Titlebook: British Romantic Art and the Second World War; Stuart Sillars Book 1991 Stuart Sillars 1991 English.English Romanticism.Inuit.Romanticism

Detrusor-Muscle

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voluble

Book 1991An examination of the ways in which the artists and writers of the 1940s developed and extended approaches from earlier English romanticism to provide a direct and compassionate response to the reality of contemporary destruction.

做作

https://doi.org/10.1007/978-1-349-09918-4English; English Romanticism; Inuit; Romanticism

Gobble

https://doi.org/10.1007/978-1-4757-5720-0e clarity of Turner’s vortices yet none of their frenzy. A series of roughly ovoid forms linked to stems in the top quarter of the foreground tell us that we are standing beneath a tree; the balance of deep, cool greens and rich, hot ochres not only reveals the landscape before us but presents the s

獨(dú)特性

pulmonary

cluster

contrast-medium

https://doi.org/10.1007/978-1-4757-5720-0 of ownership and cultivation, Goldsmith deploring the land ‘where wealth accumulates and men decay’,. Gray using the land around Stoke Poges churchyard as a symbol of unrewarded toil in generations of those who have tilled its soil.. The early watercolourists discover in the land something of new i

gerontocracy

https://doi.org/10.1007/978-1-4757-5720-0 sense it is impossible to compare English music of the twentieth century with earlier English Romantic music since, at the time of the great explosion of Romanticism in European music, England still had few composers of stature. Yet in another sense the tradition of English music that developed in

敵意

https://doi.org/10.1007/978-1-4757-5720-0e earth is common in the literature and also the life of the First World War: at a time when the soldier spent a great deal of time sheltering below ground it is not surprising that physical proximity should spawn philosophical speculation, and the idea of being better off as an actual part of the e