Influence photos on Flickr

74 4

4 13

This guy is only about 1/2 inch top to bottom. I lay flat on my (rather round) belly in the middle of my neighbor's lawn to get this shot. Yes, I was under the influence, but fortunately, not of drink or drugs...

Compassionate Influence by Aaron Daveler

11

Tuesday morning May 5th, 2020 and I hope everyone is safe and well.

spheres of influence by bostankorkulugu

13

...taken by the Atomium...

Brussels, Belgium...

The Influencer - 20220728 by Chicago Street Life

50

Consider me influenced.

INFLUÈNCIES BANALS. by Rosa Maria Guixé

44 3

black + yellow + white = NY by Mitsushiro Nakagawa

42

title.

black + yellow + white = NY

( Nikon coolpix 8700 shot )

Manhattan. New York state. united states of america. 2008 … 　5 / 9

(Today's photo. It's unpublished.)

Images

Dreamer Isioma - Sunset Drive

youtu.be/iD32enKG8wc

Important Notices.

I have relaxed the following conditions.

I will distribute my T-shirt to the world for free.

m.flickr.com/photos/stealaway/50656401427/in/dateposted-p...

m.flickr.com/photos/stealaway/50613367691/in/dateposted-p...

_________________________________

Exhibition in 2023

theme

Camera kisses time.

Mitsushiro-Nakagawa

organizer

design festa

designfesta.com

place

Tokyo Big Site

www.bigsight.jp/english/

schedule

Nov. 11th. Sat. 12th. Sun. 2023.

exhibition.mitsushiro.nakagawa@gmail.com

images.

SEVENTEEN(세븐틴)-All My Love

youtu.be/RQ4yMA5PWnw

_________________________________

最新のお知らせ。

以下の僕のTシャツ。無料配布。

コロナの影響で、運送方法は国によって変わります。

1/25

一人目が決まりました。

それはドイツの人です。

m.flickr.com/photos/ute_kluge/favorites/

僕は心から感謝します。ありがとう。

:)

２０２０年１２月３日。発送しました。

船便です。２ヶ月から３ヶ月を要します。

2/25

二人目はタイの女性です。

youpic.com/photographer/Abbozzo/

僕は彼女へ受け取って欲しいとお願いしました。

:)

２０２０年１２月１０日。発送しました。

船便です。２ヶ月から３ヶ月を要します。

3/25

3人目はメキシコの女性です。

www.facebook.com/OvejaDeSion

彼女はfotologの頃からずっと僕を支えてくれました。

彼女は僕の道案内をしてくれました。

ありがとう。

:)

２０２０年１２月１０日発送しました。

EMSです。たぶん１ヶ月から２ヶ月以内で到着します。

4/25

4人目は、セルビア共和国の女性です。

youpic.com/photographer/IvanaPopov/

２０２０年１２月１４日発送しました。

船便です。たぶん２ヶ月から３ヶ月以内で到着します。

:)

5/25

５人目は、インドネシアの男性です。

www.flickr.com/photos/33836533@N04/

２０２０年１２月２４日。発送しました。

EMSです。たぶん１ヶ月から２ヶ月以内で到着します。

6/25

6人目は、フランスの方です。

youpic.com/image/18158054/ombre-chinoise-by-ce-pe

www.flickr.com/photos/191604817@N04/

２０２１年１月７日。

僕は発送しました。

:)

7/25

7人目も、フランスの方です。

www.flickr.com/photos/151630891@N07/

www.flickr.com/people/liveworkcreate/

２０２１年１月７日。

僕は発送しました。

:)

8/25

８人目の方はルーマニアの方です。

www.flickr.com/photos/63mr/

2021年１月中に発送します。

:)

9/25

9人目は日本の方です。16歳です。

www.instagram.com/kai.kawazu/

受賞歴

2017 小国町フォトコンテスト2部門

2018 EPSONmeet up selectionデータ部門優秀賞

2020 熊本高文連前期写真コンテスト優秀賞

Webフォトコンテスト協賛メーカー賞

10/25

10人目は、ブラジルの方です。

www.flickr.com/photos/mangelo/

２０２１年２月中に発送します。

:)

11/25

11人目は、アメリカの方です。

youpic.com/photographer/HeathBrunner/

www.flickr.com/photos/181948650@N04/

vmaxrecords.bandcamp.com

soundcloud.com/vmaxrecords

２０２１年２月中に発送します。

:)

12/25

12人目は、日本の方です。

youpic.com/photographer/OsamuTabata/

２０２１年２月中に発送します。

:)

13/25

13人目は、イタリアの方です。

www.flickr.com/photos/122700703@N05/

youpic.com/photographer/raffadepa2019/

cacciatoredisogniblog.wordpress.com

２０２１年２月中に発送します。

14/25

14人目は、ロシアの方です。

www.flickr.com/photos/183731920@N08/

youpic.com/photographer/Andjey/

２０２１年３月中に発送します。

Mitsu.

youtu.be/D3q3p5edLZA

YOUTUBE、更新しました😃

アップルカー、プレゼンテーション。202３年秋、発表。（僕の妄想です😃）

（動画は思い立ってすぐにテキスト書いてアップしたので棒読みです😅以下のテキストが完成版なので是非お読みください😃）

Apple car, presentation. Announced in the fall of 2023. (It's my delusion 😃)

Please translate the following Japanese into English.

