Tuesday, November 19, 2019

Story image for vintage jewelry from PaperCity Magazine

No Ordinary Charms — Mother/Daughter Team Turn Jewelry ...

PaperCity Magazine-Nov. 5, 2018
When it comes to a passion for antique jewelry, mother-and-daughter duo Leslie Slutsky and Lisa Feldkamp will tell you it works like a charm. Seventeen years ...
Story image for vintage jewelry from JCK

10 New Year's Eve–Ready Jewels Inspired by 'Mrs. Maisel'

JCK-Dec. 26, 2018
Fortunately, I have a drawerful of vintage mid-century costume jewels in that ... jewels—designed and crafted by some of the world's most storied jewelry houses.
Story image for vintage jewelry from Oregon Business (blog)

Jewelry stores try to hold onto the sparkle

Oregon Business (blog)-Jan. 2, 2018
The jewelry store closure rate of 4% clocked in at an all-time high in 2017. ... Margulis Jewelers, the Pioneer Square store known for selling estate and vintage ...
Story image for vintage jewelry from TownandCountrymag.com

Net-A-Porter Now Sells Fine Jewelry & Watches

TownandCountrymag.com-Apr. 17, 2018
Eighteen years later, the site is doing it once more—this time with fine jewelry and watches. Never again will you have to hunt down a retailer for a Jaeger ...

1 comment:

Pearl Necklace said...

he immediately finds a complementary option-the transfer of emotional experiences
gestures. "Part of the movements of the Egyptian painter Egyptian
sculptor -- master: no such posture, or such a gesture, from which they would
refused" (ibid.P.117).
Since the communication channel is restricted in response
there is some exaggeration is allowed expression. The Egyptian
artist "movement, for the purposes of distinctness, it is very often exaggerated: if
it swings with the axe, then swings so that the bound
to dislocate the shoulder joint itself and fall on its back; if it is dance
dancers, they straightened his legs form an angle of almost 180°.
No range of motion, which is suitable to the image, Egyptian
does not, or rather, he chooses the moment when the action
most can be easily recognized..." (Ibid.With.118).
Clash of semiotic languages often leads to disastrous
results. F. Schmidt gives an example when in the XVI century, making it
together with the Jesuits painter, wanting to impress the superiority of the European
art, painted a portrait of an influential dignitary of the Mandarin. The result was
terrible: "the dignitary is not only recognized themselves in the portrait, but came in
the greatest outrage that a painter dared him perfectly-smooth yellow
face to portray some spotted!.. with some dark threads
completely incomprehensible and inappropriate!.. A painter of Italian as a proud
their possession of light and shadow!" (Ibid. P. 150).
Up the levels even higher, F. Schmidt comes to the definition of
composition, by which he understands "a comparison of individual forms, with
where they bind into a new whole of a higher order" (ibid.
P. 79). European art in comparison with the Greek change their dominant:
"to the Greek in-plane constraints added to the constraint deep:
fine picture of the European poshiba is like some box on
three walls and the Greek painting there is a hole that is open in
bottomless space, in the void. Accordingly, with this new experience
fact, and composition of the task of European painting
formulated substantially differently than composite job