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Диван Нимфа

Как указать размер дивана

Экокожа Bravo 1

Искусственная кожа Oregon 04

Велюр Velutto 01

Экокожа Valencia grey

Glance honey

Флок Genezis steel

Для дивана Нимфа подходят и ткани и искусственные кожи. Что выбрать и подобрать нужный цвет подскажет стиль интерьера и его цветовая гамма.

Domenico Gnoli’s Wonderland

—> View gallery

Exhibition view of “Domenico Gnoli”, Fondazione Prada, Milan

In the foreground, from left to right: Robe verte, 1967 Fermeture éclair (Zipper), 1967 Finta pelliccia, 1965 Lady’s Feet, 1969 Inside of Lady’s shoe, 1969 Lady’s Shoe, 1968

Photo Roberto Marossi. Courtesy Fondazione Prada

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Exhibition view of “Domenico Gnoli”, Fondazione Prada, Milan

From left to right: Red Hair on Blue Dress, 1969 Braid, 1969 Curly Red Hair, 1969

Photo Roberto Marossi. Courtesy Fondazione Prada

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Exhibition view of “Domenico Gnoli”, Fondazione Prada, Milan

From left to right: Homme de dos 2 (Uomo con cappotto), 1964 Cravate, 1967 Coat, 1968 Pocket, 1968 Tie, 1968 Bow Tie, 1969

Photo Roberto Marossi. Courtesy Fondazione Prada

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Exhibition view of “Domenico Gnoli”, Fondazione Prada, Milan

m left to right: Sofa, 1968 Armchair, 1968 Fauteuil n. 2, 1967 Portrait de Santiago Martin El Viti-Homme Assis, 1966

Photo Roberto Marossi. Courtesy Fondazione Prada

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Exhibition view of “Domenico Gnoli”, Fondazione Prada, Milan

From left to right: Chair, 1969 Back vieu, 1968 Open Drawer, 1968 Branche de cactus, 1967 Vasca da bagno, Bagnarola, 1966

Photo Roberto Marossi. Courtesy Fondazione Prada

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Exhibition view of “Domenico Gnoli”, Fondazione Prada, Milan

In the foreground, from left to right: Robe verte, 1967 Fermeture éclair (Zipper), 1967 Finta pelliccia, 1965 Lady’s Feet, 1969 Inside of Lady’s shoe, 1969 Lady’s Shoe, 1968

Photo Roberto Marossi. Courtesy Fondazione Prada

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Exhibition view of “Domenico Gnoli”, Fondazione Prada, Milan

From left to right: Red Hair on Blue Dress, 1969 Braid, 1969 Curly Red Hair, 1969

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Photo Roberto Marossi. Courtesy Fondazione Prada

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Exhibition view of “Domenico Gnoli”, Fondazione Prada, Milan

From left to right: Homme de dos 2 (Uomo con cappotto), 1964 Cravate, 1967 Coat, 1968 Pocket, 1968 Tie, 1968 Bow Tie, 1969

Photo Roberto Marossi. Courtesy Fondazione Prada

  • SHARE
  • PIN IT

Exhibition view of “Domenico Gnoli”, Fondazione Prada, Milan

m left to right: Sofa, 1968 Armchair, 1968 Fauteuil n. 2, 1967 Portrait de Santiago Martin El Viti-Homme Assis, 1966

Photo Roberto Marossi. Courtesy Fondazione Prada

  • SHARE
  • PIN IT

Exhibition view of “Domenico Gnoli”, Fondazione Prada, Milan

From left to right: Chair, 1969 Back vieu, 1968 Open Drawer, 1968 Branche de cactus, 1967 Vasca da bagno, Bagnarola, 1966

Photo Roberto Marossi. Courtesy Fondazione Prada

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  • PIN IT
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“Oh, how I wish I could shut up like a telescope! I think I could, if I only knew how to begin.” For, you see, so many out-of-the-way things had happened lately, that Alice began to think very few things indeed were really impossible.

Alice in Wonderland, Lewis Carroll’s famous novel, is a matter of perception, details, size and dimensions, a dream world that is very, very close to the one that Fondazione Prada in Milan has chosen to explore and show to the general public through the works of Domenico Gnoli, on display from 28 October to 27 February 2022.

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Domenico, son of the ceramist Annie de Garrou and the well-known art historian Umberto Gnoli, was born in Rome in 1933. He turned out to be an enfant prodige who held his very first exhibition when he was only seventeen years old. In the 1950s, he worked both as a stage designer for theatres in London and Paris, and as an illustrator for various newspapers. Gnoli then moved to New York and began to work mainly as a painter, developing the style and creating the works of art that made him the hyperrealist artist everyone appreciates today. It was in New York that, after a brief illness, he died prematurely at the age of 37.

Domenico Gnoli, Red Dress Collar, 1969, acrylic and sand on canvas Private collection, Rome © Domenico Gnoli, by SIAE 2021

Weaves of fabrics, a collar, a pocket, a sleeve, a tie knot, the parting of the hair, the shapes of bodies articulated by drapery, women’s shoes that, seen from behind, are totally distorted by their sensuality. A world, the world seen from the detail, the detail that becomes a work of art, an infinitely small detail that represents the world.