:)

皆さんおはよう。

偶然だが、おととしの今日、私は新型コロナウィルスのワクチンを接種した。

みなさんのなかには、すでに二度目の接種を受けた方もいるだろう。

この新型コロナウィルスは世界に1つの境界線を引いた。

それまでとそれ以降だ。

私たちを取り巻く環境は激変した。

ウィルスに対応するためあらゆる場所に除菌液が設置され、部屋の空気を浄化し、そんな環境が至る所に展開されてきた。

アップルも、これらを認識しつつ、新しいプロジェクトに臨んできた。

新しい価値観を受け入れるためには、新しいスタイルが必要だ。

私たちの周囲もアップデートされなければ、私たちは生き残れないだろう。

アップルは時代を生き残るために、いくつかを提示してきた。

パーソナルコンピューターであるマッキントッシュ。

音楽デバイスであるアイポッド。

携帯電話であるアイフォーン。

そして、今日、アップルはみなさんに伝えたいことがある。

それはもうひとつのサヴァイヴだ。

アップルカー。

アップルは車を再発明する。

これまでの自動車の状態

今までのガソリン車を振り返ってみよう。

ガソリンという化石燃料を使い、ガスを排出する。そして環境を悪化させてきた。

山林は業火に見舞われ、大雨の大洪水に街はさらわれ、乾いた大地が覆い尽くす。

これからもこの状態が続くという事は地球自体の崩壊を招く。

私たちはそれを止めなければならない。少なくとも見直しに取り掛かることが重要だ。

世界的にトップだったトヨタはこれに積極的に取り掛からなかった。

すでに多くの世界で走っているハイブリッドのプリウス。

これは１９９２年に発表されたにも関わらず、新しい車種でさえも未だにハイブリッドのままだ。

発売してからの約３０年もの間、いったい彼らは何を目的としてこの車に固執し、開発してきたのか？

なぜ彼らはこの車種を見直さなかったのか？

現状のハイブリット、プラグインハイブリット。そういった類は結局は化石燃料を使っている。

彼らはこの新しい展開に積極的に臨んできたというが、現状維持という考えを変えなかった。

むしろ現時点においても、それがベストだとさえ言ってるように思えてならない。

私たちはそこで他の会社も見渡してみた。

電気自動車の現在

テスラだ。

皆さんご存知のようにテスラは積極的に環境問題に取り組み、世界規模で大きく発展し貢献してきた。化石燃料を使わない、そして自動運転、洗練されたデザイン。これらは多くの人たちを魅了してきた。

しかし広く普及はしたものの、皆さんの家のそばにこの車は走ってるだろうか？

答えはノーだ。

なぜ車が走っていないか。

私たちは3時間ほどしっかり考えた。

まぁ、たった3時間だが。

答えは単純だ。

車が高いからだ。高価すぎるのだ。

これはテスラに限らず電気自動車を作っているすべての会社に言えることだ。

とにかく車の値段が高すぎる。

私たちはこれを念頭に置きつつ、車を再発明した。

アップルカーのポイント

アップルカーのポイントは三つだ。

ひとつめ。

価格。

電気自動車が普及しない理由は非常に簡単だ。

価格が高いからだ

なぜ電気自動車が高いのか。それは本体価格の大半を占めるバッテリーの値段が最も高いからだ。

それが大きく占めている。

そこでアップルはリン酸鉄リチウムイオンバッテリーと言う素材を使うことに行き着いた。

これは全個体電池のように高価ではなく安価で、iPhoneのように充電する時間は短く、すぐに使えることを優先させ、かつ、耐久性に優れていると言うポイントがある。

私たちはこの2点を重視した。

車を短時間で充電し、短距離を即、走行可能となることを目指した。

iPhoneやアップルウォッチと同じ結論を反映させたのだ。

現在、電気自動車は長距離を走ることを目標としているが、果たして、きょう、あなたが会社から帰る際に、長距離用のバッテリが必要だろうか？

何百キロも走ることが必要だろうか？

すぐに家に帰り、すぐに充電し、また朝には出勤する。

全個体電池などという長距離が走れる高価なバッテリは、現段階では不要なのだ。

アップルはそう判断した。

次にアップルが目指したポイントの2つ目は安全性だ。

WHOの報告では、年間で世界中の事故死者数は１３５万人に上る。

これは、２４秒にひとりが命を落としている計算になる。

アップルはこの事故を劇的に減らそうと考えた。

Apple Watchを腕に巻いた子供が車の下にいた場合。

iPhone 5Gを持っている人が側道にいたり、信号待ちをしている場合。

彼らを事前に感知し、彼らには接近しないように考えた。

人の居場所を事前に察知することができれば、車は避けられる。

私たちは、車自体が人から離れることを計算した。

3つ目は先進性だ。

これまでの車と言うのは、車に乗るとわかるが、ダッシュボードにはいつもの通風口が口を開けて待っている。

これは見慣れた光景で、もううんざりだ。飽き飽きだ。

私たちはこの風景を大きく前進させる。

フロントガラスにAR機能を搭載し、ナビゲーションで誘う。

また、ダッシュボードには皆さんが持っているiPhoneやiPadを貼り付け、聴いていた音楽をそのまま車内で流せる。

もちろん、望めばそのままエンジンもスタートだ。

ワイパーなんてもう不要だ。水滴なんて風圧で飛ばすした方が美しい。

シートベルトもあなたが座れば自動で閉まる。きつ過ぎず、ゆる過ぎず、あなたは快適な空間を提供されるだろう。

また、ハンドルを握って前を見据えた瞬間にドライバーの健康状態をアップルカーは察知する。

あなたが酔っていたら、車は決して動かない。もう酔っ払い運転の事故は発生しないだろう。

以上の三つがアップルカーのポイントだ。

１　価格

２　安全性

３　先進性

アップルはこれらを重視した。

そして、皆さんが最も気になるのは価格のはずだ。

価格は29,999ドル。

車の予約は来週から。半年後にまずはアメリカから発売する。

それでは実際にアップルカーをお見せしよう。

ティム・クック、自分のApple Watchに顔を寄せて車に呼びかける。

アップルカー登場。

備考。

ここで重要なのは自動運転に触れていないこと。

多分アップルは自動運転には触れず、車をまず普及させることをアピールしてくるはず。

自動運転のアップデートは後回し。

色はのちに5色を展開。

E

Jean-Pierre Morvan, french influencer by Bruno CHARAVET

6 2

Influencer by Streets In Motion

36 4

Girl doing a selfie video in the park by Nathan Rupert

38 3

influencer?

