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| Posted: 02 Dec 2010 07:17 AM PST PRLog (Press Release) – Dec 02, 2010 – 15 years back, would you have considered the possibility of shopping from an online beauty store? These are exciting times as many revolutionary changes are taking place all around us. The very fact that you would chuck the local drug store and shop from an online beauty store is an indication of the various factors that go into making shopping decisions. So, why would you shop for your favorite beauty products from an online store? What are the benefits and the advantages? Amazon Beauty Store 90% OFF - http://skin1care.com/ 2010/01/amazon- beauty-store/ 1. Savings: Your local beauty store requires heavy financing for it to run. There are salaries and rent to be paid. Then, there are operational costs. Add to this, advertising overheads and so on. In short, the local store requires a good amount of money just to keep itself in business. The only way these expenses can be managed is by sharing a good percentage of these expenses with consumers. On the other hand, an online beauty store spends hardly anything on inventory, floor space and service personnel. Similarly, advertising costs are minimal because online advertising costs very less. The costs savings thus made are shared with shoppers. This is why online beauty stores sell beauty products at attractive discounts. 2. Price comparison: When you shop online, it is easy for you to check out the prices of similar products at other stores. Comparison shopping is the best way to enjoy rock bottom prices. This is something you simply cannot do when you shop offline. 3. Brands: When you shop from your local store, your choices are limited. Often, you may not have access to your favorite brands. An online beauty store, on the other hand, has a wider selection. You can buy reputed brands from the online store at a fraction of the cost. 4. Imaging: When you shop online, every product you get is the same. You do not have to fight the packaging and branding war. Your attention is not drawn by frivolous aspects like beautifully designed packages. Online, there is nothing to differentiate one product from another except the ingredients and the usability of the product. So, you focus on those aspects that really matter. 5. Ease: The best thing about online shopping is the comfort factor. You can browse through the catalog, read more about products you are interested in and access customer testimonials from within the comfort of your home. In contrast, the amount of effort required to shop offline is much more; often, the satisfaction is compromised too. The above are only the most compelling reasons to shop for your beauty products online. So, whether you're a seasoned online shopper or new to it, you're really losing out if you are shopping locally, instead of taking advantage of the highly competitive market online. Amazon Beauty Store 90% OFF - http://skin1care.com/ 2010/01/amazon- beauty-store/ Reviews of the top rated skin care products including anti aging, anti wrinkle, acne treatment, cosmetics and more. This entry passed through the Full-Text RSS service — if this is your content and you're reading it on someone else's site, please read our FAQ page at fivefilters.org/content-only/faq.php |
| Fort Worth's Kimbell, San Diego's Timken share a philosophy - Dallas Morning News Posted: 25 Nov 2010 09:58 PM PST 12:00 AM CST on Friday, November 26, 2010SAN DIEGO – Call them showcases that celebrate the power of a great eye. The Kimbell Art Museum in Fort Worth is a modestly scaled gem of a museum in which nearly every work in the collection powerfully represents a style, a period and a culture. The Timken Museum of Art, 2,000 miles away in San Diego, applies the same sound philosophy on a smaller scale. In its architecture, the Kimbell is the superachiever of the pair. Designed by Louis Kahn, its home, unveiled in 1972, is widely thought to be one of the great buildings for art built in the 20th century. The museum will become far larger, with the addition of a promising second structure by Renzo Piano, a contemporary giant of museum design. It's scheduled for completion in 2013. The Timken Museum of Art quarters, in San Diego's picturesque Balboa Park, is far smaller and far less iconic. Still, completed in 1965, it's a handsome rectangle in glass and travertine marble designed by San Diego modernist Frank L. Hope. These differences in edifices aside, the two highly regarded institutions share a vital bond: They make each work count. They leave the encyclopedic focus to the likes of the Dallas Museum of Art and the San Diego Museum of Art. As John Wilson, director of the Timken, puts it, his institution and the Kimbell each aspire to be "a small museum of masterpieces, beautifully displayed." Wilson's passion for the connoisseurship, so evident in the Timken's collection, has roots in his long-standing admiration for the Kimbell. He grew up in Fort Worth, where he first encountered the Kimbell during family excursions and did a summer internship there during his grad school days in art history. The Timken and the Kimbell are connected by their histories as well as their shared philosophy. Board members of the Kimbell Art Foundation visited San Diego to see the fledgling