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Painting in our Life |
Ночник-проектор "Звездное небо, планеты", черный. 
Браслет светоотражающий, самофиксирующийся, желтый. 
Забавная пачка "5000 дублей". Pai i g is o e of he oldes a d mos impor a ar s. Si ce prehis oric imes, ar is s have arra ged pai s o surfaces i way ha ex press heir idea abou people a d he world. he pai i gs ha ar is s crea e have grea value for huma i y. hey provide people wi h bo h e joyme a d i forma io . People e joy pai i g for ma y reaso s. hey may hi k a pai i g i beau iful. People may like he colors ha he pai er used or he way he ar is arra ge d he pai o he surface. Some pai i gs i eres people because of he way he ar is expresses some huma emo io , such as fear, grief, happi ess, or love. O her pai i gs are e joyable because hey skillfully por ray a ure. Eve pai i gs of such everyday sce es as people a work a d play a d of such commo objec s as food a d f lowers ca be a source of pleasure. Pai i gs also each. Some reveal wha he ar is fel abou impor a subjec , i cludi g dea h, love, religio , a d social jus ice. O her pai i gs ell abou he his ory of he period duri g which hey were crea ed. hey provide i forma io abou he cus om, goals, a d i eres s of he people of pas socie ies. Pai i g also ell abou such hi gs as he buildi g, clo hi g, a d ools of he pas . Much of our k owledge abou pre his oric a d a cie imes comes from pai i g a d o her ar s, because ma y early socie ies lef few or o wri e records. I would be hard o fi d a subjec ha o o e has ever ried o pai . Ar is s pai he hi gs hey see arou d hem-people, a imals, a ure, a d o livi g objec s. hey also pai dreamlike sce es ha exis o ly i he imagi a io . A ar is ca reach back i o he pas a d pai a his orical eve , a religious s ory, or a my h. Some ar is s pai pic ures ha show o clear subjec ma er a all. I s ead, hey arra ge he pai i some abs rac way ha expresses feeli g or ideas ha are impor a o hem. Si ce prehis oric imes, ma y ar is s have pai ed he subjec s ha were mos impor a o he ir socie ies. For example, religio was par icularly impor a i Europe duri g he Middle Ages, a d mos of he pai i gs crea ed he were religious. A prehis oric ar is pai ed, he a imal o a cave wall i Fra ce, abou 15000 B. C. he ar is lived a a ime whe a imals served as he mai source of food a d clo hi g for huma bei gs. he America ar is Rober Bech le pai ed he pic ure of a ma a d his au omobile, called 60 F-Bird. he au omobile is he mos impor a mea s of ra sp or a io i moder America life. People have always bee a favori e subjec of pai ers. Ar is s have show people i heir pai i gs i ma y differe ways. All grea pai i gs, regardless of subjec ma ers, share a commo fea ure. hey do more ha jus reproduce wi h pai some hi g ha exis s, exis ed, or ca be imagi ed. hey also expresses he pai er's special view abou a subjec . Ma y ar is s ur o a ure for heir subjec ma er. hey pai sce es called la dscapes a d seascapes ha hey ry o cap ure he ma y moods of a ure. S ill-life are pic ure of objec s. S ill-life pai ers usually make o a emp o ell a s ory or express a idea. I s ead, hey are i eres ed i he objec hemselves — heir color, shape, surface, a d he space wi hi or arou d hem. Ar is s of e fi d heir subjec ma er i he pas .
hey pai pic ures ha record real eve s or my hs of lo g ago. Ma y such pai i gs are i s ead o recall pas deeds of glory or o each a lesso . Ma y ar is s have used pai i gs o express poli ical a d social beliefs a d o pro es such hi gs as war a d pover y. Moveme s of social expressio have appeared i pai i g hroughou his ory. he way ha pai ers arra ge colors, forms, or li es is called composi io . Some pai ers use o recog izable subjec ma er. I s ead, hey s ress composi io for i s ow sake. Pie Mo dria 's "Loze ge Composi io i a Square" is a example. Composi io is also impor a i pai i gs ha have recog izable subjec ma er. Fi oie os "Sai Mark Rescui g a Slave" is as impor a for i s composi io as for he s ory i ells. Fi ore o place each figure perfec ly o direc a e io oward he floa i g figure of Sai Mark poi i g o he slave o he grou d. Viewers ca e joy he skillful composi io eve if hey do o u ders a d he s ory. Ma y pai i gs have bee crea ed o decora e rooms or buildi gs. he subjec ma er of mos of hese pai i gs is less impor a ha he pai i g's place wi hi he o al scheme of decora io . For example, he Kaiseraal, a room i a place i Wiirzbourg, Germa y, has a umber of ou s a di g pai i gs by Giova i Ba is a Piepolo. Bu hese pai i gs are o more impor a ha he wi dows, colum s, or imi a io draperies i he room. Ma y ar is s a d craf workers crea ed hese objec s, a d each objec became a par of he room's overall decora io . Pai i gs co sis of ma y ar is ic eleme