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Credit Claims For Kansas Art, Fashion, And Design Professionals: Attorney Advice For Financial Success – US $96.95 (approx. IDR1, 491, 538.46) Shop for international shipping with confidence, including detailed tracking and hassle-free returns. Learn more . See shipping details
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Credit Claims For Kansas Art, Fashion, And Design Professionals: Attorney Advice For Financial Success
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Race And Gender Based Under Representation Of Creative Contributors: Art, Fashion, Film, And Music
Afghanistan, Albania, Algeria, Andorra, Angola, Anguilla, Antigua and Barbuda, Argentina, Armenia, Aruba, Australia, Austria, Republic of Azerbaijan, Bahamas, Bahrain, Bangladesh, Belgium, Belize, Benin, Bermuda, Bhutan, Bolivia, Bosnia and Herzegovina, Botswana, Brazil, Brunei Darussalam, Bulgaria, Burkina Faso, Burundi, Cambodia, Cameroon, Canada, Cape Verde Islands, Cayman Islands, Central African Republic, Chad, Chile, China, Colombia, Costa Rica, Cyprus, Republic of Czech Republic, Côte d’Ivoire (Côte d’Ivoire), Democratic Republic of Congo, Denmark, Djibouti, Dominican Republic, Ecuador, Egypt, El Salvador, Equatorial Guinea, Eritrea, Estonia, Ethiopia, Fiji, Finland, France, Republic of Gabon , Gambia, Georgia, Germany , Ghana, Gibraltar, Greece, Greenland, Grenada, Guatemala, Guinea, Guinea-Bissau, Guyana, Haiti, Honduras, Hong Kong, Hong Kong, Iceland, India, Indonesia, Ireland, Israel, Italy, Jamaica , Japan, Jordan, Kazakhstan, Kenya, Kiribati, Kuwait, Kyrgyzstan, Laos, Latvia, Lebanon, Lesotho, Liberia, Liechtenstein, Lithuania, Luxembourg, Macau, Macedonia, Madagascar, Malawi, Malaysia, Maldives, Mali, Malta, Mauritania, Mauritius , Mexico, Moldova, Monaco, Mongolia, Montenegro, Montserrat, Morocco, Mozambique, Namibia, Nauru, Nepal, Netherlands, New Zealand, Nicaragua, Niger, Nigeria, Norway, Oman, Pakistan, Panama, Papua New Guinea, Paraguay, Peru, Philippines, Poland, Portugal, Qatar, Republic of Croatia, Republic of Congo, Romania, Rwanda, Saint Helena, Saint Kitts-Nevis, Saint Lucia, Saint Pierre and Miquelon, Saint Vincent and the Grenadines, San Marino, Saudi Arabia , Senegal, Serbia, Seychelles, Sierra Leone, Singapore, Slovakia, Slovenia, Solomon Islands, South Africa, South Korea, Spain, Sri Lanka, Suriname, Swaziland, Sweden, Switzerland, Taiwan, Tajikistan, Tanzania, Thailand, Togo, Tonga, Trinidad and Tobago, Tunisia, Turkey, Turkmenistan, Turks and Caicos Islands, Uganda, United Arab Emirates, United Kingdom, United States, Uzbekistan, Vanuatu, Vatican, Vietnam, Wallis and Futuna, Western Samoa, Yemen, Zambia, Zimbabwe
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Home Decor Books Collectibles Mugs & Steins Music – CD’s Cassettes & Vinyl Antiques Vtg Porcelain Pottery Ceramic ClothingDuring the 1960s, paper clothing took the world by storm. , when the Scott Paper Company launched a clever marketing campaign—a forerunner of the viral marketing strategy—to promote “Dura-Weve,” the fabric featured in its new disposable tableware line. With the idea that paper clothes were the future, other companies like Mars of Asheville joined the craze and soon were selling 80,000 clothes a week.
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Hallmark, Rompers, c. 1967. Printed on 80% Cellulose and 20% Cotton Paper. Collection of Phoenix Art Museum, gift promised to Kelly Ellman. Photo © Phoenix Art Museum.
Explores this period phenomenon through over 80 rare garments and accessories selected entirely from the Museum’s comprehensive fashion collection, home to one of popular fashion paper in the United States, made possible by donations from Kelly Ellman and Gail and Stephen Rineberg. The exhibit features dresses, bikinis, skirts, hats, dresses, rompers, beach covers, and more made from paper, plastic, laminate, and other reusable materials, many of which these are highly flammable even when coated with flame retardant chemicals.
