Monday, April 22, 2019

Story image for 1920s pearl necklace from

Think hair clips are just for kids? Think again - they could elevate your ... 26, 2018
Crystal details were a popular finishing touch with Flappers in the 1920s, and it's ... If you have a few pearls at home - survivors from a string-necklace ... the gleam of a pearl - close to the face is incredibly flattering on the skin.
Story image for 1920s pearl necklace from The Daily Gazette

Singer Fredericks returns to downtown Gloversville for video premiere

The Daily Gazette-Jun. 3, 2018
She dressed in a 1920s flapper costume to go along with the red carpet ... 6, who each wore green dresses with long pearl necklaces and long ...
Story image for 1920s pearl necklace from

Get your 'Mad Men' on at vintage clothes shop 28, 2010
Straw hats from the 1920s, gleaming pearl necklaces from the 1930s and tailored suits from the 50s are included in the cornucopia of items ...
Story image for 1920s pearl necklace from New York Times

Glass, With Class

New York Times-Dec. 6, 2012
By the 1920s, the design house, ran by Augustine's daughter ... Chanel was famous for mixing real and fake pearls in her own necklaces.

1 comment:

Anonymous said...

The symbolism was realized in the theatrical arts.
Here, in the words of Andrei Bely, the Director won actors. It
gave the opportunity to create a unified system in a syncretic art, which
is theater.
A new theatre is created, as opposed to the naturalistic theater, theater
realistic, attracted to his strong creative personality. Not only
Directors, not only actors he brought to life and new artists
because it was a holistic act. A. J. Gurevich he wrote: "it was
the victory of the spirit of the time affected with a peculiar brightness in this
region, nurtured a number of talented artists of painting, wanted
to make your bright talent to the reform of the decorative side of the theater.
Slowly, gradually, grew on Russian soil is the inclination of artists to
decorative painting and the theatre" (Gurevich A. Ya. On the upgrade paths
theater // in memory of Vera Fedorovna Komissarzhevskaya. SPb., 1911. P. 187).
This important parameter from the interaction of multiple languages on stage was
also raised for the case of religious art: "the Icon of her idea is
indivisible whole with the temple, and therefore subject to its architectural design"
(Trubetskoi E. N. Speculation in paints. -- M., 1990. P. 21. Cm. also:
Florensky P. A. The temple acts as a synthesis of the arts // the Bulletin
The Moscow University. Series 7. Philosophy. - 1989. - No 2).
Among the brilliant names of theorists and practitioners (and in this area
only through joint implementation of the ideas in these two areas) we
let us focus on two:
V. E. Meyerhold and N. N. Evreinov. However, before we
our attention to the important context of the era represented