s. he mos impor a eleme s i clude (1) color, (2) li e, (3) mass, (4) space, a d (5) ex ure. hese ar is ic eleme s are as impor a o a pai er as words are o a au hor. By s ressi g cer ai eleme s, a pai er ca make a pic ure easier o u ders a d or bri g ou some par icular mood or heme. For example , a ar is ca combi e o produce a i e sely emo io al feeli g. he same ar is ic eleme s ca also be combi ed i a differe way i order o produce a feeli g of peace a d relaxa io .Color ca help a ar is ell a s ory, express a emo io , or- as i Picasso's “Ma doli a d Gui ar” —crea ed a composi io , Picasso did o color all his forms as hey would appear i real life. I s ead, he used s ro g primary colors — such as blue, red, a d yellow — i he par s of bala ced hese colors wi h delica e black, brow , gray, a , a d whi e colors. he resul is pleasi g composi io crea ed largely by he pai er's skillful arra geme of colors. Li e is he chief mea s by which mos ar is s build up he forms i heir pic ures. By combi i g li es of differe le g hs a d differe direc io s, a ar is makes he drawi g a pai i g. I " wo Acroba s Wi h Dog", Picasso used li es o show he edges of his figures. Some li es are hick a d some are hi . he ar is emphasized li e o make he viewer aware of he rou d ess of he forms a d he a d he delicacy of he sle der figures of he you g boys a d he figure of he dog. Mass allows a ar is o express he feeli g of weigh i a pai i g. Picasso crea ed "Mo her a d Child"' largely i erms of mass. he bulky, solid appeara ce of figures i he pai i g impresses he viewer. he ar is made he figure look as if hey are made of s o e or some o her heavy ma erials.
By s ressi g mass, Picasso made he figures seem like mo ume s ha will las a lo g ime. Space. By arra gi g li es, colors, a d ligh a d dark areas i cer ai ways, pai ers ca crea e a appeara ce of grea space-eve hough hey really pai o a small, fla surface. A ar is ca make a objec look fla or solid, a d ei her close or far away. I some pai i gs, space plays jus as impor a a par as he solid forms. Picasso's “Sea ed Ba her” shows a skillful use of space. he ope i gs be wee he bo elike forms are jus as expe sive a d i eres i g as he solid forms i he pai i g. ex ure refers o he appeara ce of he pai i g's surface. he pai of a pic ure maybe hick a d rough or hi a d smoo h. I “Woma Weepi g”, Picasso crea ed a rough ex ure by usi g hick s rokes of pai . his ex ure adds o he pai ful emo io al feeli g of he pai i g. If o speak abou ech iques, we should s ar wi h fresco pai i g. Fresco pai i g is a ech ique i which he ar is s pai s o a plas ered wall while he plas er is s ill damp. Fresco ar is s decora e bo h i side a d ou side walls. heir works co ribu e grea ly o he beau y of buildi gs a d homes. Fresco pai i g is especially well sui ed o decora i g large walls i churches, gover me buildi gs, a d palaces. A fresco, u like ma y o her pai i g ech iques, has o glossy shi i g. A shi e would make a fresco difficul o see from cer ai a gels. Fresco pai i g reached i s grea es populari y from he 1200"s hrough he 1500's. I aly was he ce er of fresco pai i g duri g ha period. Leadi g fresco pai ers i cluded Gio o , A drea Ma eg a, Masaccio, a d Michela gelo. Duri g he 1900's, Mexica ar is s revised fresco pai i g. hey i cluded Jose Cleme e Orozco a d Diego Rivera . Mexica ar is s decora ed ma y public buildi gs wi h large frescoes ha show sce es from Mexica his ory. Wa er color pai i g ca be do e i wo major ech iques, (1) ra spare wa er color a d (2) gouache. ra spare wa er color are pai s made of pigme s combi ed wi h a gum-Arabic bi der. A ar is usi g his ech ique ligh e s he color by addi g wa er o hem. I mos o her ech iques, he ar is adds whi e pai o ligh e colors. he viewer ca see he suppor hrough a layer of ra spare wa er color. Gouache pai is also made wi h a gum arable bi der. Bu duri g he ma ufac uri g process, a li le whi e pigme or chalk is added o make he pai opaque. Opaque mea s ha he viewer ca o see hrough a layer of he color. A ar is usi g he gouache ech ique makes he color ligh er by addi g whi e pai o hem. Mus s yles of moder ra spare a d gouache wa er color pai i g grew ou of ech iques developed i E gla d, Fra ce, a d he e herla ds duri g he 1700's a d 1800's. Bu wa er color pai s had bee used o decora e walls a d or ame al objec s i a cie Egyp a d Asia, a d i Europe duri g he Middle Ages. E caus ic pai i g i volves he use of mel ed wax as he bi der. Pure beeswax is he bes ki d of wax for his purpose. E caus ic pai i g was widely used i Greece as early as he 400's B. C. Bu by abou A. D. 800, he ech ique had bee aba do ed. Duri g he 1800's, ar is s a emp ed o use wax pai s for ou door murals. Some pai ers of he 1900's have used he ech ique for easel pic ure.