CREDIT Candy Wrappers, Caftan, 1960s. Printed rayon. Collection of Phoenix Art Museum, gift promised to Kelly Ellman. Photo © Phoenix Art Museum.
Among the highlights of the exhibition are clothes that imitate the pattern on the kitchen counter, promoting Viking tools; children’s clothing featuring Captain Kangaroo and Flintstones cartoons; matching apparel and accessories and napkins from Seagram’s 7, created to match the party host’s decor; and, most notably, Campbell’s Souper Dress and the first two Paper Caper dresses from the Scott Paper Company. completely,
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Explores how the 1960’s whimsical and short paper clothing trend is an experimental period that informs many modern textiles today and will continue to influence the textiles of tomorrow.
Image CREDIT (Left to Right) Jewel Tea Company, Coat, Dress and Belt, 1966. Luster-Weave 100% non-woven polyethylene. Collection of Phoenix Art Museum. Courtesy of Cathy Beardsley; Unknown, Dress, 1960s. 90% rayon and 5% metallic polyester. Collection of Phoenix Art Museum, gift promised to Kelly Ellman. Photo © Phoenix Art Museum.
Is organized by the Phoenix Art Museum and made possible through the generosity of the Arizona Costume Institute, The Ellman Foundation, and Stephen and Gail Rineberg, with additional support from Circles of Support and Museum Members.
With more than 20,000 objects, the collection spans the globe, bringing the world to our city, and our city to the world.
Generation Paper: Fast Fashion Of The 1960s
On view for a limited time, the exhibition presents art from across the centuries and from around the world, from popular fashion to Old Master paintings, contemporary art to objects. -history in Asia.
Since 1986, the Phoenix Art Museum has awarded more than $350,000 to more than 200 Arizona-based artists by awarding two artist awards each year. image forming the base (predella) of the old altar in the church of San Domenico, Siena (Galleria degli Uffizi, Florence). Painted in 1445, these two paintings are among the artist’s finest works. There is a group of saints and angels embracing each other in the garden of Paradise as rich as a blanket. Giovanni di Paolo was greatly inspired by the paintings he saw in Florence by Fra Angelico, but he rejected the rationalism of the Florentine art perspective because of the powerful visual impact. For more information on this painting, including how the altarpiece was made, visit .
As part of the Met’s Open Access policy, you may freely copy, modify and distribute this image, even for commercial purposes.
Dimensions: 18 7/16 × 16 1/16 in. (46.8 × 40.8 cm); painted area 17 1/2 x 15 1/8 in. (44.5 x 38.4 cm)
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The Image: Paradise is envisioned as a lush meadow with an abundance of flowers and a line resembling an apple tree (its color shines from gold). Rabbits are happy when they greet each other or receive blessings from angels. The young men are dressed in the latest fashion, with red or two-colored socks, bright clothes (cioppe) and hats (chaperons), and the girls are no less in long dresses with fringes (houppelandes) and heavy hat. . It seems that there will be no place for the poor in this Paradise, which is dominated by members of the Dominican order. Among the figures are Saint Giles at upper left, dressed in white, with a stag behind him; Beato Ambrogio Sansedoni, patron saint of Siena, center left, wearing the black and white Dominican habit, with a white dove near his head; Saint Augustine and his mother Saint Monica, greeted each other in the middle, she was an old woman dressed in black, she was a bishop; Saints Dominic and Peter the Martyr in the lower center, both in the Dominican style; and Saint Anthony Abbot in the lower right with two Dominican nuns. In the upper right, where the field of the picture is broken, an angel takes a young man by the hand and leads him into the golden light of Heaven. The inspiration for this scene was a painting by the Florentine Fra Angelico in 1431 for the church of Santa Maria degli Angeli in Florence. However, Giovanni di Paolo avoided the most innovative forms of Fra Angelico’s work—the circular arrangement of figures and the spatial nature of the grass—in favor of flat, figurative forms that were less abstract. too much attention to size.
The Altarpiece: Considered one of the artist’s defining works, this captivating work has a companion—also at The Met—showing Expulsion from Paradise with Creation ( Robert Lehman Collection, 1975.1.31). There is no doubt that both were part of the base (predella) of the altar. It is clear from the presence of members of the Dominican order that the altar must have been dedicated to the Dominican foundation. John Pope-Hennessy (1937) first proposed that the an
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