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1 style
I [staɪl]1) (manner) stile m. (anche letter.)2) (elegance) classe f., stile m.3) (design) (of car, clothing) modello m.; (of house) tipo m.4) (fashion) moda f.5) (approach) stile m., modo m. di fareI don't like your style — non mi piace il tuo stile o il tuo modo di fare
6) (hairstyle) taglio m.7) - style in compostiII 1. [staɪl]1) (design) disegnare, progettare [car, kitchen, building]; disegnare, creare [collection, dress]2.to style oneself doctor — farsi chiamare o attribuirsi il titolo di dottore
* * *1. noun1) (a manner or way of doing something, eg writing, speaking, painting, building etc: different styles of architecture; What kind of style are you going to have your hair cut in?; a new hairstyle.) stile2) (a fashion in clothes etc: the latest Paris styles; I don't like the new style of shoe.) stile3) (elegance in dress, behaviour etc: She certainly has style.) stile, classe2. verb1) (to arrange (hair) in a certain way: I'm going to have my hair cut and styled.) acconciare, pettinare2) (to design in a certain style: These chairs/clothes are styled for comfort.) disegnare, progettare•- stylish- stylishly
- stylishness
- stylist
- in style* * *I [staɪl]1) (manner) stile m. (anche letter.)2) (elegance) classe f., stile m.3) (design) (of car, clothing) modello m.; (of house) tipo m.4) (fashion) moda f.5) (approach) stile m., modo m. di fareI don't like your style — non mi piace il tuo stile o il tuo modo di fare
6) (hairstyle) taglio m.7) - style in compostiII 1. [staɪl]1) (design) disegnare, progettare [car, kitchen, building]; disegnare, creare [collection, dress]2.to style oneself doctor — farsi chiamare o attribuirsi il titolo di dottore
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2 style
1. noun1) (a manner or way of doing something, eg writing, speaking, painting, building etc: different styles of architecture; What kind of style are you going to have your hair cut in?; a new hairstyle.) estilo2) (a fashion in clothes etc: the latest Paris styles; I don't like the new style of shoe.) moda3) (elegance in dress, behaviour etc: She certainly has style.) estilo, clase, elegancia
2. verb1) (to arrange (hair) in a certain way: I'm going to have my hair cut and styled.) marcar, peinar2) (to design in a certain style: These chairs/clothes are styled for comfort.) concebir; diseñar•- stylish- stylishly
- stylishness
- stylist
- in style
style n1. estilo2. modelo / modatr[staɪl]1 (gen) estilo2 (type, model) modelo, diseño3 (of hair) peinado4 (fashion) moda5 formal use (correct title) título6 SMALLBOTANY/SMALL estilo2 formal use (name, title) llamar\SMALLIDIOMATIC EXPRESSION/SMALLto be somebody's style ir con alguien, irle a alguiento do something in style hacer algo a lo grande1) name: llamar2) : peinar (pelo), diseñar (vestidos, etc.)carefully styled prose: prosa escrita con gran esmerostyle n1) : estilo mthat's just his style: él es asíto live in style: vivir a lo grande2) fashion: moda fn.• elegancia s.f.• estilo s.m.• forma s.f.• lenguaje s.m.• moda s.f.• pistilo (Botánica) s.m.• pluma s.f.• tratamiento s.m.• título s.m.• uso s.m.v.• adaptar a la moda v.• cortar a la moda v.• intitular v.• peinar v.
I staɪl1) c ua) ( manner of acting) estilo mto cramp somebody's style — inhibir or cohibir* a alguien, limitar a alguien en su libertad de acción
b) (Art, Lit, Mus) estilo min the style of William Morris — al estilo or a la manera de William Morris
2) u ( elegance) estilo mto liveavel in style — vivir/viajar a lo grande
3)a) c (type, model) diseño m, modelo mb) u c ( fashion) moda fc) c ( hair style) peinado m
II
1) (design, shape) \<\<car/furniture/clothes\>\> diseñar2) (name, designate) (frml) llamar[staɪl]1. N1) (Mus, Art, Literat) estilo m2) (=design, model) estilo m3) (=mode) estilo mmanagement style — estilo m administrativo
style of living — estilo m de vida
in the Italian style — al estilo italiano, a la italiana
that's the style! — ¡así se hace!, ¡muy bien!
