'You can't sketch enough. Sketch everything and keep your curiosity fresh' - John Singer Sargent
Помните мы говорили про Сарджента и его Мадам Икс со спадающей бретелькой на платье, а потом дорисованной обратно?
Совсем другой Сарджент тут:
These two preparatory sketches for Sargent's 'Carnation, Lily, Lily, Rose' record the precise poses he planned for Dorothy and Polly Barnard in his much-loved painting at Tate Britain. He worked on the composition from September to early November 1885, and again during the summer of 1886, completing it some time in October. He was able to paint for only a few minutes each evening when the light was exactly right. He would place his easel and paints beforehand, and pose his models in anticipation of the few moments when he could paint the mauvish light of dusk. As autumn came and the flowers died, he was forced to replace the blossoms with artificial flowers.
John Singer Sargent, Carnation, Lily, Lily, Rose, 1885–6. Presented by the Trustees of the Chantrey Bequest 1887. On free display at Tate Britain
Помните мы говорили про Сарджента и его Мадам Икс со спадающей бретелькой на платье, а потом дорисованной обратно?
Совсем другой Сарджент тут:
These two preparatory sketches for Sargent's 'Carnation, Lily, Lily, Rose' record the precise poses he planned for Dorothy and Polly Barnard in his much-loved painting at Tate Britain. He worked on the composition from September to early November 1885, and again during the summer of 1886, completing it some time in October. He was able to paint for only a few minutes each evening when the light was exactly right. He would place his easel and paints beforehand, and pose his models in anticipation of the few moments when he could paint the mauvish light of dusk. As autumn came and the flowers died, he was forced to replace the blossoms with artificial flowers.
John Singer Sargent, Carnation, Lily, Lily, Rose, 1885–6. Presented by the Trustees of the Chantrey Bequest 1887. On free display at Tate Britain
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Я не очень люблю (а если честно, очень не люблю) автора этих строк, но список мне однозначно нравится 😊 Но даже представить не могу, как бы мужчина справился с таким списком 😊 Угадаем, кто ехал в Париж?
"Купить:
В БЕРЛИНЕ:
Вязаный костюм №44 темно-синий (не через голову), к нему шерстяной шарф на шею и джемпер, носить с галстуком.
Чулки – очень тонкие, не слишком светлые (по образцу)
Дрр.. – 2 коротких и один длинный
Синий и красный люстрин
В ПАРИЖЕ:
2 забавных шерстяных платья из очень мягкой материи. Одно очень элегантное, эксцентрчное из креп-жоржета на чехле. Хорошо бы цветастое, пестрое. Лучше бы с длинным рукавом, но можно и голое. Для встречи Нового года.
Чулки. Бусы (если еще носят, то голубые). Перчатки.
Очень модные мелочи. Носовые платки.
Сумку (можно в Берлине дешевую, в K.D.W.)
Духи: Rue de la Paix, Mon Boudoir и что Эля скажет (сестра, Эльза Триоле)
2 коробки пудры Arax. Карандаши Brun для глаз, карандаши Haubigant для глаз."
"Купить:
В БЕРЛИНЕ:
Вязаный костюм №44 темно-синий (не через голову), к нему шерстяной шарф на шею и джемпер, носить с галстуком.
Чулки – очень тонкие, не слишком светлые (по образцу)
Дрр.. – 2 коротких и один длинный
Синий и красный люстрин
В ПАРИЖЕ:
2 забавных шерстяных платья из очень мягкой материи. Одно очень элегантное, эксцентрчное из креп-жоржета на чехле. Хорошо бы цветастое, пестрое. Лучше бы с длинным рукавом, но можно и голое. Для встречи Нового года.
Чулки. Бусы (если еще носят, то голубые). Перчатки.
Очень модные мелочи. Носовые платки.
Сумку (можно в Берлине дешевую, в K.D.W.)
Духи: Rue de la Paix, Mon Boudoir и что Эля скажет (сестра, Эльза Триоле)
2 коробки пудры Arax. Карандаши Brun для глаз, карандаши Haubigant для глаз."
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Если вы тоже любите платья, тренировать свой англ можно и таким образом :-)
“Four-Leaf Clover” by Charles James
1953
Evening dress of white satin and faille with black velvet appliqué. The bodice is strapless and the skirt is very full. The gown is constructed from thirty pattern pieces. The exterior of the bodice is made of cream satin, with cotton flannel, a satin lining, and boning. The exterior of the skirt is made of cream satin and black velvet, with nylon mesh support and a taffeta slip. The large lobes projecting from the skirt are supported by boning.
While James’s inspiration for this dress was likely the 1860s silhouette supported by a cage crinoline, its construction is far more complex than that of its predecessor, which was made of concentric steel wires connected by linen tapes. This gown was constructed using two separate understructures of boning and stiff interfacings to give it shape and balance. The fifteen-pound skirt was engineered to rest comfortably on the hips and, unlike the cage crinoline, to create a graceful glide rather than a back-and-forth sway. With artistic bravado, James heightened the visual drama by separating the luminosity of ivory satin and the muted reflectivity of ivory faille in the upper and lower sections with a curvaceous black velvet band, which further defines the serpentine effect of the four-lobed skirt.
