Sentence examples for ambiguous portrait from inspiring English sources

However, even this ambiguous portrait of female power proved too much for Moffat to stomach.

While these varied perspectives help elaborate the ambiguous portrait Kent intends, the most effective passages — both in adding nuance to Agnes's character and in spinning her story — are those told in Agnes's unmediated voice, at least once the narrative has picked up momentum.

Unlike the exquisitely choreographed ceremonies during the Beijing Olympics, the fair presented a messier and more ambiguous portrait of China on the rise — a country still deeply uncomfortable with its own discordant voices, yet eager to become more competitive with the West in the realm of ideas.

Leff won $100,000 for her compellingly ambiguous portrait of Zosa Szajkowski, a Jew born in Bialystock who saved many rare French Jewish documents during World War II – and then continued pillaging archives after the war ended.

His ongoing body of work, America in a Trance, is in some ways a continuation of the conversations started by Robert Frank and Walker Evans nearly half a century ago: a poignant and ambiguous portrait of a country, its people, and its values.

Pornography (Traverse) Simon Stephens's ambiguous portraits of urban alienation, told in crystalline prose.

I think Rathburn is – on balance – an anti-Scientology hero, but we deserve the more ambiguous, troubling portrait sketched here.

His best work is his earliest: the ambiguous 1864 "Portrait of Mademoiselle L. L.," a dark-eyed ingénue perched on a desk in a fashionable red bolero and dark soft skirt, evoking Corot as much as Ingres with a subtle eroticism that Balthus must have envied.

The other is a copy of the artist's snarling "Malle Babbe" (or Mad Meg), one of Hals's ambiguous genre portraits, which is part close-up pub scene but also possibly based on a real person who lived in the Haarlem workhouse to which Hals's mentally impaired son, Pieter, was confined.

Ranging over the entire political spectrum, from anti-establishment and anti-government groups to official government troops, Helms' portraits are intentionally politically ambiguous, stating "The politics are less interesting to me then this idea of a repeated identity".

In a smoky portrait dated 1531-34, thauntinglygly ambiguous expression of an adored young friend, Andrea Quaratesi, qualifies the sitter as kissing kin of the Mona Lisa.