her compositions became more baroque, she made use of lime stones with complex forms and grooves, found in the province of Guadalajara. Her singular imaginative world has been a source of inspiration to her husband and many other poets and writers, who have written about her and her art: Manuel Alcántara, Montserrat del Amo, Marcelo Arroita- Jáuregui, Alfonso Canales, Antonio Enrique, Francisco Garfias, Antonio Hernández, Luis Jiménez Martos, Antonio Leyva, Manuel Mantero, Joaquín Márquez, Rafael Montesinos, Rafael Morales, Federico Muelas, Digna Palou, Fernando Quiñones, José María Requena, Mariano Roldán and Lázaro Santana are among them. In 1984 she and the politician and art collector, Agustin Rodriguez Sahagun, signed an exclusivity contract, which his heirs took through to 2002.
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Born in Basel in 1900, the son of a furniture department store owner, his parents were not in favor of Seligmann's artistic aspirations but eventually relented. After studying at the Ecole des Beaux Arts in Geneva and spending several years working in his father's business in Basel, Seligmann left for Paris where he met with his friends from Geneva, sculptor Alberto Giacometti and art critic Pierre Courthion. During this time, he also met Ivy LangtonInformation about Ivy Langton. Through Giacometti he met Hans Arp and Jean Helion, who admired his sinister bio-morphic paintings and invited him to join their group, Abstraction-Creation Art Non-Figuratif. In the mid-1930s his work began to take on a more baroque aspect, as he animated the prancing figures in his paintings and etchings with festoons of ribbons, drapery, and heraldic paraphernalia.
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There is also an equally apposite tantric usage to be found in the Hevajra Tantra where it describes the "mudra" (seal) as a ritual partner in a sex Rite as a girl "possessed of frankincense and camphor", a characterization that turns out to be an encrypted reference for blood and semen (red and white). Regardless, the religious and magical powers of female blood and male semen (the Twin Waters, or the Red and White) is standard in the more baroque forms of Tantraism. An example is found in the Yoni-Tantra (vagina Tantra) of the Kaulas that recommends that, "...the highest sadhaka (officiant) should mix in the water the effusion from yoni (vagina) and lingam (penis), and sipping this amrita (nectar), nourish himself with it." The idea of passing the smoke of incense through the eye holes of the skull is a reflection of the Buddhist belief that incense is pure until empowered by prayer or thought.
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Chisholm, Hugh, François Girardon, Encyclopædia Britannica (1911) There he saw Baroque sculpture and met Bernini, but he came to reject that style and moved instead toward classicism and the models of ancient Roman sculpture. In 1650 he returned to France, and became a member of the group of artists, led by Charles Le Brun, the official painter of the King, and including the garden designer André Le Nôtre, who were commissioned to decorate the new royal park of the Chateau of Versailles. His principal contribution was the group of statuary representing Apollo served by the Nymphs, (1666-1675), symbolizing the Sun King himself, placed in a grotto close to the Palace. The figure of Apollo was inspired in form by the Apollo Belvedere of the Vatican, and featured two groups of figures; Apollo surrounded by nymphs, and a second group, next to the grotto, showing The Horses of the Sun being conducted to their royal stable. He created another fountain for Versailles, the Basin of Saturn or Winter (1672-1677), made of gilded lead, composed in a more baroque style, crowded with figures.
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Guglielmo (from Così fan tutte) for the Netherlands Opera, the Glyndebourne Festival Opera, and the Salzburg Mozart Week were additions to his Mozart portrayals. Pisaroni appeared as Alidoro in La Cenerentola in Santiago, Chile, and, in 2012, as the title character in Maometto II at The Santa Fe Opera, which presented the world premiere of the new critical edition prepared by Philip Gossett from the 1820 edition. His Puccini roles have included Colline in La bohème. Pisaroni's appearances in Handel roles such as Tiridate in Radamisto at the Houston Opera, in addition to Achilla in Giulio Cesare for Opera Colorado and Melisso from Alcina, have been distinguished, but regarding his attitude to singing more Baroque opera and, specifically, in response to a question as to whether he might do some Cavalli or some Vivaldi in addition, he stated: :To be honest with you, I find the Baroque very interesting both dramatically and vocally, but it is something that you need to let go after a while, if you want to develop your voice to do a certain "heavier" repertoire.
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