This is Domenico Gnoli’s pictorial universe, and his theoretical proposal. An intelligence that offers a point of view that is absolutely negligible and yet exists, made up of forms that are small in appearance or absolutely large depending on the point of view and on who or what is observing them. Absolutely private, subjective, personal, almost voyeuristic perspectives.

“Sometimes I try to concentrate on the story I would like to write, and I realize that what interests me is something else entirely or, rather, not anything precise but everything that does not fit in with what I ought to write–the relationship between a given argument and all its possible variants and alternatives, everything that can happen in time and space. This is a devouring and destructive obsession, which is enough to render writing impossible. In order to combat it, I try to limit the field of what I have to say, divide it into still more limited fields, then subdivide these again, and so on and on. Then another kind of vertigo seizes me, that of the detail of the detail of the detail, and I am drown into the infinitesimal, the infinitely small, just as I was previously lost in the infinitely vast. ”

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Domenico Gnoli, Due dormienti, 1966, acrylic and sand on canvas Private Collection © Domenico Gnoli, by SIAE 2021

Italo Calvino in Six Memos for the Next Millennium seems to interpret perfectly the feeling of the works of this extraordinary artist who does not draw inspiration from the tradition, and expresses the feeling of his art through his obsessions.

Works that specify an absolutely new theme. We could also describe it as original, but this would be a wrong definition, as Gnoli’s point of view is absolutely ordinary — only more careful and extraordinary.

Какой он, идеальный диван

Главный совет от профессионалов – диван должен быть максимально похож на кровать в разложенном виде. И не забываем про удобную форму и габариты.

Формы диванов

На что следует обратить внимание при выборе формы.

  • подлокотники;
  • приставные подлокотники на колесиках;
  • подушки, формирующие спинку;
  • декоративные подушки;
  • налокотники;
  • подголовники.
  • подлокотники;
  • подушки, формирующие спинку;
  • декоративные подушки;
  • налокотники;
  • подголовники.
  • владельцам небольших комнат;
  • желающим разместить диван не у стены в не тесном, но все же небольшом помещении.
  • владельцам больших комнат;
  • владельцам маленьких комнат в случае, когда они видят возможность экономии места за счет него;
  • любителям огромных кроватей: + большое канапе (или + малое канапе и пуф) – и вам будет доступно спальное место 216*210 см.

Механизмы раскладывания

Хорошая мебель, на которой действительно можно спать каждый день:

  • «Седафлекс» (не путать с «французской раскладушкой») – механизм сначала вытаскивается из дивана, а потом раскладывается (2 части) (модель премиум-сегмента Natuzzi Editions). Преимущество модели в том, что матрас независим, полностью прячется в сложенном виде и достается перед сном – это помогает дольше сохранять внешний вид дивана.
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  • «Аккордеон» – цельный пружинный матрас, складывается гармошкой, растягивается в полноценную кровать (Antares, Sunset и др.). Преимущества – идеально ровная поверхность для сна после раскладывания и внушительный размерный ряд – чем длиннее диван, тем шире спальное место – 120, 140, 160, 180 см и даже до 216см для угловых моделей!

  • «Еврософа» – матрас из 2 частей, соединяется из спинки и сиденья, имеет подлокотники, царгу, ящик для мебели и прочие элементы классического дивана (модели Sunrise, Vega, Orion). Преимущества, которые оценит покупатель – удобство раскладывания и компактность.

  • «Клик-кляк» – матрас из 2 частей, складывается из спинки и сиденья, не имеет подлокотников, царги, есть несколько вариантов фиксации спинки, съемный чехол с юбкой (модель Ника). Основное преимущество модели – доступная цена при толстом качественном матрасе. Покупатели также оценивают легкость конструкции и удобство установки спинки в 3-ех положениях.

Каркасы изготавливаются из металла, ДСП, древесины, анатомических лат из гнутоклееной березы.

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Alpha Spritz 102

2 1 1

Alpha Custom Yachts thought of every last detail when designing the full-beam master stateroom on the Spritz 102. It’s the forward most cabin on the lower deck and boasts a king-size bed, walk-in closet, desk area, lounge seating, ensuite bathroom, and plenty of storage. The hull windows are low to the water and provide plenty of natural light to create a comfortable space to relax.

The Spritz 102 is outfitted with floating walls, floors, and ceilings that are designed with insulation to reduce noise and vibrations so you can enjoy a quiet ride. One particular benefit to the floating floor configuration is the drain system (which can get a bit smelly on some older boats). Alpha Custom Yachts designed a drain system so that none of the odors from the bilge or rainwater tank permeate through the drainage system of the boat. You never have to worry about any unusual smells — a specific yet game-changing detail in the master stateroom.

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Contact Denison yacht broker David Johnson to inquire about the Spritz 102.

While everyone has their preferences when it comes to interior design, these superyacht master staterooms are impressive in their size and layout. Some embrace large windows and natural light, while others opt for a modern and sophisticated layout.

Contact a Denison yacht broker who can help you find a featured yacht for sale. Better yet, they can help you find an impressive and functional stateroom layout if that’s an important factor.

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