Example sentences of "as a " in BNC.

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31 Participating as a group delegate and individual member in the vigorous AGM at Liverpool , I was surprised to see a religious service on the printed agenda , with the order of service available at the official information counter .
32 As a private activity there could be no objection to Christian members calling their fellow-believers to prayer , and I suppose that I and fellow-members of the British Humanist Association could have similarly organized a non-official meeting .
33 I have worked for 14 years as a care assistant in a special school , and although the general attitude towards individuals with a mental handicap is gradually changing , it is both reassuring and encouraging to see youngsters such as these becoming a more regular part of ‘ everyday life ’ .
34 The author spent much of his life as a bachelor Fellow of Brasenose College Oxford ; his cloistered life was devoted to writing , notably on classical antiquity and the Italian Renaissance .
35 Walter Pater was a master of atmosphere ; he had been inspired as a young man by Ruskin , and his idealism about art and his fine prose were in turn much admired by a younger generation of aesthetes , among whom Oscar Wilde was a prominent figure .
36 Roger Fry acknowledged German scholarship as a precursor of serious art historical studies in this century .
37 Critical appreciation was desired by fry as a necessary part of a course in art history ; , and is today naturally included .
38 This guide was extensively revised over nine years , and was republished in 1980 as a Guide to the Literature of Art History , intended for ‘ persons doing serious research in the field of art history ’ .
39 A teacher 's list for analysing pictures may be something like that of the American educationalist Thomas Munro : first impressions of the picture as a whole , line , light and dark , colour , mass , space , unity of design .
40 An example of an artist acting directly as a critic is Bridget Riley , who selected a show of pictures from the collection at the National Gallery in London , in a series called ‘ The Artist 's Eye ’ .
41 Connections with her own practice as a painter were evident , even though her abstract compositions were very different in subject from the works of her chosen artists , who included Veronese and Poussin .
42 As a critic , his descriptions of paintings were phrased with exceptional care .
43 Art Now had started life as a lecture series , but Read was a frequent reviewer of exhibitions , and a contributor to the Listener , from which some short essays were published under the title The Meaning of Art .
44 It stands as a sympathetic appraisal by a critic who is trusting largely to his own intuitive sense of quality :
45 A different sort of response to art is to use it as a means of learning more about the society in which it was produced ; this may be felt by a theoretician to be more important than to know the artist 's intentions , which , it can be argued , are determined by society .
46 This stance is partly a reaction against what Krauss saw as a dominant position in American criticism , by which ‘ the art of the last hundred and thirty years , the art of modernism , is not being well served by writing that promotes the myths through which it can be consistently misread ’ .
47 Jacob Burckhardt sensibly avoids pedantry about a starting date , but stresses the revival of antiquity as a main characteristic of the period .
48 In the evening our friend has supper in the art nouveau interior of the Hotel Europe , before going to a performance at the National Theatre , built in the 1880s as a monument to the Czech national spirit , pinioned under the Austro-Hungarian Empire .
49 The specialist field of old master drawings has received extremely detailed study ; the drawings are interesting both in their own right and as a means of knowing more about artists ' practices .
50 Here the writer is likely to be a practitioner , and the approach may defer to the popularity of the medium as a pastime for amateurs .
51 For example , landscape painting had only a gradual success as a theme in European painting .
52 For he had revealed one of the eternally popular effects of nature , one which is still quoted by simple people as a standard of visual beauty .
53 They have undermined long-cherished views of the writer or artist as a unique individual creating in the image of divine creation ( in an unbroken chain that links father and son as in Michelangelo 's God reaching towards Adam in the Sistine Chapel frescoes ) , and the work of art as reducible to a single ‘ true meaning ’ …
54 They may , however , not be exactly what the author would have preferred , as a colour plate which is readily available ( perhaps having been used in another publication ) is much cheaper to use than a new plate which has to be commissioned .
55 To borrow a phrase from a biography of Van Gogh , the writer had had the advantage of having the artist as a coauthor .
56 From the distance of a century , some of Van Gogh 's enthusiastic appraisals of the art of his time look curious ; but then , this artist acting as a critic was especially vulnerable to admiring art with a moral purpose , or work from which he was able to draw inspiration .
57 How beautiful , how devoid of everything like the handicraft of art it is — the largeness , and yet ingenuity of its effect — the purity of its colour — the truth , yet refinement and elegance of the action , particularly of the hands ( in which he particularly excels ) ; and then , a lesson to all high-minded slovens , the patient vigilance with which the whole is linked together , by touches , in some instances small almost as a miniature , but like the sparkling of water .
58 The virtue of artists ' writings for the reader of criticism is that it can often serve as a touchstone for judging the worth of mediators , particularly those presenting views of what the artist intended ; what the artist said may be more to the point .
59 A decline of the sculptor 's reputation derived not only from the political discredit into which the regimes of the years before 1914 had fallen , but also from a distaste for allegory , and a revulsion from naturalist sculpture ( which the young Brancusi expressed forcefully as a dislike for ‘ beefsteak ’ ) .
60 Also , the history of sculpture includes some account of the abortive plans for sculpture , just as the history of architecture is incomplete as a history of ideas without a knowledge of rejected proposals .
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