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The story of Mondrian is implicit in how, having failed to produce a religious art out of a study of religious texts, he almost immediately produced a religious art through a study of the art of two impeccably secular contemporaries; in total contrast to the innocence with which he got embroiled in the irrelevance of Evolution was the clearheadedness with which he perceived what he could and what he should not take over from Picasso and Braque.
Without the consumer's clearheadedness, and because of the consumer's confusion, the mark will be strong or weak, valid or infringed.