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His father Adolf Loos was a German stonemason who died when Loos was nine years old. [4] His mother, Marie Loos, was a sculptor who later carried on the masonry business after her husband's death. Young Adolf Loos had inherited his father's hearing impairment and was significantly handicapped by it throughout his life, contributing to his ...
Felicitas von Lovenberg of the Frankfurter Allgemeine Zeitung calls A Man in Love Walser's "most tender, inexorable and conciliatory" novel. [1] Andreas Merkel of Der Spiegel says its greatest strength is its narrative tone, which allows Walser to have Goethe ponder about his genitals in front of a mirror as well as quote the "Marienbad Elegy" in full, and make it work as an organic whole. [2]
A Man in Love or Man in Love may refer to: A Man in Love, a 2008 novel by Martin Walser; A Man in Love, novel by Karl Ove Knausgård; A Man in Love, a French-Italian-British drama film; Man in Love (2014 film), a South Korean romance drama film "A Man in Love", 1972 single by George Perkins
He took as one of his examples the tattooing of the "Papuan" and the intense surface decorations of the objects about him—Loos says that, in the eyes of western culture, the Papuan has not evolved to the moral and civilized circumstances of modern man, who, should he tattoo himself, would either be considered a criminal or a degenerate.
English: Adolf Loos (1870–1933), Austrian architect and influential European theorist of modern architecture. Français : Adolf Loos (1870–1933), architecte autrichien, défenseur du dépouillement intégral dans l’architecture moderne.
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Loos's immediate and extended relations—the Beck, Hirsch, Turnowsky, and Kraus families—and her friends the Semlers were some of Adolf's first clients. They hired him to remodel apartment interiors in Plzeň and Vienna, and it was there that Adolf first began to open up the "interstitial spaces" between walls to create continuous rooms.
Universal’s “Dog Man” … Meanwhile, slasher “Heart Eyes” and Ke Huy Quan actioner “Love Hurts” are landing in second and third, respectively, turning in more tepid opening weekends.