Influence 02 by Martin Sercombe

32 4

Midjourney, Photoshop

under the influence by P.S. ZOELLER

17 4

Bold as brass by Neil Moralee

83 9

Candid shot new Orleans, Louisianan, USA.

The trombone is the one brass instrument that has a worldwide musical influence, be it within or outside the brass banding world, and so we took the view that we therefore had to look at all musical idioms in which it prominently features. From classical to jazz from pop to brass bands.

The Players:

1

J. J. Johnson is listed (or ranked) 1 on the list The Greatest Trombonists of All Time

J. J. Johnson Third stream, Hard bop, Jazz

2

Joseph Alessi is listed (or ranked) 2 on the list The Greatest Trombonists of All Time

Joseph Alessi Classical

3

Tommy Dorsey is listed (or ranked) 3 on the list The Greatest Trombonists of All Time

Tommy Dorsey Swing music, Big band, Jazz

4

Christian Lindberg is listed (or ranked) 4 on the list The Greatest Trombonists of All Time

Christian Lindberg Classical

5

Frank Rosolino is listed (or ranked) 5 on the list The Greatest Trombonists of All Time

Frank Rosolino Hard bop, Bebop

6

Jack Teagarden is listed (or ranked) 6 on the list The Greatest Trombonists of All Time

Jack Teagarden Swing music, Big band, Jazz

7

Urbie Green is listed (or ranked) 7 on the list The Greatest Trombonists of All Time

Urbie Green Jazz

8

Wycliffe Gordon is listed (or ranked) 8 on the list The Greatest Trombonists of All Time

Wycliffe Gordon Jazz

9

Bill Watrous is listed (or ranked) 9 on the list The Greatest Trombonists of All Time

Bill Watrous Jazz

10

Glenn Miller is listed (or ranked) 10 on the list The Greatest Trombonists of All Time

Glenn Miller Swing music, Big band, Jazz

Colonial influences by glenn turner

7 5

Beautiful MG TF replica in British Racing Green in Akaroa in New Zealand. The French tricolore flies in the background revealing a significant French influence in this historic little harbour town.

A French sea captain agreed in 1838 to purchase land in the area from local chiefs, and settlers arrived in New Zealand from Rochefort in France in 1840. On arrival they discovered that the British had in the meantime named the area the Banks Peninsula, after the famous naturalist Joseph Banks, who had accompanied James Cook. Given that they had set sail on the understanding that they owned the land, the French were allowed to settle, and they originally named the town Port Louis-Philippe.

Bad Influence Outtake by Xavier J. Peg

53 4

Strobist: AB1600 with gridded 60X30 softbox camera right. AB800 with gridded HOBD-W overhead. AB800 with Softlighter II camera left. AB800 with 7 inch flagged reflector camera right. Triggered by Cybersync.

Under Influence by ʀɪɴ

9

The Influencers by Glen Bledsoe

45 14

I'm under an NDA so I must keep the details to myself, BUT I was offered a job as a social media influencer. Can you imagine that? I asked them what the hours were and they said they expected me to be socializing all hours of the night and day. There were no benefits, no insurance, no holidays and they expected me to go on about all sorts of products like perfume and charcoal grills and TV shows that I've never even heard of. Silly. Benefits would have included having lunch with the above pictured executives, but my time is valuable, too.

I turned them down. Crazy, right?

German influence. by westernthunderer

20 8

Das Neumann Haus, a historic building in the heart of the rural town of Laidley earlier this year. Das Neumann Haus Museum is an historic house museum located in the town of Laidley, Queensland, Australia, on the corner of Patrick Street and William Street.

"Das Neumann Haus Museum

The house, a colonial style weatherboard building,[2] was built by German immigrant Hermann Neumann in 1893 as his private residence. The house has been restored to its former condition and refurnished in the style of the 1930s. It opened in 1998 to the public as a house museum. A visitor information centre, a café and a gift shop are also operated within the building."

The rest is here

en.wikipedia.org/wiki/Das_Neumann_Haus_Museum_(Laidley,_Queensland)

influencer ;/) by schyter

31 2

ФЭД Микрон 2 (Fed Mikron 2) by Fed

Industar-81 - 2.8/38

Automatic mode (lightmeter on-board)

Kodak BW 400CN (expired)

Tetenal Colortec c41 (30° C)

Epson V600

night influence by Laurarama

42 88

Lit by the gibbous moon. This is for the minimalist theme so I will say nothing more.

Oh, except that Rosie came along with me for a late night excursion and we had a most interesting conversation. As we looked out at the inky stillness she quietly asked me, "Would you kill me for 8 million dollars?" I said, "oh my god of course not!...Wait, how much money?" She repeated the amount. I said, "I'm just kidding, I would NOT kill you for any amount of money in the world. What made you even think of such a thing?" My little girl replied, "I don't know, just popped into my head, what about Dad, would you kill him for 8 million?" ....Well,....let me think about that one :)

For ODC ~ minimalism

More minimal viewed on black

Nikon D7000 ~ Nikkor 50mm 1.4 Ais ~ Exposure 0.8 sec. ~ Aperture f/1.4 ~ ISO Speed 500

Kue Lekker by Miel Photopgraphy

13

Kue Lekker, another Dutch-influenced snack of thin, crispy crepes with chocolate and/or cheese filling. A popular street food in Indonesia, this snack is really yummy, or lekker as how the Dutch says.