this is a lesson in economics, nineties style — esta es una lección de economía al estilo de los noventa
house 3.6 March, old/new style — 6 de marzo, según el calendario juliano/gregoriano
4) (=elegance) estilo mto do sth in style — hacer algo por todo lo alto or a lo grande
they celebrated in style — lo celebraron por todo lo alto or a lo grande
to live in style — vivir por todo lo alto or rodeado de lujo
5) (=fashion) moda fto go out of style — [mode of dress] pasar de moda
they spent money like it was going out of style * — hum gastaban dinero a troche y moche or como si fuera agua
she was drinking vodka like it was going out of style — bebía vodka como si se estuviera acabando el mundo
6) * (=way of behaving) estilo mcramp I, 1.7) (also: hairstyle) peinado m8) (=form of address) título m2. VT1) frm (=call, designate)the headmaster is styled "rector" — al director se le llama "rector"
self-styledhe styles himself "Doctor" — se hace llamar "Doctor"
2) (=design) [+ clothes, car, model] diseñarJackie's hair was styled by... — Jackie ha sido peinada por...
3) (Typ) [+ manuscript] editar (siguiendo el estilo de la editorial)3.CPDstyle book N — (Typ) libro m de estilo
style guru * N — gurú mf de la moda
style sheet N — (Comput) hoja f de estilo
* * *
I [staɪl]1) c ua) ( manner of acting) estilo mto cramp somebody's style — inhibir or cohibir* a alguien, limitar a alguien en su libertad de acción
b) (Art, Lit, Mus) estilo min the style of William Morris — al estilo or a la manera de William Morris
2) u ( elegance) estilo mto live/travel in style — vivir/viajar a lo grande
3)a) c (type, model) diseño m, modelo mb) u c ( fashion) moda fc) c ( hair style) peinado m
II
1) (design, shape) \<\<car/furniture/clothes\>\> diseñar2) (name, designate) (frml) llamar -
3 Art
Portugal did not produce an artist of sufficient ability to gain recognition outside the country until the 19th century. Domingos Antônio Segueira (1768-1837) became well known in Europe for his allegorical religious and historical paintings in a neoclassical style. Portuguese painting during the 19th century emphasized naturalism and did not keep abreast of artistic innovations being made in other European countries. Portugal's best painters lived abroad especially in France. The most successful was Amadeo Souza- Cardoso who, while living in Paris, worked with the modernists Modigliani, Georges Braque, and Juan Gris. Souza-Cardoso introduced modernism into Portuguese painting in the early 20th century. A sustained modernist movement did not develop in Portugal, however. Naturalism remained the dominant school, and Portugal remained isolated from international artistic trends, owing to Portugal's conservative artistic climate, which prevented new forms of art from taking root, and the lack of support from an artistically sophisticated, art-buying elite supported by a system of galleries and foundations.Interestingly, it was during the conservative Estado Novo that modernism began to take root in Portugal. As Prime Minister Antônio de Oliveira Salazar's secretary for national propaganda, Antônio Ferro, a writer, journalist, and cultural leader who admired Mussolini, encouraged the government to allow modern artists to create the heroic imagery of the Estado Novo following the Italian model that linked fascism with futurism. The most important Portuguese artist of this period was Almada Negreiros, who did the murals on the walls of the legendary café A Brasileira in the Chiado district of Lisbon, the paintings at the Exposition of the Portuguese World (1940), and murals at the Lisbon docks. Other artists of note during this period included Mário Eloy (1900-51), who was trained in Germany and influenced by George Grosz and Otto Dix; Domingos Alvarez (1906-42); and Antônio Pedro (1909-66).During the 1950s, the Estado Novo ceased to encourage artists to collaborate, as Portuguese artists became more critical of the regime. The return to Portugal of Antônio Pedro in 1947 led to the emergence of a school of geometric abstract painting in Oporto and the reawakening of surrealism. The art deco styles of the 1930s gave way to surrealism and abstract expression.In the 1960s, links between Portugal's artistic community and the international art world strengthened. Conscription for the wars against the nationalist insurgencies in Angola, Mozambique, and Guinea- Bissau (1961-75) resulted in a massive exodus of Portugal's avante-garde artists to Europe to avoid military service. While abroad, artists such as Joaquin Rodrigo (1912-93), Paula Rego (1935-), João Cutileiro (1947-), and others forged links with British, French, Italian, and Spanish artistic communities.The Revolution of 25 April 1974 created a crisis for Portugal's artists. The market for works of art collapsed as left-wing governments, claiming that they had more important things to do (eliminate poverty, improve education), withdrew support for the arts. Artists declared their talents to be at the "service of the people," and a brief period of socialist realism prevailed. With the return of political stability and moderate governments during the 1980s, Portugal's commercial art scene revived, and a new period of creativity began. Disenchantment with the socialist