Monday, April 22, 2019

Story image for 1920s pearl necklace from New York Times

In Jewelry, Matching Just Isn't Cool Any More

New York Times-Nov. 22, 2017
Messika's latest high jewelry line, themed around 1920s Paris, ... in gray crystal and faux pearls or Saint Laurent's punk-like 3D-carved wheat ...
Story image for 1920s pearl necklace from

In My Jewellery Box: Jessica McCormack 21, 2015
Similarly to pearls, its lustre improves with age as a result of being worn ... I wear it on a diamond-set chain layered with my other necklaces. ... This set was made in the 1920s and originally belonged to my great-grandmother.

Enter a world of exotic gems and glittering jewels

WTOP-Dec. 4, 2017
... pendant brooch made by the London branch of Cartier in the 1920s. ... the 1960s aesthetic of the pink conch pearl and diamond brooch.
Story image for 1920s pearl necklace from Economic Times

Five royal heirlooms that will never go under the hammer

Economic Times-Jan. 3, 2016
... family cannot part with the Basra pearl necklace that once belonged to ... necklace that his family has owned since the early 1920s will not go ...

1 comment:

Anonymous said...

Lenna other names that are in some cases known to more than historians
theatre than academics. But at the time they were just theorists, and
their mouths sounded important from the point of view of the future semiotics of thought.
Look at some of them.
The new theatre made a problem of the viewer, which is one of
Central to the future of semiotics of the theatre. "Home theater in General is not sensitive to
the principles of its existence, -- writes M. M. Bonch-Tomashevsky,
-- could not to think about the role of the viewer. Its main task was
in order conscientiously to fulfill the instructions of the author and may
carefully forge a life. A new theatre reviewing all the basics of your
creativity can not avoid the question about the relationship between the viewer and the scene, not
can work, without thinking about what kind of plane is this work
relative to perceiving it" (Bonch-Tomashevsky, M. M. the Audience
scene. 1. The viewer as a participant in the theater // the Mask. -- 1912. -- No
1. P. 69). Conclusion - "the audience is a party to the action, one of
the composite elements of theatrical creation" (ibid.P.70).
Not less important semiotic property is unusual
the role of speech for the theatre because it is built on the basis of not one
verbal, and multiple languages. And it was also mastered in that period.
"The power of words is limited to poetry, in poetry the word is valuable in itself, only gives
the criterion for judgment. In the theater the word is friend, but not the owner. Ie
it is only effective word is useful and acceptable to the theatre this last.
Effective word not prejudge the movement, but completeshim.
Effective poet in the pantomime voltage tells
the words of the actor, and these words are crowned with triumphal pantomime, throw in
prepared by the gesture auditorium concretization of this gesture,"
(Bonch-Tomashevsky, M. M. Theatre and ritual //Mask. - 1912 -1913. ~ No 6.
P. 15). Later we will return to this issue in the concept
V. E. Meyerhold.