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В продолжение разговора о стеклянных головах не можем не поделиться историей о Рене Лалике, который так вдохновил Веру Мухину. В 1925 г. Рене Лалик начал создавать маскотов, стеклянные фигурки для украшения капотов автомобилей, и в следующие шесть лет изготовил целых тридцать статуэток, в том числе, пожалуй, самую знаменитую фигурку «Victoire». Последняя была создана в 1928 г. и была посвящена десятилетию Компьенского перемирия, заключенного 11 ноября 1918 г. Плоть от плоти ар-деко, эта фигурка в то же время предвосхитила поголовное увлечение обтекаемыми формами, ставшее известное вскоре как «стримлайн-модерн». Интересно, что, хоть маскотами Лалика предполагалось украшать любые автомобили, в чертах этой скульптуры угадываются отсылки к головам индейских вождей, которыми в то же время украшал капоты своих автомобилей американский «Понтиак» (фото 6).

P.S. Фигурка Лалика быстро распространилась за пределы Франции: в частности, в Великобритании компания «Breves» продавала ее под названием «Дух ветра» и предлагала покупателям версию с подсветкой, установленную на запатентованное ею основание. В 1930-х гг. украшение радиаторов фигурками было признано небезопасным для пешеходов, и Рене Лалик преобразовал своих маскотов в пресс-папье, ограничители для книжных полок и просто домашний декор…

———

Circling back to our post on Vera Mukhina’s glass sculptures, we cannot help sharing a note on René Lalique the Soviet sculptor was so inspired by. In 1925, Lalique set himself to design a series of car mascots, glass ornaments for radiator caps, and, in the next six years or so, produced thirty mascots including the most famous one called Victoire and designed in 1928 to commemorate the 10th anniversary of the Armistice of Compiègne, which was signed on November 11th, 1918. Exemplifying the spirit of Art Deco, this figurine was also a forerunner of Streamline Moderne, a variety of Art Deco that emerged in the early 1930s. Of note, even though Lalique’s mascots were not make-specific and could be used on basically any car, the detailing of Victoire is reminiscent of the sculptures of Indian chieftains Pontiac decorated their vehicles at around the same time in the US (see pic. 6).

P.S. Lalique’s mascot was soon commercially available outside of France. In the UK, Breves of Knightsbridge sold it as “Spirit of the Wind”, offering a patented illuminated version thereof. In the 1930s, car mascots were deemed unsafe for pedestrians and Lalique quickly adapted his sculptures to be used in household settings as bookends, paperweights, or purely decorative items…

(photos: Flickr users Roy Cousins, Theunis Viljoen, bonhams.com, hutchinsonscott.co.uk, fineart.ha.com, fr.lalique.com, rlaliquemascots.com, musee-lalique.com, thejbscollection.com)



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В продолжение разговора о стеклянных головах не можем не поделиться историей о Рене Лалике, который так вдохновил Веру Мухину. В 1925 г. Рене Лалик начал создавать маскотов, стеклянные фигурки для украшения капотов автомобилей, и в следующие шесть лет изготовил целых тридцать статуэток, в том числе, пожалуй, самую знаменитую фигурку «Victoire». Последняя была создана в 1928 г. и была посвящена десятилетию Компьенского перемирия, заключенного 11 ноября 1918 г. Плоть от плоти ар-деко, эта фигурка в то же время предвосхитила поголовное увлечение обтекаемыми формами, ставшее известное вскоре как «стримлайн-модерн». Интересно, что, хоть маскотами Лалика предполагалось украшать любые автомобили, в чертах этой скульптуры угадываются отсылки к головам индейских вождей, которыми в то же время украшал капоты своих автомобилей американский «Понтиак» (фото 6).

P.S. Фигурка Лалика быстро распространилась за пределы Франции: в частности, в Великобритании компания «Breves» продавала ее под названием «Дух ветра» и предлагала покупателям версию с подсветкой, установленную на запатентованное ею основание. В 1930-х гг. украшение радиаторов фигурками было признано небезопасным для пешеходов, и Рене Лалик преобразовал своих маскотов в пресс-папье, ограничители для книжных полок и просто домашний декор…

———

Circling back to our post on Vera Mukhina’s glass sculptures, we cannot help sharing a note on René Lalique the Soviet sculptor was so inspired by. In 1925, Lalique set himself to design a series of car mascots, glass ornaments for radiator caps, and, in the next six years or so, produced thirty mascots including the most famous one called Victoire and designed in 1928 to commemorate the 10th anniversary of the Armistice of Compiègne, which was signed on November 11th, 1918. Exemplifying the spirit of Art Deco, this figurine was also a forerunner of Streamline Moderne, a variety of Art Deco that emerged in the early 1930s. Of note, even though Lalique’s mascots were not make-specific and could be used on basically any car, the detailing of Victoire is reminiscent of the sculptures of Indian chieftains Pontiac decorated their vehicles at around the same time in the US (see pic. 6).

P.S. Lalique’s mascot was soon commercially available outside of France. In the UK, Breves of Knightsbridge sold it as “Spirit of the Wind”, offering a patented illuminated version thereof. In the 1930s, car mascots were deemed unsafe for pedestrians and Lalique quickly adapted his sculptures to be used in household settings as bookends, paperweights, or purely decorative items…

(photos: Flickr users Roy Cousins, Theunis Viljoen, bonhams.com, hutchinsonscott.co.uk, fineart.ha.com, fr.lalique.com, rlaliquemascots.com, musee-lalique.com, thejbscollection.com)

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But because group chats and the channel features are not end-to-end encrypted, Galperin said user privacy is potentially under threat. What distinguishes the app from competitors is its use of what's known as channels: Public or private feeds of photos and videos that can be set up by one person or an organization. The channels have become popular with on-the-ground journalists, aid workers and Ukrainian President Volodymyr Zelenskyy, who broadcasts on a Telegram channel. The channels can be followed by an unlimited number of people. Unlike Facebook, Twitter and other popular social networks, there is no advertising on Telegram and the flow of information is not driven by an algorithm. Asked about its stance on disinformation, Telegram spokesperson Remi Vaughn told AFP: "As noted by our CEO, the sheer volume of information being shared on channels makes it extremely difficult to verify, so it's important that users double-check what they read." You may recall that, back when Facebook started changing WhatsApp’s terms of service, a number of news outlets reported on, and even recommended, switching to Telegram. Pavel Durov even said that users should delete WhatsApp “unless you are cool with all of your photos and messages becoming public one day.” But Telegram can’t be described as a more-secure version of WhatsApp. At this point, however, Durov had already been working on Telegram with his brother, and further planned a mobile-first social network with an explicit focus on anti-censorship. Later in April, he told TechCrunch that he had left Russia and had “no plans to go back,” saying that the nation was currently “incompatible with internet business at the moment.” He added later that he was looking for a country that matched his libertarian ideals to base his next startup.
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