ellauri030.html on line 732: Sudden glory, is the passion which makes those grimaces called laughter; and is caused either by some sudden act of their own, that pleases them; or by the apprehension of some deformed thing in another, by comparison whereof they suddenly applaud themselves. And it is incident most to them, that are conscious of the fewest abilities in themselves; who are forced to keep themselves in their own favor by observing the imperfections of other men. And therefore much laughter at the defects of others, is a sign of pusillanimity. For of great minds, one of the proper works is, to help and free others from scorn; and to compare themselves only with the most able.
ellauri033.html on line 250: la grimace. Ils mirent des premiers en vogue l´art chimérique et
ellauri100.html on line 1049: Demure grimaces,
ellauri132.html on line 594: they grimaced he irvistivät
ellauri145.html on line 181: - Zauner la glauje, »- répliqua-t-il en essayant une grimace avec sa hideuse petite bouche. Là-dessus, je fis un effort pour me lever, dans
ellauri150.html on line 323: — Est-ce que ce n’est pas vrai ?… Pourquoi haussez-vous les épaules ? Pourquoi faites-vous la grimace ?
ellauri164.html on line 110: Bah ! faisons toutes les grimaces imaginables.
ellauri198.html on line 440: No! penury, inertness and grimace, Ehei! köyhää kuin Saarijärvellä
ellauri236.html on line 502: Paula made a grimace as if she had bitten into a lemon.
xxx/ellauri120.html on line 105: Its face twisted in a grimace
xxx/ellauri139.html on line 1197: Ma douceur n’est qu’une grimace ; Hyvyyteni on vain irvstys;
xxx/ellauri187.html on line 197: But why did aging Rodin in his 60s capture Rilke’s imagination at the turn of the last century? It’s hard to see at first. What made Rodin radical then is no longer radical today. In his “Self-Portrait” (1890), Rodin grimaces amidst rough marks. The picture emblematizes how Rodin heralded raw and unpolished sculptures that were strikingly modern. It was a breath of fresh air since most of early-19th-century sculpture was smooth, neoclassical, and to be harshly honest, predictably dainty. Charles Baudelaire lamented this nadir in 1846 when he wrote his provocative essay “Why Sculpture is Boring.” Rodin went on to prove Baudelaire wrong. He showed how sculpture could be modern with distorted, coarse, rough textures. Rodin knocked the idealized body off its pedestal. And the modern sculptors that came after him saw no reason to put it back.
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