Stanley Kubrick Influence by Pete

20 1

Orion III to me has always been one the most iconic SciFi spaceships in my generation. I have always wanted to use it in one of my moon photographs.

Chinese influence art. by roxane vanelli

10 7

Influences... Influencias... by atvjavi

109 9

Little Blue Clouds by Reckless Times

8

Another one massively influenced by the work of Adrian Court LRPS who took a similair photo not to long ago - impressed and inspired I made my way to Oxford Brookes to get one of my own!!

If you like this - you really should check out Adrian Court LRPS who has a photostream full of so many gems!

Instagram

Twitter

Vampiress Influencer by A. C. K.

6

Friday Fun inFluences by Julie Budd

9 24

Manipuri Influence by Amitabha Gupta

2

by April

223 18

Amedeo Modigliani

Italian, 1884 - 1920

Woman with a Necklace, 1917

Oil on canvas

(closeup)

Amedeo Clemente Modigliani (July 12, 1884 – January 24, 1920) was a Jewish-Italian painter and sculptor who pursued his career for the most part in France. Modigliani was born in Livorno, Italy and began his artistic studies in Italy before moving to Paris in 1906. Influenced by the artists in his circle of friends and associates, by a range of genres and movements, and by primitive art, Modigliani's oeuvre was nonetheless unique and idiosyncratic. He died in Paris of tubercular meningitis—exacerbated by a lifestyle of excess—at the age of 35.

Early life

Modigliani was born into a Jewish family in Livorno, Italy.

Livorno was still a relatively new city, by Italian standards, in the late nineteenth century. The city on the Tyrrhenian coast dates from around 1600, when it was transformed from a swampy village into a seaport. The Livorno that Modigliani knew was a bustling centre of commerce focused upon seafaring and shipwrighting, but its cultural history lay in being a refuge for those persecuted for their religion. His own maternal great-great-grandfather was one Solomon Garsin, a Jew who had immigrated to Livorno in the eighteenth century as a religious refugee.

Modigliani was the fourth child of Flaminio Modigliani and his wife, Eugenia Garsin. His father was in the money-changing business, but when the business went bankrupt, the family lived in dire poverty. In fact, Amedeo's birth saved the family from certain ruin, as, according to an ancient law, creditors could not seize the bed of a pregnant woman or a mother with a newborn child. When bailiffs entered the family home, just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of the expectant mother.

Modigliani had a particularly close relationship with his mother, who taught her son at home until he was ten. Beset with health problems after a bout of typhoid at the age of fourteen, two years later he contracted the tuberculosis which would affect him for the rest of his life. To help him recover from his many childhood illnesses, she took him to Naples in Southern Italy, where the warmer weather was conducive to his convalescence.

His mother was, in many ways, instrumental in his ability to pursue art as a vocation. When he was eleven years of age, she had noted in her diary that:

“The child's character is still so unformed that I cannot say what I think of it. He behaves like a spoiled child, but he does not lack intelligence. We shall have to wait and see what is inside this chrysalis. Perhaps an artist?"

Art student years

Modigliani is known to have drawn and painted from a very early age, and thought himself "already a painter", his mother wrote, even before beginning formal studies. Despite her misgivings that launching him on a course of studying art would impinge upon his other studies, his mother indulged the young Modigliani's passion for the subject.

At the age of fourteen, while sick with the typhoid fever, he raved in his delirium that he wanted, above all else, to see the paintings in the Palazzo Pitti and the Uffizi in Florence. As Livorno's local museum only housed a sparse few paintings by the Italian Renaissance masters, the tales he had heard about the great works held in Florence intrigued him, and it was a source of considerable despair to him, in his sickened state, that he might never get the chance to view them in person. His mother promised that she would take him to Florence herself, the moment he was recovered. Not only did she fulfil this promise, but she also undertook to enroll him with the best painting master in Livorno, Guglielmo Micheli.

Micheli and the Macchiaioli

Modigliani worked in the studio of Micheli from 1898 to 1900. Here his earliest formal artistic instruction took place in an atmosphere deeply steeped in a study of the styles and themes of nineteenth-century Italian art. In his earliest Parisian work, traces of this influence, and that of his studies of Renaissance art, can still be seen: artists such as Giovanni Boldini figure just as much in this nascent work as do those of Toulouse-Lautrec.

Modigliani showed great promise while with Micheli, and only ceased his studies when he was forced to, by the onset of tuberculosis.

In 1901, whilst in Rome, Modigliani admired the work of Domenico Morelli, a painter of melodramatic Biblical studies and scenes from great literature. It is ironic that he should be so struck by Morelli, as this painter had served as an inspiration for a group of iconoclasts who went by the title, the Macchiaioli (from macchia—"dash of colour", or, more derogatively, "stain"), and Modigliani had already been exposed to the influences of the Macchiaioli. This minor, localised art movement was possessed of a need to react against the bourgeois stylings of the academic genre painters. While sympathetically connected to (and actually pre-dating) the French Impressionists, the Macchiaioli did not make the same impact upon international art culture as did the followers of Monet, and are today largely forgotten outside of Italy.

Modigliani's connection with the movement was through Micheli, his first art teacher. Micheli was not only a Macchiaioli himself, but had been a pupil of the famous Giovanni Fattori, a founder of the movement. Micheli's work, however, was so fashionable and the genre so commonplace that the young Modigliani reacted against it, preferring to ignore the obsession with landscape that, as with French Impressionism, characterised the movement. Micheli also tried to encourage his pupils to paint en plein air, but Modigliani never really got a taste for this style of working, sketching in cafes, but preferring to paint indoors, and especially in his own studio. Even when compelled to paint landscapes (three are known to exist), Modigliani chose a proto-Cubist palette more akin to Cézanne than to the Macchiaioli.

