Sentence examples for nocturnal view from inspiring English sources

The nocturnal view from the west bay looking back east, which takes in the white-glowing Museum of Islamic Arts and the spiral tower of the Qatar Islamic Cultural Center, might be the city's best.

Each photograph shoulders aside its neighbors and stops you dead: a glittering nocturnal view of a West Side high-rise above a soulfully trusting Italian donkey, a naked young man and an expanse of unquiet Hudson River waters, William S.

At her best, as in the nocturnal view of two white chairs under a yellow umbrella at the side of a glowing swimming pool, she conjures up a mysterious state of lonely suspension (Johnson).

CRAIG McPHERSON, Mary Ryan, 24 West 57th Street, (212) 397-0669 (through Jan . 27 An impressively skillful pastel artist, Mr. McPherson has produced a spectacular tour de force in that delicate medium: wrapping continuously around three walls, 18 large paper sheets bear the panoramic nocturnal view of languidly rippling water reflecting red and green city harbor lights.

Here are gorgeously airbrushed nocturnal views of sleek rocket ships being readied for liftoff, made by Bonestell in the 1940's.

He did a series of "City Lights" pictures, which looked like nocturnal views of Los Angeles from above, with words overlaid in white paint.

The style-conscious and alcohol-laden crowd sways to house, trance and Arabic pop music, while marveling at the nocturnal views.

His work is shown alongside Berenice Abbott's spectral "Nightview, New York" from 1932, taken from the window of a skyscraper; Brassaï's nocturnal views of Paris; and Weegee's high-contrast picture of a crime scene.

'EARLY SUNDAY MORNING,' BY EDWARD HOPPER, THE WHITNEY MUSEUM OF AMERICAN ART Many of Hopper's most beloved paintings offer nocturnal views from the outside into electrically lighted interiors: a diner in which night owls sit at the counter or an apartment in which a single woman ponders her life.

Brassaï, the photographer known for his nocturnal views of Paris, felt similarly that fog and rain made the city more photogenic, as in his cinematic picture of a "Morris Column in the Fog" from 1932, in which a man in a trench coat examines advertisements on one of those cylindrical billboards.

The building is headquarters to a powerful civic agency essential to the emergence of the metropolis, while these radiant nocturnal views recall its definitive 1965 representation in celebrated architectural photographs by Julius Shulman.