Состав: тенсель, соевый шёлк, лён, хлопок.
Очень понравилось, как сочетаются эти материалы.
Сверху мягкий соевый шёлк, гладкий мерцающий тенсель, а внутри — каркас из льняных нитей и хлопка.
Уверена, мастерицы прошлого точно бы работали с этими материалами, если бы у них была такая возможность. 😃
Пояс появился в магазине на Etsy. Ссылка в шапке профиля.
🤍 I did one belt for myself, and then decided to make one more with small variations.
Available on Etsy. Link in Bio. ♥️ Сделала один пояс для себя, и поняла, что хочу повторить, добавив несколько новых деталей. Появился в магазине на Etsy. Ссылка в шапке профиля.
A belt “Raspberry”
Materials: tencel, soy silk, cotton, linen.
I love to combine different types of yarns to create the more richer texture.
A soft soy silk with a smooth tencel creating slight shimmering patterns on the top.
Double thread of a raspberry linen brings all together with its rigid frame.
I believe that craftswomen of the past would like to work with materials of nowadays if they only have a chance to do it.
Available on Etsy. Link in bio.
Women Artists and the Nude
Instructor: Lauren Jimerson
The nude has long been regarded as the gateway to artistic prominence, with many male artists using the genre to convey their virtuosity and achieve a professional identity. For women, however, approaching the nude was long considered unacceptable. In France, women were banned from studying the live nude model in public art institutions until the end of the nineteenth century. And even with the rise of modern art, when the nude became a site of experimentation for male artists, women who dared to challenge masculine or heteronormative conventions of the genre faced a range of obstacles from ad hominem attacks to hostile critical reception to outright censorship. Who were these women whose work has been marginalized in the canon of modern art In which ways did they defy artistic protocol, gender stereotypes, and social mores And how is their work fundamental to the history of modern art
This course will focus on representations of the nude by women artists in Paris from the late nineteenth to the early twentieth century. We will follow the heated debates on the topic at traditional institutions like the École des Beaux-Arts and new, radical ones such as the Union of Women Painters and Sculptors, established in 1891 to promote women’s art education. We will grapple with censorship of works such as Camille Claudel’s nude sculptures and Natalia Goncharova’s male nudes. And we will explore a whole range of female painters who approached the nude in a variety of styles ranging from Impressionism to Fauvism, from Cubism to Surrealism. At the end of the course, we will have learned as much about individual female artists as about the evolution of the socio-historical factors–such as gender, sexuality, and class–to which these artists were responding and which continue to inform the world we live in today.
Maximum enrollment: 15
March 9 – April 6, 2020
18 hours (5 weeks)
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