Tuesday, November 19, 2019

Story image for vintage jewelry from Vanity Fair

The Pride and Provenance of Vintage Jewels

Vanity Fair-Aug. 24, 2018
The old is new again, thanks to a sophisticated set of designers who are imaginatively transforming bygone treasures into highly collectible modern jewellery.
Story image for vintage jewelry from PhillyVoice.com

Shop for antiques, vintage finds at Cherry Street Pier pop-up ...

PhillyVoice.com-Oct. 26, 2018
Around 60 vendors from the Tri-State Area will be selling a variety of items, including antique furniture, vintage jewelry and clothing, artwork and pottery.
Story image for vintage jewelry from Racked

Are Vintage Stores Harbingers of Gentrification?

Racked-Mar. 12, 2018
Racked is no longer publishing. Thank you to everyone who read our work over the years. The archives will remain available here; for new stories, head over to ...

1 comment:

Pearl Necklace said...

centered in a creative nature, the constructive -
emphasize and build the thing as a thing, fine -- turn it
in the spatial depth of the image. So it's an interesting paradox --
if you go only by the expressive, any portrait, any still life
in reality, be a self-portrait, "giving" the artist, since
they Express subjective and creative.
"Modern art, - writes A. G. Gabrichevsky --because
not only creates a clean portrait that the focus of the individualization is not
fine, and in the design layer, in the portrait the accent lies
on the forms of fine and mainly on their connection with the forms
expressive" (p. 73). And this section explains why a rare cartoon in
frame why a nasty caricature in plastic. "Fine and
expressive composition caricatures precisely because not a portrait because
is Comedy or humour that it destroys the tectonics of the individual. Have
many portrait painters the center of gravity lies on this layer of fine
character. For example, many of the portraits by Serov and any portrait
expressionists made cartoons, just select the image
man out of context picture" (p. 68).
The same slice of the "failure" of the cartoons, it cannot be as if
self-existence is underscored N. And.By rinkinys:
"caricature mentally or literally requires text, it identifies and therefore
is dependent, but in contrast to the illustrations, the text
usually parabolicheskie implied, and assumes to a certain extent
well-known and relatively simple" (Zhinkin N. And. decree. Op.P.39).
He also finds certain Parallels in the fable and the cartoon, that they
the essence made outside, important is not the text of the fable or shape caricatures, and their
reference -- "what she teaches and resonates" (p.39).
Semiotic analysis of the portrait requires the use of such elements
as posture and gesture. In this case N.And.Zhinkin even talks about the mask of the stereotype
posture and gesture: "Through the stereotypical assimilation of the manners of anger, admiration,
appreciation, through the adoption of poses and gestures that experience
clothed, we are in the case when there is no themselves
relations of anger, admiration, appreciation