Sentence examples for stylistic mode from inspiring English sources

Exact(1)

The fact is that in the 17th century an artist chose his stylistic mode, rather than as 20th-century literary theory would have it being bound to "express himself" in "his own style".

Similar(58)

The age frontier proves especially porous at a time when many new artists are looking back, past thirty years of post-minimalist orthdoxy, to stylistic modes of the nineteen-sixties.

This is why their books often flaunt a smorgasbord of techniques, transforming the comic and the tragic, the hallucinatory and the naturalistic from mutually exclusive genres into stylistic modes that can be shrugged on and off at will.

From his early, colourful history paintings to his glowing late works, it is clear that he was an artist continuously in search of new stylistic modes of expression and that he belongs to that small category of artists whose development never ceased.

The results were diverting within a narrow stylistic range; the songs, whether originally by Depeche Mode or the Buzzcocks, became frisky bossa novas.

The artist blends stylistic cues from the Kano School, the dominant painting mode in Japan through the 15th and 18th centuries, and blends them with motifs ascribed to traditional western art movements like Abstract Expression.

It was a smart move, since those selections — five songs on poems by Friedrich Rückert, five from the collection "Myrthen" and a final group based on texts attributed to Mary Stuart — showed both Schumann and Ms. Fink at work in varying expressive modes, warding off any risk of stylistic monotony.

Developed by his great successor al-Ḥarīrī into a vehicle for tremendous feats of stylistic virtuosity, the maqāmah genre was a much-favoured mode of prose expression for the intellectual elite of the Arabic-speaking world until the latter half of the 20th century.

"Manhunter" has aged well, despite certain stylistic anachronisms -- Mr. Mann was at the height of his "Miami Vice" mode at the time.

This constant shifting between three narrative modes, one of them highly artificial, ensures that the author's stylistic self-consciousness dominates the book.

It's a stylistic high-wire act, and Rees never teeters, even when he shifts into full-on absurdist mode in later sections on celebrity-impression and telekinetic pencil sharpening, or the appendix on wines that taste like pencils.

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