Все о пин ап регистрация
Все о пин ап регистрация
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Harry Wann paints a "pin-up" girl on a PT boat, Australia, 1944 Other pin-ups were artwork depicting idealized versions of beautiful or attractive women. An early example of the latter type was the Gibson Girl, a representation of the New Woman drawn by Charles Dana Gibson. "Because the New Woman was symbolic of her new ideas about her sex, it was inevitable that she would also come to symbolize new ideas about sexuality."[8] Unlike the photographed actresses and dancers generations earlier, art gave artists the freedom to draw women in many different ways.[9] The 1932 Esquire "men's" magazine featured many drawings and "girlie" cartoons but was most famous for its "Vargas Girls".
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Prior to World War II, Vargas Girls were praised for their beauty and less focus was on their sexuality. However, during the war, the drawings transformed into women playing dress-up in military drag and drawn in seductive manners, like that of a child playing with a doll.[10] Vargas Girls became so popular that from 1942 to 1946, owing to a high volume of military demand, "9 million copies of the magazine-without adverts and free of charge was sent to American troops stationed overseas and in domestic bases."[11] The Vargas Girls were adapted as nose art on many World War II bomber and fighter aircraft; Generally, they were not seen negatively пин ап регистрация or as prostitutes, but mostly as inspiring female patriots that were helpful for good luck.[12]
Pin-up girl nose art on the restored World War II B-25J aircraft Take-off Time From the early 19th century, when pin-up modeling had "theatrical origins"; burlesque performers and actresses sometimes used photographic business cards to advertise shows. These promotional and business cards could be found backstage in almost every theater's green room, pinned up or placed in "frames of the looking-glasses, in the joints of the gas-burners, and sometimes lying on top of the sacred cast-case itself."[4] According to historian Maria Elena Buszek, "To understand both the complicated identity and the subversive nature of the 19th-century actress, one must also understand that the era's views on women's potential were inextricably tied to their sexuality, which in turn was tied to their level of visibility in the public sphere: regardless of race, class or background, it was generally assumed that the more public the woman, the more 'public,' or available, her sexuality.