Timken before there was a Kahn building. One big reason that the Kimbell's first director, Richard Brown, thought so highly of Kahn's work was his familiarity with the remarkable Salk Institute, located in San Diego's seaside community of La Jolla and completed to international acclaim in 1963. The emissaries of the Kimbell also visited the Frick Collection in New York, a prototype for both museums. While the Frick set a lofty standard, with its great Vermeers, Chardins and luminous examples by other European masters, the Kimbell and the Timken have managed to create stellar collections in a relatively short periods of time. Both collections are modest in size: The Kimbell owns about 350 works, the Timken just 75. Both possess undeniably great paintings, such as Caravaggio's Cardsharps (circa 1594) at the Kimbell and Rembrandt's St. Bartholomew (1657) at the Timken. The important works in both cut across centuries, media and cultures. The Kimbell is equally impressive in second-century Roman sculptures, 14th-century Italian paintings and early 20th-century abstractions. The Timken is compelling, whether the focus is on 15th-century Flemish paintings, 16th-century Russian icons or 19th-century American pictures. Both museums boast multiple masterpieces in European painting. Along with its Caravaggio, the Kimbell has pictures such as Georges de la Tour's The Cheat With the Ace of Clubs (1620s), thematically related to the Caravaggio, and Jean Simeon Chardin's gorgeous image about art-making, Young Student Drawing (circa 1738). The Kimbell's collection may be deeper in European art. It reaches into the 20th century with choice examples by Picasso and Mondrian, while the most modern picture in the Timken collection dates to 1900. But the Timken possesses Dutch, Flemish and French paintings that any museum would covet, including the arresting Death of the Virgin (circa 1460-65) by Petrus Christus and a mesmerizing 1738 landscape by Jean-Baptist-Camille Corot, View of Volterra. The Timken also collects American paintings. Its canvas from the Colonial era, Mrs. Thomas Gage (1771), is a first-rank portrait by John Singleton Copley. Among its other stellar examples is a major seascape by a Luminist painter from Massachusetts, Castine Harbor and Town (1851) by Fitz Hugh Lane. The Kimbell isn't large enough to keep most of its collection on view when a major exhibition is installed, as is the case currently with "Fiery Pool: The Maya and the Mythic Sea." The new building will change that. Eric M. Lee, the Kimbell's director, says the grander scale won't change the focus: "I firmly believe that the Kimbell has done so much that is right. We need to keep the collecting philosophy as it is. Many fear the intimacy of the museum will be lost with the new building. I am determined that it will still feel like a small institution." The Timken's challenge is different: To keep a small gallery of masterpieces relevant without expanding space or amenities. Its home often has been referred to as a jewel box. The existing gallery space at the Kimbell is 20,000 square feet and will add 16,500 when the Piano building opens. The Timken has 7,500 for display. The Timken is also something of a jewel box as an institution when compared to the Kimbell. It last acquired a new work in 2005, while the Kimbell continues to make significant acquisitions regularly, including its highly publicized youthful painting by Michelangelo in 2009. Their financial resources are starkly different, too. The endowment of the Putnam Foundation, which oversees the Timken, is $20 million. By comparison, the portfolio or endowment of the Kimbell Foundation stands at $400 million. Michael Quick, a former curator of American art at the Los Angeles County Museum of Art who is highly familiar with both institutions, admires them for "a belief in the principle of old-fashioned connoisseurship, of a museum collection based on quality." Quick, who wrote some of the Timken's most recent permanent collection catalog, says he feels the Kimbell has a distinct advantage over its smaller counterpart in an era when museumgoers expect alluring temporary exhibitions. (The addition of a second building further acknowledges that cultural reality.) "People don't come to museums as much to see permanent collections anymore," says Quick, who now runs an art consulting business in Southern California. "I have to wonder: Is there a place for a museum focused on its collection in the 21st century?" Wilson clearly believes there is. His regard for the Kimbell has fed his conviction that an even smaller museum of masterpieces, like the Timken, is something contemporary viewers still want, even in an era when marketing matters to a museum's survival as much as its masterpieces. Robert L. Pincus is an art critic and author based in San Diego who also teaches at the University of San Diego. Plan your life Kimbell Art Museum, 3333 Camp Bowie Blvd., Fort Worth. 817-332-8451. www.kimbell art.org. Timken Museum of Art, 1500 El Prado, San Diego, Calif. 619-239-5548. www.timkenmuseum.org. This entry passed through the Full-Text RSS service — if this is your content and you're reading it on someone else's site, please read our FAQ page at fivefilters.org/content-only/faq.php |
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