While with Micheli, Modigliani not only studied landscape, but also portraiture, still-life, and the nude. His fellow students recall that the latter was where he displayed his greatest talent, and apparently this was not an entirely academic pursuit for the teenager: when not painting nudes, he was occupied with seducing the household maid.

Despite his rejection of the Macchiaioli approach, Modigliani nonetheless found favour with his teacher, who referred to him as "Superman", a pet name reflecting the fact that Modigliani was not only quite adept at his art, but also that he regularly quoted from Nietzsche's Thus Spake Zarathustra. Fattori himself would often visit the studio, and approved of the young artist's innovations.

In 1902, Modigliani continued what was to be a life-long infatuation with life drawing, enrolling in the Accademia di Belle Arti (Scuola Libera di Nudo, or "Free School of Nude Studies") in Florence. A year later while still suffering from tuberculosis, he moved to Venice, where he registered to study at the Istituto di Belle Arti.

It is in Venice that he first smoked hashish and, rather than studying, began to spend time frequenting disreputable parts of the city. The impact of these lifestyle choices upon his developing artistic style is open to conjecture, although these choices do seem to be more than simple teenage rebellion, or the cliched hedonism and bohemianism that was almost expected of artists of the time; his pursuit of the seedier side of life appears to have roots in his appreciation of radical philosophies, such as those of Nietzsche.

Early literary influences

Having been exposed to erudite philosophical literature as a young boy under the tutelage of Isaco Garsin, his maternal grandfather, he continued to read and be influenced through his art studies by the writings of Nietzsche, Baudelaire, Carduzzi, Comte de Lautréamont, and others, and developed the belief that the only route to true creativity was through defiance and disorder.

Letters that he wrote from his 'sabbatical' in Capri in 1901 clearly indicate that he is being more and more influenced by the thinking of Nietzsche. In these letters, he advised friend Oscar Ghiglia,

“(hold sacred all) which can exalt and excite your intelligence... (and) ... seek to provoke ... and to perpetuate ... these fertile stimuli, because they can push the intelligence to its maximum creative power.”

The work of Lautréamont was equally influential at this time. This doomed poet's Les Chants de Maldoror became the seminal work for the Parisian Surrealists of Modigliani's generation, and the book became Modigliani's favourite to the extent that he learnt it by heart. The poetry of Lautréamont is characterised by the juxtaposition of fantastical elements, and by sadistic imagery; the fact that Modigliani was so taken by this text in his early teens gives a good indication of his developing tastes. Baudelaire and D'Annunzio similarly appealed to the young artist, with their interest in corrupted beauty, and the expression of that insight through Symbolist imagery.

Modigliani wrote to Ghiglia extensively from Capri, where his mother had taken him to assist in his recovery from the tuberculosis. These letters are a sounding board for the developing ideas brewing in Modigliani's mind. Ghiglia was seven years Modigliani's senior, and it is likely that it was he who showed the young man the limits of his horizons in Livorno. Like all precocious teenagers, Modigliani preferred the company of older companions, and Ghiglia's role in his adolescence was to be a sympathetic ear as he worked himself out, principally in the convoluted letters that he regularly sent, and which survive today.

“Dear friend

I write to pour myself out to you and to affirm myself to myself. I am the prey of great powers that surge forth and then disintegrate... A bourgeois told me today - insulted me - that I or at least my brain was lazy. It did me good. I should like such a warning every morning upon awakening: but they cannot understand us nor can they understand life...”

Paris

Arrival

In 1906 Modigliani moved to Paris, then the focal point of the avant-garde. In fact, his arrival at the epicentre of artistic experimentation coincided with the arrival of two other foreigners who were also to leave their marks upon the art world: Gino Severini and Juan Gris.

He settled in Le Bateau-Lavoir, a commune for penniless artists in Montmartre, renting himself a studio in Rue Caulaincourt. Even though this artists' quarter of Montmartre was characterised by generalised poverty, Modigliani himself presented - initially, at least - as one would expect the son of a family trying to maintain the appearances of its lost financial standing to present: his wardrobe was dapper without ostentation, and the studio he rented was appointed in a style appropriate to someone with a finely attuned taste in plush drapery and Renaissance reproductions. He soon made efforts to assume the guise of the bohemian artist, but, even in his brown corduroys, scarlet scarf and large black hat, he continued to appear as if he were slumming it, having fallen upon harder times.

When he first arrived in Paris, he wrote home regularly to his mother, he sketched his nudes at the Colarossi school, and he drank wine in moderation. He was at that time considered by those who knew him as a bit reserved, verging on the asocial. He is noted to have commented, upon meeting Picasso who, at the time, was wearing his trademark workmen's clothes, that even though the man was a genius, that did not excuse his uncouth appearance.

Transformation

Within a year of arriving in Paris, however, his demeanour and reputation had changed dramatically. He transformed himself from a dapper academician artist into a sort of prince of vagabonds.

The poet and journalist Louis Latourette, upon visiting the artist's previously well-appointed studio after his transformation, discovered the place in upheaval, the Renaissance reproductions discarded from the walls, the plush drapes in disarray. Modigliani was already an alcoholic and a drug addict by this time, and his studio reflected this. Modigliani's behaviour at this time sheds some light upon his developing style as an artist, in that the studio had become almost a sacrificial effigy for all that he resented about the academic art that had marked his life and his training up to that point.

Not only did he remove all the trappings of his bourgeois heritage from his studio, but he also set about destroying practically all of his own early work. He explained this extraordinary course of actions to his astonished neighbours thus:

“Childish baubles, done when I was a dirty bourgeois."

