With nary a nod at the virtuosities of desert guitar gods like Bombino, their second international release rocks without hesitation or apology.
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They are once again playing a joyful and totally vicious basketball, with the team's stars trading virtuosities as the circumstances demands or as the spirit moves them.
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If, for some, rock performance is exemplified in the various virtuosities of Clapton, Van Halen, and Tom Morello, the exhibition reminds us that it can also be about creative destruction.
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This is, below the other signature virtuosities that athletes bring to their jobs, the thing that makes a quarterback's fearless presence of mind or a point guard's perspective or a pitcher's metronomic repetition so astounding.
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Whilde, Stefan (26 July 2006). Hammarén, Stefan: "På burklös mark", Kristianstadsbladet (in Swedish) They resemble Joyce's verbal virtuosities in Finnegans Wake. Hammarén's "Sopptrilogi" ("Soup Can Trilogy", 2001—2005) deals with the saucepan-land colonization, in which ingredients and constituents are plentiful. The trilogy's first novel was published in 2001 and called "Med en burk soppa", it was continued by "Konservöppnare bok" in 2003 and finally "På burklös mark" in 2005.
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II, p.445 and Arthur Rimbaud.Răileanu & Carassou, p.152; Sandqvist, p.199 Thalassa, Le Calvaire de feu is noted for its numerous cultural references, and especially for using a wide range of metaphors. Such aspects have been reviewed negatively by modern critics. Tudor Vianu writes: "the poet makes such waste of gemstones that we feel like saying some of them must be false",Vianu, Vol. II, p.444 while Călinescu, who notes that some fragments reveal "an incomparable artist" and "a professional metaphorist", notes that "in the end, such virtuosities become a bore." According to Manuela-Delia Suciu, Thalassa is "prolix" and "too polished", traits believed by Zamfir to be less irritating in the Romanian version. Critic Cornel Moraru found that, in the background, Thalassa, a "great Symbolist novel", confronts Ancient Greek and Christian mythology, but "abuses" the religious vocabulary.
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They had more easy access to Italy, where Denis Calvaert lived from the age of twenty in Bologna, though selling much of his work back to Flanders. Both Marten de Vos and Otto van Veen had travelled there; Van Veen, who had actually worked in Rudolf's Prague, was the founder of the Guild of Romanists, an Antwerp club for artists who had visited Rome. They were more conscious of recent trends in Italian art, and the emergence of Baroque style, which in the hands of Van Veen's pupil from 1594 to 1598, Rubens, would soon sweep over Flemish art.Shawe-Taylor, 37–40 In religious works, Flemish artists were also subject to the decrees of the Council of Trent, leading to a reaction against the more extreme virtuosities of Mannerism and to a clearer, more monumental style akin to the Italian maniera grande.
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