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کتاب خارجی Madame Gres

کتاب خارجی Madame Gres

کتاب خارجی Madame Gres | To elect to devote an exhibition at the Costume Institute to the work of an individual living designer is a significant decision. Yet we have chosen to do so unequivocally for Madame Gres. We tender our highest esteem for this designer of exceptional vision, whose work is untrammeled by commerce or compromise. She has fulfilled the highest objectives of art for two-thirds of this century. Madame Gres is a creation. Nee germaine Barton, Gres assumed her name in two stages of metamorphosis

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کتاب خارجی Madame Gres

کتاب خارجی Madame Gres | To elect to devote an exhibition at the Costume Institute to the work of an individual living designer is a significant decision. Yet we have chosen to do so unequivocally for Madame Gres. We tender our highest esteem for this designer of exceptional vision, whose work is untrammeled by commerce or compromise. She has fulfilled the highest objectives of art for two-thirds of this century. Madame Gres is a creation. Nee germaine Barton, Gres assumed her name in two stages of metamorphosis.

کتاب خارجی Madame Gres

کتاب خارجی Madame Gres

   Relinquishing the given name she disliked in the early 1930s, she became Alix Barton. Needing a new name to reestablish her business in 1940, she took on a variation of his given name, Serge Czerefkov. Invention is the heart of Gres’s imagination. Gres invented one model that she practiced, polished, perfected, and purifield.

کتاب خارجی Madame Gres

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   Her Grecian gown, the drape or draped dress, has been her emblem for nearly two- thirds of this century. Gres’s sensual purity is akin to sculptor Antonio Canova’s ideal of supple and voluptuous classicism and also to painter Jean-Auguste-Dominique Ingres’s evocation of the tremulous, yet still, beauty of liquid line.

کتاب خارجی Madame Gres

   Undeniably, Gres’s drape is a supreme cipher; it owes its imputed mystery to the elements of voluptuous excitability, pensive sensuality, and repressed eroticism. It is a perfect neoclassicism. A 1954 Willy Maywald photograph of a live model with exposed breast who is wearing a Gres drape demonstrates its ecstatic affettuoso classicism that is charged with Hans Castorp’s feverish vision of the Greek temple in The Magic Mountain. A 1938 George hoyningen Huene photograph of a drape with caryatid presence testifies to the deliberate reserve emblematic of neoclassical solidity.

نویسنده: Richard Martin – Harold koda