We study his falsified chronicles, his melancholy literature, and his prophetic outpourings; as if alone, in such a nauseous heap of rubbish and stench the summum bonum was to be found. Not an acre changeth hands — not a battle-ship lifts an anchor — not a ploughshare cleaves the soil — not a president vetoes a Bill — not a diplomat signs a protocol — not an emperor waves a saber, without direct inspiration from the hidden Hebrew Potentate. Behold! — “the King is in his counting-house, counting out his money” — and such a king! Israel is absolute dictator, because he is absolute Proprietor. The gold and the silver and the credits of the world belong to him, and as long as he hires politicians to utilize the military arm of ‘government,’ in the collection of his ‘loans’ — in the defense of his ironclad safety-vaults, he is an irresponsible Jehovah-Jirah. But should Force ever fail him, “the lean dogs outside the wall” will leap snarling upon him and spoil him of his spoil; that the fittest may survive. ‘The Jews are ministers of Gold — Great Bankers who see in the People and the State a mine to be worked.[22] “Our life blood is drawn from us by these harpies of finance and the gaming table, who mock us with illusions, while they strip us of our all.”[23] “The harm which the Jews commit does not come from individuals, but from the very constitution of these people; they are locusts, caterpillars, which ravage France, to whom commerce ought to be prohibited.”[24] These are two distinct yet parallel species of the parasitical Semite: — The first, represented by Marx, LaSalle, Stepniak, and Jesus-the-dreamer: the second, by Goshen, Rothschild, Baring, and Iscariot-the-Banker
1. The role of art in our life
10. Sport in my life
11. The Participation of American and British Youth in Political Life of Their Countries.
12. The influence of the Great Britain on our daily life
13. Navruz - A Celebration of Life. Public holidays in Uzbekistan
14. The effect of light intensity on the amount of chlorophyll in “Cicer arietinum”
15. Climate and Weather in Great Britain (Климат и погода в Великобритании)
16. Economic crisis in Russia (Российский кризис 1998 года)
Настольная игра "Коварный Лис". 
Чехол на лобовое стекло всепогодный (арт. TD 0334). 
Пазл "Новогодний праздник", 600 элементов. 19. Small business lending in Kazakhstan (предоставление кредитов малому бизнесу в Казахстане)
20. American Federalism in 1990s
21. Business relation ships in japan
25. Traditional Meals in Mexico
26. Climate and Weather in Great Britain (Климат и погода в Великобритании)
27. Особенности ведения бизнеса в Китае (The peculiarities of marketing strategy development in China)
28. Sport: general, in Britain
29. "Career in hotel industry"
30. Education in Great Britain
31. Leadership in Hospitality Industry
Тележка на стол, красная. 
Комплект "Mobile" Раптор, прибор на батарейках и сменный картридж, 240 часов. 
Доска магнитно-маркерная "ECO", деревянная рамка, 40х60 см. 37. Education in the Middle Ages
41. Русские заимствования в английском языке (Russian borrowings in English language)
42. Continuity and change in Stravinskiy`s ballets. Стравинский и его балеты
45. Education in the Middle Ages
46. Militant Islam’s Expansion in the Southern Philippines
47. Christmas in Britain (Рождество в Британии)
Кольцедержатель "Дерево с оленем", малый, белый. 
Детский велосипед Jaguar трехколесный (цвет: розовый). 
Горшок дорожный и насадка на унитаз "HandyPotty" (лайм). 49. Liaison between Board and CEO in Russian Oil Companies
50. Banking services in Russia: theory and fact
51. Особенности ведения бизнеса в Китае (The peculiarities of marketing strategy development in China)
57. Opt-in маркетинг - новый инструмент продвижения
58. Quality of life and management of living resources
59. Alice in Chains
62. Social stratification in modern Russia
63. Анализ критерия логистической системы Just in time
64. Privatization process in Lithuania
Карандаши акварельные "Mondeluz", 24 цвета. 
Настольная игра "Фефекты фикции". 
Шторка антимоскитная, черная. 65. Protectionnism and Free Trade in Economical Doctrines
67. Accounting and Finance in AS Diena
68. Polysemy In The Semantic Field Of Movement In The English Language
69. Public holydays in Great Britain
73. The Future: A Must for Our World Community
74. Science in the 20th century
76. High education in Great Britain
78. In der Mensa
80. Was wollte der Autor in seinem Marchen sagen?
Кружка фарфоровая "FIFA 2018. Забивака. Россия", 480 мл. 
Асборн - карточки. 100 занимательных игр в путешествиях. 
Чайник заварочный из нержавеющей стали "Super Kristal", 0,65 л. 81. The library of our institute
84. Education in GB
89. The Doctrine of the "Mysterious Female" in Taoism
90. Places of interest in Ukraine
91. Eyck, Jan van: altarpiece in Ghent
92. The development of computers in ukraine and the former USSR
93. Conflicts of interest in corporate transactions
94. Internet helps in development of education and democracy
95. My Ideas On Living In A Foreign Country
Мольберт "Ника растущий", со счетами (синий). 
Швабра-вертушка "Торнадо Хенди". 98. English Painting and Art Galleries
99. Linguistic Pecularities Of Contracts in English
Шкатулка РТО, 35.5х25.5х20 см (арт. 3678-RT-60).