Przykłady użycia

Przykłady dopasowywane są do haseł w zautomatyzowany sposób - nie gwarantujemy ich poprawności.

Other chefs lined up to pay tribute. Raymond Blanc, whose Le Manoir aux Quat' Saisons in Oxford won Ronay's Restaurant of the Year award just a year after it opened in 1977, said the recognition changed his life. "It was probably the most coveted award," he said. "People work a whole lifetime to get it."
Neshat, 53, says she was trying, with her husband and collaborator Shoja Azari, to "pioneer our own way of storytelling. It was about not following patterns or models within cinema, but following the conceptual art and poetic traditions of Iran." Small and slim in an embroidered black jacket, huge hooped earrings and her trademark pharaoh-like eyeliner, she is nervous about the film's UK premiere on the day we meet. Critical reaction has been mixed, with the New York Times raving about its "fierce beauty" while the Washington Post dismissed it as "relentlessly dark". Writing in this paper, Peter Bradshaw called it "a quietly tremendous film which ensnares both the heart and the mind"; the Financial Times, however, was not alone in complaining that the film "is a series of tableaux to which no one brought the vivants".
The others were a fabulously vibrant Andr?© Derain painting, Arbres ?? Collioure, which sold for Â?16.3m and Henri Matisse's Odalisques jouant aux dames, which sold for Â?11.8m.
Raymond Blanc is chef/patron of Le Manoir Aux Quat' Saisons in Great Milton, Oxfordshire. His most recent book is A Taste Of My Life (Corgi, Â?8.99). To order a copy for Â?7.99 (including UK mainland p&p), go to guardian.co.uk/bookshop or call 0330 333 6846.
To drink: Ch??teau la Tomaze C?´teaux du Layon Rablay 2008/9 (Â?13.50, Yapp Brothers; 12.5% abv) from the Loire isn't cloyingly sweet, and it smells of orange blossom and orange zest.
For a while in the early 1970s, Miro taught art in secondary schools in Slough and Battersea. "I quite liked teaching but, looking back, I can see that what I was really fascinated by was gallery life in London. I used to go to all these strange little galleries that are now long gone â?? Beaux Arts, Robert Fraser â?? and think that maybe someday they might be interested in my work."
No fledgling writer ever got luckier than I did then. Some writers â?? most, I suspect â?? write in isolation. I think I'd always found that quite difficult. And now great good fortune brought me into contact with two of the finest poets of the 20th century. Sean Rafferty happened to be a wonderful lyrical poet and playwright. His plays had been put on in London in the 1930s and 40s, in the Players' Theatre, but he had since published very little. He did not talk about his writing but would give us poems, hand-written, from time to time, at Christmas and birthdays. And we would spend long evenings by Sean and Peggy's fireside in Burrow Cottage sipping Bordeaux and talking poetry â?? Sean was passionate about Yeats and Eliot.
The great art critic Robert Hughes's classic account of the city's cultural history, entitled simply Barcelona, led me up to the National Art Museum of Catalonia, which charts 1,000 years of national cultural heritage. It is surrounded by a faux grandeur of fountains and gardens which are part of the Palau Nacional, built for the 1929 International Exhibition. In particular, this incredibly spacious museum now houses the greatest collection of pre-medieval Romanesque frescoes in the world. These were all but lost to the world until after the first world war, when enlightened Catalans relocated and restored those that had survived years of mutilation and neglect in the tiny villages in the Pyrenees. Also utterly unmissable is the Museum of Contemporary Art, in La Raval.Museu Nacional d'Art de Catalunya, (MNAC), Palau Nacional, Montjuic. Museu d'Art Contemporani de Barcleona (MACBA), Pla?§a des Angels
Morgan's work is certainly evolving, whether as a conscious reaction to fears of faddishness or not. The decorative, dollhouse-scale tableaux are being joined by the bolder, more abstract and more defiantly sculptural pieces, such as the giant spore-like orbs of wings that her assistants are prepping for on the other side of the room. Her newer work is perhaps less a subversion of the conventions of taxidermy â?? the glass domes, the life-like poses â?? and more an exploration of animals as a raw material.
Before I depart Paris, I meet up with Albert Ass?©raf, a strategist at JCDecaux â?? the advertising corporation that runs the V?©lib' in return for a 10-year exclusive contract to use the city's 1,500-odd digital display hoardings. I ask what lessons London can learn from the Paris system, particularly after JCDecaux director general R?©mi Pheulpin's comments last year that the Paris scheme was not commercially viable because of the extent of the theft and vandalism.

Potage aux choux a la russe, as the gentleman ordered.
Potage aux choux a la russe, tak, jak pan zamówił.

I'll order you some gâteau aux poivres.
Zamówię ci gâteau aux poivres.