The motivation for this violent rejection of his earlier self is the subject of considerable speculation. The self-destructive tendencies may have stemmed from his tuberculosis and the knowledge (or presumption) that the disease had essentially marked him for an early death; within the artists' quarter, many faced the same sentence, and the typical response was to set about enjoying life while it lasted, principally by indulging in self-destructive actions. For Modigliani such behavior may have been a response to a lack of recognition; it is known that he sought the company of other alcoholic artists such as Utrillo and Soutine, seeking acceptance and validation for his work from his colleagues.

Modigliani's behavior stood out even in these Bohemian surroundings: he carried on frequent affairs, drank heavily, and used absinthe and hashish. While drunk he would sometimes strip himself naked at social gatherings. He became the epitome of the tragic artist, creating a posthumous legend almost as well-known as that of Vincent van Gogh.

During the 1920s, in the wake of Modigliani's career and spurred on by comments by Andre Salmon crediting hashish and absinthe with the genesis of Modigliani's style, many hopefuls tried to emulate his 'success' by embarking on a path of substance abuse and bohemian excess. Salmon claimed—erroneously—that whereas Modigliani was a totally pedestrian artist when sober,

“...from the day that he abandoned himself to certain forms of debauchery, an unexpected light came upon him, transforming his art. From that day on, he became one who must be counted among the masters of living art.”

While this propaganda served as a rallying cry to those with a romantic longing to be a tragic, doomed artist, these strategies did not produce unique artistic insights or techniques in those who did not already have them.

In fact, art historians suggest that it is entirely possible for Modigliani to have achieved even greater artistic heights had he not been immured in, and destroyed by, his own self-indulgences. We can only speculate what he might have accomplished had he emerged intact from his self-destructive explorations.

Output

During his early years in Paris, Modigliani worked at a furious pace. He was constantly sketching, making as many as a hundred drawings a day. However, many of his works were lost - destroyed by him as inferior, left behind in his frequent changes of address, or given to girlfriends who did not keep them.

He was first influenced by Henri de Toulouse-Lautrec, but around 1907 he became fascinated with the work of Paul Cézanne. Eventually he developed his own unique style, one that cannot be adequately categorized with other artists.

He met the first serious love of his life, Russian poet Anna Akhmatova, in 1910, when he was 26. They had studios in the same building, and although 21-year-old Anna was recently married, they began an affair. Tall (Modigliani was only 5 foot 5 inches) with dark hair (like Modigliani's), pale skin and grey-green eyes, she embodied Modigliani's aesthetic ideal and the pair became engrossed in each other. After a year, however, Anna returned to her husband.

Experiments with sculpture

In 1909, Modigliani returned home to Livorno, sickly and tired from his wild lifestyle. Soon he was back in Paris, this time renting a studio in Montparnasse. He originally saw himself as a sculptor rather than a painter, and was encouraged to continue after Paul Guillaume, an ambitious young art dealer, took an interest in his work and introduced him to sculptor Constantin Brancusi.

Although a series of Modigliani's sculptures were exhibited in the Salon d'Automne of 1912, he abruptly abandoned sculpting and focused solely on his painting.

Question of influences

In Modigliani's art, there is evidence of the influence of primitive art from Africa and Cambodia which he may have seen in the Musée de l'Homme, but his stylisations are just as likely to have been the result of his being surrounded by Mediaeval sculpture during his studies in Northern Italy (there is no recorded information from Modigliani himself, as there is with Picasso and others, to confirm the contention that he was influenced by either ethnic or any other kind of sculpture). A possible interest in African tribal masks seems to be evident in his portraits. In both his painting and sculpture, the sitters' faces resemble ancient Egyptian painting in their flat and masklike appearance, with distinctive almond eyes, pursed mouths, twisted noses, and elongated necks. However these same chacteristics are shared by Medieval European sculpture and painting.

Modigliani painted a series of portraits of contemporary artists and friends in Montparnasse: Chaim Soutine, Moise Kisling, Pablo Picasso, Diego Rivera, Marie "Marevna" Vorobyev-Stebeslka, Juan Gris, Max Jacob, Blaise Cendrars, and Jean Cocteau, all sat for stylized renditions.

At the outset of World War I, Modigliani tried to enlist in the army but was refused because of his poor health.

The war years

Known as Modì, which roughly translates as 'morbid' or 'moribund', by many Parisians, but as Dedo to his family and friends, Modigliani was a handsome man, and attracted much female attention.

Women came and went until Beatrice Hastings entered his life. She stayed with him for almost two years, was the subject for several of his portraits, including Madame Pompadour, and the object of much of his drunken wrath.

When the British painter Nina Hamnett arrived in Montparnasse in 1914, on her first evening there the smiling man at the next table in the café introduced himself as Modigliani; painter and Jew. They became great friends.

In 1916, Modigliani befriended the Polish poet and art dealer Leopold Zborovski and his wife Anna.

Jeanne Hébuterne

The following summer, the Russian sculptor Chana Orloff introduced him to a beautiful 19-year-old art student named Jeanne Hébuterne who had posed for Foujita. From a conservative bourgeois background, Hébuterne was renounced by her devout Roman Catholic family for her liaison with the painter, whom they saw as little more than a debauched derelict, and, worse yet, a Jew. Despite her family's objections, soon they were living together, and although Hébuterne was the love of his life, their public scenes became more renowned than Modigliani's individual drunken exhibitions.

On December 3, 1917, Modigliani's first one-man exhibition opened at the Berthe Weill Gallery. The chief of the Paris police was scandalized by Modigliani's nudes and forced him to close the exhibition within a few hours after its opening.

After he and Hébuterne moved to Nice, she became pregnant and on November 29, 1918 gave birth to a daughter whom they named Jeanne (1918-1984).

