Tuesday, November 19, 2019

Story image for vintage jewelry from Houstonia Magazine

9 Places to Adorn Yourself With Jewels

Houstonia Magazine-Apr. 26, 2018
Tenenbaum has been a major name in vintage and estate jewelry for four decades, but since merging with Past Era Antique Jewelry and Queen of Heirs in ...
Story image for vintage jewelry from City Pulse

Jean Jean Vintage

City Pulse-Jun. 7, 2018
That's how Emily Duffelmeyer, owner and operator of Jean Jean Vintage, described her completed high-end antique jewelry store in REO Town. “I wanted to ...
Story image for vintage jewelry from nypost.com

Gem-fluencers: expert advice from 5 jewelry tastemakers

nypost.com-May 2, 2018
Most meaningful piece of jewelry: My husband and I wear the same rose-gold .... from buying vintage jewelry to photographing sparkly gems with an iPhone.
Story image for vintage jewelry from Robb Report

This Is Not Your Grandfather's Pocket Watch

Robb Report-Sep. 20, 2018
“I thought it was time to turn the pocket watch into a real jewelry piece,” says Aiche, who applies her own boho-chic style to the historic designs by hand-carving ...

1 comment:

Pearl Necklace said...

creatures depends on what they are not is this
artistically necessary metamorphosis and have in mind only the truth of
the gesture of expression" (Ibid.P.61).
We see A. Hildebrant is, on the one hand, system
by, on the other-produces a narrowing of its consideration not only to
the concept of form, but the form itself is beginning to understand only through the impact.
This is the way that Andrew White understood how the "restriction of the object
knowledge", seeing it as the only way of moving from ignorance to knowledge
(White A. the Symbolism of the meaning of // A. White the Critic. Aesthetics. Theory
symbolism. -- 2 vols. -- vol. 1. -- M., 1994. P.56).
The way formal school and asked Henry Welfling (Velfflin
G. The Renaissance and Baroque. SPb., 1913), which severely criticized
Fedorov-Davydov: "he is only interested in how strict
the harmonic architecture forms of the Renaissance, based on clear
division and clarity of forms, becomes a cohesive and zagromozhdenny
picturesque swiftness of the Baroque style. The questions about the reasons
the emergence of these styles, their ideological essence, their social
the significance does not even arise before him" (Fedorov-Davydov A.
The Marxist history of art. -- Ivanovo-Voznesensk, 1925.
P. 25). We can understand this as a clash between two different approaches.
A formal approach attracts undoubted fidelity to the source
tools. His book "Basic concepts of art history" (1915)
Henry Welfling begins with a distinction between the picturesque and the linear
styles, illustrating them by the example of the painting of Rembrandt and the graphic quality
Dürer. "The linear style is the style of plastically felt
certainty. Evenly firm and clear limitation of the bodies of the reports to the viewer
confidence; as if he received the opportunity to touch the body with your fingers, and howling
modeling shadows are so closely in touch with the form that cause
tactile feeling. The image and the thing are identical.
The picturesque style, on the contrary, to a greater or lesser degree removed from things
as it exists in reality. For him there is no continuous contours, and
touchable surfaces are destroyed. We see not only located next to
related spots. Drawing and modeling no longer geometrically
to coincide with the plastic forms and transmit