Anagrammy Awards > Literary Archives > Jaybur
Original text in yellow, anagram in pink.
An excerpt from a book on the Impressionists. |
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Impressionism emerged in France in the latter half of the nineteenth century as a revolutionary new force in painting. The artists who adopted this style were the first to take up their equipment and leave the confines of their studios to paint what they saw around them outside in the open air. As a result of this they were able to paint actually as they saw a scene not as they saw it in their mind's eye. The main concern of the Impressionists was with every aspect of light. Artists such as Monet and Cezanne returned incessantly to the same spot to capture the ever changing effects of sunlight on their surroundings. This impromptu style was made possible by the advent of three items: the camera, tubes of ready mixed paint and increased understanding of the optical effects that colours had upon each other. |
Mon Dieu! I see, and feel, the myriad hues! View stunning paintings, 'Water Lilies' and 'Bridge over the Pond', which exemplify the watery scenic theme. Note an inspired French view, one of sun-dappled water, that is created with soft, feathery brushstrokes and natural tints. See airy scenery, soft green plants, flowers, portraits; some fleshy nudes too. These Frenchmen opt to use their paintbrushes in an attempt to reflect transient luminosity on canvas. That way with a palette emphasizes the sensitivity of their approach in art. They choose to accentuate shapes in the sun with rich colouring, and use a touch that seems magical. Such eminent masters of art had undoubted talent at the time, for creating the freshest compositions, often out-of-doors.Oh yes, they tried; they attained an art ideal, magnifique, n'est-ce pas? |
An old English teaching aid. |
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HOW TO CONVERSE: A short lesson In promulgating your esoteric cogitations or articulating superficial sentimentalities and physiological or zoological observations, beware of platitudinous ponderosity. Let your conversation possess a clarified conciseness, a compact comprehensibleness, and a coalescent consistency. Eschew all conglomerations of flatulent garrulity, Jesuitical babbling and asinine affectations. Let your extemporaneous descanting and unpremeditated expatiations, have intelligibility, without rodomontade or thrasonical bombast. Sedulously avoid all polysyllabic profundity, pompous prolixity and vapidity. Shun double entendre, and puerile jocosity, whether obscure or apparent. |
Now class, listen up! Give me yer lug'oles, you 'orrible lot: you're 'ere to learn.
Don't complain: it can even be fun! So, go on; zip up yer gobs, hear me out. I'll teach
all you ninnies how to chat proper, get it? Ace. Cool. Yea, pupils, 'cos now it's super
cool chat time! You can learn loads: so, no more sad come-on, chat-up lines, lads! |
Updated: May 10, 2016
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