Nice

During a trip to Nice, conceived and organized by Leopold Zborovski, Modigliani, Tsuguharu Foujita and other artists tried to sell their works to rich tourists. Modigliani managed to sell a few pictures but only for a few francs each. Despite this, during this time he produced most of the paintings that later became his most popular and valued works.

During his lifetime he sold a number of his works, but never for any great amount of money. What funds he did receive soon vanished for his habits.

In May of 1919 he returned to Paris, where, with Hébuterne and their daughter, he rented an apartment in the rue de la Grande Chaumière. While there, both Jeanne Hébuterne and Amedeo Modigliani painted portraits of each other, and of themselves.

Last days

Although he continued to paint, Modigliani's health was deteriorating rapidly, and his alcohol-induced blackouts became more frequent.

In 1920, after not hearing from him for several days, his downstairs neighbor checked on the family and found Modigliani in bed delirious and holding onto Hébuterne who was nearly nine months pregnant. They summoned a doctor, but little could be done because Modigliani was dying of the then-incurable disease tubercular meningitis.

Modigliani died on January 24, 1920. There was an enormous funeral, attended by many from the artistic communities in Montmartre and Montparnasse.

Hébuterne was taken to her parents' home, where, inconsolable, she threw herself out of a fifth-floor window two days after Modigliani's death, killing herself and her unborn child. Modigliani was interred in Père Lachaise Cemetery. Hébuterne was buried at the Cimetière de Bagneux near Paris, and it was not until 1930 that her embittered family allowed her body to be moved to rest beside Modigliani.

Modigliani died penniless and destitute—managing only one solo exhibition in his life and giving his work away in exchange for meals in restaurants. Had he lived through the 1920s when American buyers flooded Paris, his fortunes might well have changed. Since his death his reputation has soared. Nine novels, a play, a documentary and three feature films have been devoted to his life.

Patternal influence by simple.joy

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One of my attempts at the "Smile on Saturday" theme "fancy fabrics".

Shot with a Noritsu "38-60 mm F 4-4.8" (enlarging) lens on a Canon EOS R5.

enlivening influence... by ioannis lelakis

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Rishikesh, India 2006.

Remote influence by Michał Nicke

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Crepuscular rays made by clouds 500 km far away over Atlanltic ocean.

Influence - Scene 22 by Teddi Beres

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CAST

Kiley (Bailey)

Skyler (TB)

Nicole Davis (TB)

Liz Baxter (Bailey)

Sean Davis Erebus

Influencers - Mia (Summer) & Ryan (Seth)

Wardrobe Designer - (Bailey)

Hairdresser: (Bailey)

MUSIC Everything You Know is Wrong - Geoffrey Burch. Copyright free

pixabay.com/music/horror-scene-everything-you-know-is-wro...

(There's a dragging sound, and a thump.)

Sean: My god! How did you do that?

Nicole: Sean? What's wrong?

911: Ma'am?

Sean: How did you pick me up like that?

Nicole: Sean? What's going on?

Sean: Honey, you won't believe it. Kiley just picked me up like I was a doll or something.

Nicole: That's impossible!

911: Ma'am?

Nicole: My husband was a football player. He's a big guy. Over 6 feet and about 200 pounds. He said our fifteen-year-old daughter just picked him up like a doll!

911: Ma'am, I will keep the units rolling. There are some drugs that cause people to exhibit great feats of strength. Can your husband exit the room?

Nicole: Sean? Can you open the door?

Sean: They've got a lot of stuff in front of it. Girls, why did you do this?

(There's a scraping sound from inside the room, and grunting, as Sean starts to move things, and the girls are giggling, sounding like glass windchimes.)

911: Ma'am, what is happening, now?

Nicole: My husband is moving furniture away from the door. I guess they barricaded themselves in there while they did that Mia makeover.

911: Ma'am, please repeat what you just said.

Nicole: Sean's moving furniture --

911: No, ma'am. The very last thing you said. Did you say a name?

Nicole: Oh, yes. Mia, this influencer. She has a makeover that everybody is doing, and the girls--

911: Ma'am, are you able to leave the house?

Nicole: I'm sorry?

Sean: That's okay, girls. I can do this on my -- Ow! Hey, Skyler! Take it easy!

911: Ma'am we're receiving reports that people who have taken the drug being sold by this Mia Murony are behaving aggressively.

Nicole: Sean? Are you okay?

Sean: Yeah, it's just that ... Skyler nearly broke my arm pulling me away from the door.

(The girls' tinkling laughter follows his remark.)

911: Ma'am, I want you to leave your house and run, do not walk, RUN to the intersection of Maple and Fremont. Officers will assist you there.

Nicole: My husband is with the girls. Sean, can you open the door?

Sean: Come on, girls. Let's get all of this stuff out of the way. Don't you want to show your mom how the makeover worked?

Kiley: It DID work, didn't it, Dad? I'm beautiful now, aren't I?

Sean: You've always been beautiful, honey.

(There's a sharp sound of flesh hitting flesh and Sean cries out in pain.)

Kiley: (sounding animalistic) LIAR!

A coastal influence by Brian

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Thought I might be hiking out in the rain.

CHINESE INFLUENCE by MICK LONG

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A visit to West Dean Gardens West Sussex on a hot summers day to see the variety of plants & scenery.

influencés by JJ.BT

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L'édition 2022 est là : PARADE,

Techno Parade, Paris, samedi 24 septembre 2022

Les éditions précédentes sont là aussi :

They will show me what I want to see, Techno Parade, Paris samedi 23 septembre 2017.

Techno Parade, Paris samedi 19 septembre 2015.

et puis, pour les fans, il y a toujours JJ_BT, l'intégrale

le tout , powered by issuu.

