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Her and training
Her European training did influence her palette, however, and she adopted more white and paler coloration in her oil painting, particularly in depicting female subjects, an approach favored by Sargent as well.
Her first course began in January 1925, and it offered to " prepare a member of an organization, who has adequate training both in scientific method and in plant problems, to take charge of Motion Study work in that organization.
Her academic training emphasized development of an alla prima technique and painting out of doors, which inspired her to produce bold impasto works quickly.
" Her teacher was Anita " Neta " Snook, a pioneer female aviator who used a surplus Curtiss JN-4 " Canuck " for training.
Her training was in history and political thought, a subject she was forced to study by her father, although her passion was literature and writing.
Her funds began to run low, and although her training was not yet complete she began to look for work to help support her schooling.
Her plan to rejoin the tour at the beginning of 2005 was delayed when she fractured her kneecap in a December 2004 training session.
Her training with J. C. Williamson led to a succession of theatre roles with the company.
Her training would be as elaborate as the training of a Mata Hari.
Her initial mission, killing a foreign diplomat in a crowded restaurant and escaping back to the Centre from his well-armed bodyguards, doubles as the final test in her training.
Her musical training was strictly classical and theatrical.
Her successful Channel swim-this time training with Tom Burgess ( who had successfully swam the Channel )-began approximately one year later at Cape Gris-Nez in France at 07: 08 on the morning of August 6, 1926.
Her superiors held mixed opinions on her suitability for secret warfare, and her training was incomplete.
Her parents opted for local training, hiring Ernst Perabo and later Carl Baermann as piano teachers.
Her concerns about white guilt led her to move from black-white group encounters to all-white groups in her anti-racism training.
Her previous dance training is also called into play, not only in the two dance numbers she performs with Astaire but also for a Bohemian-style solo dance in a nightclub, which has since often been replayed in retrospectives of her career.
Her classical training gave her an advantage over the many theremin performers who lacked this background.
Her role in The Matrix: Path of Neo is relatively similar to her appearances with Neo in the films ; she has a spar with him during his sword-fighting training, accompanies him during the raid on the military building to rescue Morpheus ( subsequently helping him to defeat an Agent on the rooftop ), and is later rescued by him from some attacking Agents after the last meeting with the assorted ship captains.
Her lectures and arguments were specifically designed to introduce prophylaxis as a subject within the teachers ' training syllabus.
Her work included teacher training and syllabus implementation, bi-centenary and other special music projects such as regional bands and choirs, and special arts projects including working with indigenous Australians on the far west border of NSW.
Her involvement with fleet is indirect but extensive from both these training commands as she is also tasked with modeling and simulating the mix of advanced weapons that have suddenly become available from development of a small fusion reactor that can ride on a missile or other small platform.
Her training led to appearances in Max Reinhardt's The Miracle in London and Fifinella, directed by Basil Dean, for the Liverpool Repertory Theatre.
Her mission training included six months of experiment training in Germany, France, Switzerland, and The Netherlands.

Her and was
Her face was very thin, and burned by the sun until much of the skin was dead and peeling, the new skin under it red and angry.
Her blond hair was frowzy, her dress torn in several places, and her shoes were so completely worn out that they were practically no protection.
Her form was silhouetted and with the strong light I could see the outlines of her body, a body that an artist or anyone else would have admired.
Her mouth, which had been so much in my thoughts, was warm and moist and tender.
Her heart, her maternal feeling, in fact her being was too busy expressing itself, as quietly thrilled by this sight of her Nicolas curled asleep under a blanket, in a park like a scene from Poussin.
Her white blond hair was clean and brushed long straight down to her shoulders.
Her thick hair was the color and texture of charcoal.
Her laugh was hard.
Her face was pale but set and her dark eyes smoldered with blame for Ben.
Her stern was down and a sharp list helped us to cut loose the lifeboat which dropped heavily into the water.
Her name was L'Turu and she told me many things.
( Her account was later confirmed by the Scobee-Frazier Expedition from the University of Manitoba in 1951.
Her mother was a good manager and established a millinery business in Milwaukee.
Her name was Esther Peter.
Her brother Karl was a very gentle soul, her mother was a quiet woman who said little but who had hard, probing eyes.
Her mother, now dead, was my good friend and when she came to tell us about her plans and to show off her ring I had a sobering wish to say something meaningful to her, something her mother would wish said.
Her action was involuntary.
Her name was Mollie.
Her speech was barren of southernisms ; ;
Her quarters were on the right as you walked into the building, and her small front room was clogged with heavy furniture -- a big, round, oak dining table and chairs, a buffet, with a row of unclaimed letters inserted between the mirror and its frame.
Her hair was dyed, and her bloom was fading, and she must have been crowding forty, but she seemed to be one of those women who cling to the manners and graces of a pretty child of eight.
Her voice was ripe and full and her teeth flashed again in Sicilian brilliance before the warm curved lips met and her mouth settled in repose.

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