Tuesday, November 19, 2019

Story image for vintage jewelry from HarpersBAZAAR.com

6 Tricks To Layering Your Necklaces Like A Fashion Girl

HarpersBAZAAR.com-Jun. 25, 2018
For the past few seasons, hoop earrings have reigned as the fashion set's go-to statement-making piece of jewelry. But giving all our earlobes a break, the coin ...
Story image for vintage jewelry from NOW Magazine

The best vintage and antique home decor stores in Toronto

NOW Magazine-Oct. 12, 2018
This quaint and quirky Parkdale staple specializes in antique and collectible kitchenware and jewelry. Owners John and Joe Hogan have had their shop for over ...
Story image for vintage jewelry from SF Weekly (blog)

Fiat Lux Seeks to Outlast the Hills

SF Weekly (blog)-Dec. 5, 2018
This is Fiat Lux, a jewelry store that has taken the old-fashioned concept that ... “We are so enamored with history and meaning that vintage jewelry makes sense ...
Story image for vintage jewelry from GQ Magazine

Jacob the Jeweler Is Back—and Blingier Than Ever

GQ Magazine-Apr. 30, 2018
Which made sense: While the market for vintage watches—meaning watches ... “I love Jacob & Co. jewelry...because they make some of the most amazing big ...

1 comment:

Pearl Necklace said...

Paradoxically, A. Hildebrant focuses moment
content, not form, in the case of architecture. "Every architectural style
similar language has its own special properties. But what it says on your
the language of the artist, cannot be regarded as a property of the language itself, as it
hidden content. Architecture in this respect can be compared to poetry, in
which is essential is not that the poet writes in German, English
or French, and the fact that he wrote in their language. So it turns out
superficial and purely formal division based on the output
architectural value and artistic value of the building of the features
this style. The work relations, the internal consistency of the forms,
free disposal of contrasts, trends, etc., is
the artistic process and the content which needs to be considered independently
from the style and which is significant may take quite some
form not even coming -- or not coming -- under one or another style"
(Ibid.P. 149-150).
And the latter distinction A. Hildebrant, which follows
to mention is the separation of representation and perception. He cites the example of
image fast running dog, where we do not have any obscure bands instead
feet. "The idea remembers the way the dog's feet alone, and only leads
her in that position that we take when running; it creates a
clear image, which is imprinted as the dog itself, and its running" (There
same. P. 59). Accordingly, we depicted in the moving wheel spokes --
"living in our imagination the image of the wheel alone, any more than a cursory
the image of the moving wheel; we held the first as more important for
submission and sacrifice the way of perception as indistinct and distorting
form" (Pp. 59-60).
Here comes together what we started -- the impact of
and form: "artistic activity begins only if
when the performance gestures of the expression becomes clear from the point of view of ability
to make an impression. In the process of this clarification is that
many gestures expressions are generally unsuitable, because it gives a clear
experience, while other gestures have to be redone in order to meet
the requirements of the relief representation. The imperfection of the so-called
realistic Jung-