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Christopher Thompson Royds Flowers Bloom at Sienna Patti Gallery – JCK

Share It’s currently 33 degrees in the Berkshires, and with snow predicted in today’s forecast, it’s definitely still winter at Sienna Patti Gallery. But those who set foot in the Lenox, Mass., space will be greeted with a glimpse of spring: Christopher Thompson Royds has brought his signature florals to the gallery for a special exhibition of his jewelry designs, including new pieces from two series, Natura Morta and Against Nature. Both are a celebration of flowers that straddle the lines between wild meadows and forest floors and the more cultivated terrains of cottage gardens. “Christopher’s work is exquisitely made, very wearable, and nods to jewelry history without feeling dated,” says Patti, who has known the artist for years and first met him when he was still a student at the Royal College of Art. “It’s modern and a little edgy while maintaining a look that most people are drawn to and can see themselves wearing a great fit for the gallery.

Bourse : la folle ascension de GameStop au coeur d une guerre entre les boursicoteurs et Wall Street

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Ought vs Is: Reclaiming nature as a moral guide

Throughout the centuries, politicians, theologians and philosophers have pointed to nature as a way to guide our actions and beliefs. The equivalence between "unnatural" and "bad" seems to be as durable as ever. But philosophical anthropologist Lorraine Daston doesn't think using "nature" as a guide is necessarily all bad.

The Paris Review - Blog Archive A Dandy s Guide to Decadent Self-Isolation

Frantisek Kupka, The Yellow Scale (Self-Portrait), 1907 I’m not ashamed to say that I bought Joris-Karl Huysmans’s Against Nature because of the cover: Frantisek Kupka’s The Yellow Scale (Self-Portrait) from 1907 is an exhilarating study of the color yellow. Its human subject, slouched in a wicker armchair, a cigarette dangling from one hand while a single, louche finger marks the page of a book, could be the perfect image of Des Esseintes, the dissolute antihero of Huysmans’s novel. Strictly speaking, the painting is a self-portrait of the habitually mustached Kupka, but it bears more than a passing resemblance to Charles Baudelaire, who haunts almost every page of

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