The original version was made for Austine Hearst to wear to the Eisenhower Inaugural Ball in January 1953, but it was not completed in time. She was, however, able to wear it to the Coronation Ball in London in June.
The Four-Leaf Clover dress is the most iconic of James’s gowns, and its construction is among the most complicated of all his dresses.
The Charles James holdings include an extraordinary collection of sewn muslins and flat patterns that represent James’s design process from the original concept to the finished garment. At his behest, three of his most devoted clients—Millicent Huttleston Rogers, Mrs. John (Dominique) de Menil, and Mrs. William Randolph (Austine) Hearst Jr.—along with several others, donated this supporting material together with the actual garments. In some cases, the garments are accompanied by materials representing all of James’s design phases: two flat patterns (paper and muslin) and two sewn muslins (half and full).
In a letter of 1971, James said: “This design represents the ‘bringing’ together of many parts from which a whole series of designs had been made… It seemed to me to be somewhat of a thesis and as such has been programmed as the last design I intend to make.”
Sources: Metropolitan Museum of Art; Victoria and Albert Museum
“Four-Leaf Clover” by Charles James
1953
Evening dress of white satin and faille with black velvet appliqué. The bodice is strapless and the skirt is very full. The gown is constructed from thirty pattern pieces. The exterior of the bodice is made of cream satin, with cotton flannel, a satin lining, and boning. The exterior of the skirt is made of cream satin and black velvet, with nylon mesh support and a taffeta slip. The large lobes projecting from the skirt are supported by boning.
While James’s inspiration for this dress was likely the 1860s silhouette supported by a cage crinoline, its construction is far more complex than that of its predecessor, which was made of concentric steel wires connected by linen tapes. This gown was constructed using two separate understructures of boning and stiff interfacings to give it shape and balance. The fifteen-pound skirt was engineered to rest comfortably on the hips and, unlike the cage crinoline, to create a graceful glide rather than a back-and-forth sway. With artistic bravado, James heightened the visual drama by separating the luminosity of ivory satin and the muted reflectivity of ivory faille in the upper and lower sections with a curvaceous black velvet band, which further defines the serpentine effect of the four-lobed skirt.
The original version was made for Austine Hearst to wear to the Eisenhower Inaugural Ball in January 1953, but it was not completed in time. She was, however, able to wear it to the Coronation Ball in London in June.
The Four-Leaf Clover dress is the most iconic of James’s gowns, and its construction is among the most complicated of all his dresses.
The Charles James holdings include an extraordinary collection of sewn muslins and flat patterns that represent James’s design process from the original concept to the finished garment. At his behest, three of his most devoted clients—Millicent Huttleston Rogers, Mrs. John (Dominique) de Menil, and Mrs. William Randolph (Austine) Hearst Jr.—along with several others, donated this supporting material together with the actual garments. In some cases, the garments are accompanied by materials representing all of James’s design phases: two flat patterns (paper and muslin) and two sewn muslins (half and full).
In a letter of 1971, James said: “This design represents the ‘bringing’ together of many parts from which a whole series of designs had been made… It seemed to me to be somewhat of a thesis and as such has been programmed as the last design I intend to make.”
Sources: Metropolitan Museum of Art; Victoria and Albert Museum
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Вышел второй сезон сериала «Ludwig“.
Очередной детективный сериал про кембриджскую полицию и стесняющихся интровертов/социофобов/любителей логических загадок. Сериал очень-очень милый, у него на удивление очень высокий рейтинг и тот самый случай, когда чем дальше, тем лучше. И юмор хороший. Рекомендую. Моему сердцу особенно дорог момент, когда наш герой-математик рассказывает, почему он ненавидит метафоры :-)
Очередной детективный сериал про кембриджскую полицию и стесняющихся интровертов/социофобов/любителей логических загадок. Сериал очень-очень милый, у него на удивление очень высокий рейтинг и тот самый случай, когда чем дальше, тем лучше. И юмор хороший. Рекомендую. Моему сердцу особенно дорог момент, когда наш герой-математик рассказывает, почему он ненавидит метафоры :-)
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Ну кто бы мог представить, что Ватсон играл на кларнете! 😊
Начинаем смотреть! Покажу вам после киноклуба его cv 😊
#sherlocked
Начинаем смотреть! Покажу вам после киноклуба его cv 😊
#sherlocked
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Гарри и Меган возвращаются в Великобританию, жить будут где? в Котсуолд 🙂 Ох, и взлетят там цены...
Такое ощущение, что Rivals посмотрели вообще все 🙂
Дети - и Арчи, и Лилибет - пойдут в школу на следующей неделе - ужасно интересно, в какую 🙂
Sip the gossip?
Кадр как раз из сериала Rivals, знаменующий радушную встречу как раз в Котсуолде
Такое ощущение, что Rivals посмотрели вообще все 🙂
Дети - и Арчи, и Лилибет - пойдут в школу на следующей неделе - ужасно интересно, в какую 🙂
Sip the gossip?
Кадр как раз из сериала Rivals, знаменующий радушную встречу как раз в Котсуолде
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