Tuesday, November 19, 2019

Story image for vintage jewelry from Vogue.com

5 Dazzling New Jewelry Designers From the Las Vegas ...

Vogue.com-Jun. 15, 2018
The vintage jewelry was, as ever, heartbreaking and enthralling, splendid survivors from eras long past. And though these made our mean old heart pulsate with ...
Story image for vintage jewelry from TownandCountrymag.com

Behind the Legendary Good Fortune of Van Cleef's Alhambra

TownandCountrymag.com-Oct. 1, 2018
So exclaimed a jewelry-focused friend when I asked her to help me define the ... and a vintage-inspired special collection with rock crystal in yellow gold. (A 50th ...
Story image for vintage jewelry from Mainline Today

Q&A: Jewelry Designer Alexis Kletjian

Mainline Today-Jul. 16, 2018
How she styles pieces from her line: I like to layer jewelry to tell my story. ... Her splurges: A fabulous antique or vintage jewel, a new book, a lavender latte, and ...
Story image for vintage jewelry from TownandCountrymag.com

The 15 Best Swiss Watch Brands on the Market Today

TownandCountrymag.com-Jun. 6, 2018
And at Baselworld, the watch and jewelry show held in Switzerland each spring, .... new collection for Vacheron Constantin that's inspired by vintage timepieces.

1 comment:

Pearl Necklace said...

even displays a portrait of this magical correspondences. "Portrait,
all probability, arose from a magical counterpart, and in our days, when
totally different structure of consciousness, all signs related to human
personality, such as: name, handle, which particular hero signed
a historical document, a portrait of him, a cane or hat -- all this has
great importance in the practical symbolism" (Gabrichevsky A. G.
The portrait as a problem of image // the Art of portraiture. -- M., 1928. P.64).
In the case of the portrait there is an interesting paradox, which says the number
researchers. Its essence lies in the fact that in the basis of a portrait lies
the confidence of the viewer in resemblance to the depicted person, but at the same time it's not
makes no sense, because we do not know really this person.
N. And.Zhinkin writes about this as follows: "the portrait should be
similar to personality, or, better, should show a way of identity, i.e., to include in
a impersonation, but it doesn't matter -- who are the real media
this person, let him or no he's changed and died, the portrait will remain
a portrait" (Zhinkin N. And. decree. Op. p. 41). Starting from the portrait,
we are trying to recreate the original, following the path outlined
B. V. Shaposhnikov. "Portrait of the more a portrait than clearly
we can restore the original to its idealization and more than this
the original will be to coincide with the idealized image, which we
recreating on the basis of a portrait as a picture" (Shaposhnikov, B. V. Portrait and
the original // the Art of portraiture. - M., 1928. P. 83).
The similarity is not yet a portrait, until it became art
reality and pure only semiotically A. G. Gabrichevskystresses
isolation, ogranichennosti of the art world from the real world. In one
place he says of the painting that it is "insulated internally cut
plane as the carrier of the artistic image" (A. G. Gabrichevsky, the decree.
Op. P. 63). The other-argues that "every art
artwork is (...) enclosed microcosm, it poses to yourself and
isolated visual system, troumaca special internal
laws. a unique, detached from any other type of existence."
(P. 54). And in order to more clearly disclose and describe this
the art world, he introduces three kinds of expressive signs.