realism (utopianism) of the Revolution and a deepening of individualism began to be expressed by Portuguese artists. Investment in the arts became a means of demonstrating one's wealth and social status, and an unprecedented number of art galleries opened, art auctions were held, and a new generation of artists became internationally recognized. In 1984, a museum of modern art was built by the Gulbenkian Foundation adjacent to its offices on the Avenida de Berna in Lisbon. A national museum of modern art was finally built in Oporto in 1988.In the 1980s, Portugal's new generation of painters blended post-conceptualism and subjectivism, as well as a tendency toward decon-structionism/reconstructionism, in their work. Artists such as Cabrita Reis (1956-), Pedro Calapez (1953-), José Pedro Croft (1957-), Rui Sanches (1955-), and José de Guimarães (1949-) gained international recognition during this period. Guimarães crosses African art themes with Western art; Sarmento invokes images of film, culture, photography, American erotica, and pulp fiction toward sex, violence, and pleasure; Reis evolved from a painter to a maker of installation artist using chipboard, plaster, cloth, glass, and electrical and plumbing materials.From the end of the 20th century and during the early years of the 21st century, Portugal's art scene has been in a state of crisis brought on by a declining art trade and a withdrawal of financial support by conservative governments. Although not as serious as the collapse of the 1970s, the current situation has divided the Portuguese artistic community between those, such as Cerveira Pito and Leonel Moura, who advocate a return to using primitive, strongly textured techniques and others such as João Paulo Feliciano (1963-), who paint constructivist works that poke fun at the relationship between art, money, society, and the creative process. Thus, at the beginning of the 21st century, the factors that have prevented Portuguese art from achieving and sustaining international recognition (the absence of a strong art market, depending too much on official state support, and the individualistic nature of Portuguese art production) are still to be overcome. -
4 São Bento, Palace of
São Bento Palace in Estrela district of Lisbon in an earlier life was a convent (constructed 1598-1615). After 1834, Portugal's national legislature or Cortes was transferred to the old convent, which thereafter was adapted and renovated. In common usage, "São Bento" refers to the seat of national government, much the way "Whitehall" in London describes the location of the British government. In Portugal, however, São Bento houses not one but two branches of the national government: both the legislative branch and part of the executive. Since the foundation of the First Republic, then, São Bento has been the home of the legislature and of the residence and office of the prime minister (or president of the Council of Ministers).By the first decade of the 20th century, the legislative hall or chamber of São Bento was essentially the building of today. In a grand and imposing neoclassical style, the palace has housed all the legislative bodies whatever their names: in the constitutional monarchy, the House of Deputies and Peers; in the First Republic, the Senate and House of Deputies; in the Estado Novo dictatorship, the National Assembly and Corporate Chamber; in democratic (post-1974) Portugal, the Assembly of the Republic. While the building is largely pre-1910, the art and decorations are more recent. The halls, foyers, stairways, and chambers are decorated with murals, frescoes, and statuary, including the impressive oils of the 1920s in the murals by Columbano Bordalo Pinheiro, which depict the pageant of Portugal's main legislators since 1821. Other art dates to the 1930s under the Estado Novo. Tellingly, the delegates' hall outside the main legislative chamber is known as the hall of "Wasted Time."Behind the legislative halls, in another part of São Bento, is situated residence and offices of the prime minister, the official home of all heads of government beginning in the First Republic. Until the late 1980s, too, São Bento housed the country's main national archives, the National Archive of Torre do Tombo. -
5 Ajuda, Palace of
Massive Ajuda Palace, in the Ajudá section of Lisbon, incredibly never finished, is the largest former royal residence in the capital. Like so many other Portuguese palaces now open to the public or in current government use, it is actually a "working palace-museum," containing countless treasures within its royal walls. Ajuda Palace was built, beginning in 1802, to replace a wooden palace close by that had burned down. Construction endured throughout the remainder of the 19th century. Neoclassical in style, Ajuda Palace retains a somewhat forbidding, cold look, but the interior is dominated by a rich mixture of 19th-century Portuguese art that includes paintings, tapestries, ceramics, and statuary. Ajuda also features an important library, one documentary key to the history of the century during which the palace was built, with rare manuscripts and books as part of contemporary government records.
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