“Mod New York” Exhibit a Must-See for Vintage Jewelry Fans
JCK-Jan. 3, 2018
Last year we talked up the influence of the Art Deco period on contemporary jewelry design; experts also cited jewelry from the '60s and '70s as being similarly ...
How Mathilde Freund, Vintage Dealer, Spends Her Sundays
New York Times (blog)-May 4, 2018
For the past 30 years, Mathilde Freund, 101, has been selling vintage clothing and antique jewelry at Grand Bazaar NYC at Columbus Avenue and 77th Street.
This Beyoncé-Approved Designer Is Making Ancient Jewelry ...
Vogue.com-Apr. 2, 2018
She first carved out a niche for herself selling vintage jewelry from the Middle East, Central and Southeast Asia, and Africa under the label Marteau Co., and has ...
East Coast To West Coast: Cool Venues With Hot Antique And ...
Forbes-Dec. 3, 2018
There are numerous events around the holidays for all of your jewelry shopping needs. These include trunk shows, pop up shops, the major auctions and online ...
Understanding of the form by B. Asafiev more process-based, dynamic,
form it appears as the "inter-the coexistence, in a continuous motion
particles of a certain closed sphere (consciousness of sound). These particles are associated
mutual attraction to the closest their centers the same (small) to a single
the center of all the sounding areas, as it focuses the energy of
radiation of all elements" (Glebov I. The process of obtaining sounding
substance // De musica. -- P., 1923. P. 156-157). It is also to a great extent
emphasizes the creative nature of perception, considering him greater than any
another form of art, therefore, the position of the consumer here is very, very
complex. Umberto Eco speaks in this regard about the "open structure" as
on the structure, overestimating the role of the consumer of art (Yoko U.
Poetica otkritogo this solution one // Anthology swova thereturn-kriticno pillows
XX St.. Kyiv, 1996).
Occurs the same semiotic model, which grew semiotics in
Soviet times, when the Foundation was laid in natural language. "Music --
requiring tremendous exertion activities. The knowledge of its language and the means of
her expression gives you the opportunity easier to understand in other realms of the spiritual
human activities, but not Vice versa: as observations show, artists
other branches of art is very difficult given the perception of music"
(Glebov I. the Value of music // musica De. -- PG., 1923. P.19).
B. Asafiev emphasizes basisnet language of music. And
the same article from him in the first place is of a structural nature
the musical language, echoing the model, which passed the Ferdinand de
Saussure, for language in a natural. CP. the following statement: "music
never go with the sum of the parts, but with a relationship or a mate
elements" (ibid. P. 20). He makes another comparison of the two
semiotic languages. "Architecture, raping their static nature
approaching the music, and the latter, forcing its dynamic nature and
seeking in the approach to spatial proportionality and balance
parts touch the principles of classical architecture, is approaching
design static: at the sharp point of the crossing of these two
looking to their opposites artistic directions and
there is a meeting or match implementationat the same time
heterogeneous and homogeneous" (Glebov I. the Process of registration sounding
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