Sentence examples for a ghostly imprint from inspiring English sources
The aerial spectral survey also unexpectedly created a ghostly imprint of the vanished twin towers.
Jasper Johns is seen in black and in white silhouettes regarding a ghostly imprint of a hand and arm, inspired by his 1962 series "Study for Skin," which used charcoal imprints of his face and hands.
Yet the chunks of lamb are not fiery but hauntingly spicy, as if the chilies had left a ghostly imprint of their power, capturing the full flavor of the pepper.
Jasper Johns is seen in black and in white silhouette regarding a ghostly imprint of a hand and arm inspired by his 1962 series "Study for Skin"; the painter Neil Jenney, obsessed with baseball, is shown in two silhouetted action studies wielding a bat and a catcher's mitt.
"The Threshold of Very Long Suffering" is a sulfurous lump from which the ghostly imprint of hands emerge, making the work look as if it is sculpting itself.
They stand above the desolate remains of the city, post-atomic bomb, looming over a landscape entirely razed but for a lonely church and an apartment block clinging on to the ghostly imprint of the former street grid.
Using silver nitrate and light I created a series of ghostly imprints generated by a 400-million-year-old atmosphere – an atmosphere so deadly that two inhalations would suffice to kill a person.
This near-silent story of the slow re-humanization, the redemption of individuals which we call marginalized takes place in a shanty that could be anywhere, and happens to be on the edges of Turin, Italy, which is perhaps fitting, given that city's famous shroud with its ghostly imprint, and the absolutely beautiful final scene in which two street urchins riding on a bus seem to disappear.
Spencer Brown's sepia lighting spread window grilles across the stage, all shot through with smoke and steam to tell us, as if we hadn't guessed, that this is a back alley in a graffiti-daubed cityscape, and the dancers moving through it are after-images, ghostly imprints, of the passing day.
In his book the author calls the publishing companies of today "the ghostly imprints of bygone firms".
Le Brocquy also specialized in scarred, ghostly imprints of human forms, which looked forward to Jean Fautrier's hostage heads and Francis Bacon's screaming popes.