27. "Garden Steps, Rattray" (Oil painting by M.Beek) by Martin Beek

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This one, the most photographic of my recent paintings was influenced by Millais "The Old Garden" although I've been slightly more liberal with my colour here. These mossy steps were in a neglected area of the terraced garden at Craighall Castle,Rattray Perthshire.The lawn was covered in frost. I am also working on a print based on this. As with other work in this series I'm working from photographic material, I'm intertested that it has fooled a few people into thinking it is a photo manipulation rather than a painting. I saw a very good book on Chuck Close in November, I much admire his quasi photorealistic renderings of the past decade, not the high finish stuff. I was also influenced by Bill Jacklin RA, who paints work that deals with texture and light. Anyway Garden Steps is part of a growing series of work, which I've only just begun. As I'm in my 50th year I thought it was about time to get serious about painting again, these are "warming up" to bigger and better work I hope.

This picture has begun the year with the most comments on any of my material thus far on Flickr. Thank you to everyone for your thoughts, I value everything youve said, particularly the debate on Photoshop or painting.

The camera and the artist (set) about the relationship between photographic images and those painted. I hope to use examples from my own practice where photography has been used in both photo-realistic work as well as illustration and other art-forms.

I have used a number of artists whose work I have studied and look at the way photography informed and influenced their visual expression.

As I have scanned a lot of my old work I'm well aware that photography has played and still plays a significant role for me as an artist, indeed in recent years these two practices have overlapped and are no longer distinct paths.

Oval of influence by M S

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They say that the Catholic church is a sphere of influence. Here is my Oval of influence…

One of my first experiences with using a telephoto lens. I can tell you that it was quite difficult to focus and hold something as long as this lens! :D

Taken with Olympus OM2SP, telephoto lens, fujifilm superia, ISO 200

Bad Influence by BenBuildsLEGO

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"Eve Hearing the Voice" by Moses J. Ezekiel (1904)

influencers -scene 2 by Rick Midgley

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Abdul Hakim Joy by Abdul Hakim

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Do what you like, like what you do 😎

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Follow me: 👀 @abdulhakimjoy on Instagram

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Follow my #photography profile @joyphotographylondon #joyphotography

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#abdulhakimjoy #actor #model #influencer #acting #collaboration #starnow #spotlightactor #london #gravesend #gravesendactor #moulvibazar #sylhet #dhaka #bengali #bengaliactor #bangladeshiactor #bangladesh #bollywood #hollywood #bengaliactorlondon #fashion #india #actorslife #abdulhakim #leatherjacket #sunglasses

sphere of influence by Hanna Stefáns

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text for cwd

Under the Influence by Victor

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A lot of my work is influenced by sound. This was put together while listening to OCTiV. Plans are in place to do some work with him. Looking forward to it.

WEBSITE | Photography page

The Influence Machine by chrisdonia

A candle of hope: a moment of prayer in St. George's chapel by Ben The Man

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photo rights reserved by B℮n

St. George's Cathedral in Tbilisi, also known as the Cathedral of St. George, is a significant religious and historical landmark in Georgia. Situated in the heart of Tbilisi's old town, this cathedral is one of the oldest and most revered Orthodox churches in the city. The current structure dates back to the 13th century, though it's believed that a church existed on this site even earlier. The cathedral is dedicated to St. George, the patron saint of Georgia, who is venerated in the country for his role as a protector and symbol of the Christian faith. Over the centuries, the cathedral has undergone numerous changes, including restorations and expansions. Its interior is richly decorated with icons and frescoes depicting various saints and Biblical scenes. The architecture of the cathedral blends elements of traditional Georgian design with influences from Byzantine and Persian styles, creating a unique and striking appearance. The serene and sacred atmosphere of the chapel in St. George's Cathedral invites visitors to find a moment of silence, connect with the divine and experience the depth of their faith. The cathedral serves not only as a place of worship but also as a symbol of Georgia's religious and cultural identity. It attracts both worshippers and tourists who come to experience its spiritual and historical significance.

The chapel in St. George's Cathedral in Tbilisi is an intimate space within the larger church, designed for personal prayers and smaller, private ceremonies. This chapel is richly adorned with icons, candles, and religious symbols that emphasize the sanctity of the space. The walls are covered with frescoes and icons depicting saints and Biblical scenes, creating a deeply spiritual atmosphere. Here, worshippers find a place of quiet reflection and meditation, away from the bustle of the main cathedral. Kanitha lights a candle in the chapel, her thoughts filled with hope and prayers for someone dear to her. In the soft glow of the light, she trusts in a moment of silent connection, wishing the best for them.

De Sint-Joriskathedraal in Tbilisi, ook bekend als de Kathedraal van Sint Joris, is een belangrijke religieuze en historische locatie in Georgië. Gelegen in het hart van Tbilisi's oude stad, is deze kathedraal een van de oudste en meest vereerde orthodoxe kerken in de stad. De huidige structuur van de kathedraal dateert uit de 13e eeuw, hoewel er aanwijzingen zijn dat er al eerder een kerk op deze plek heeft gestaan. De kathedraal is gewijd aan Sint Joris, de patroonheilige van Georgië, die in het land wordt vereerd vanwege zijn rol als beschermer en symbool van het christelijk geloof. De kathedraal heeft door de eeuwen heen vele veranderingen ondergaan, waaronder restauraties en uitbreidingen. Het interieur is rijk versierd met iconen en fresco's, die verschillende heiligen en Bijbelse scènes uitbeelden. De architectuur van de kathedraal combineert elementen van traditionele Georgische bouwkunst met invloeden uit Byzantijnse en Perzische stijlen, wat resulteert in een uniek en indrukwekkend ontwerp. Het altaar is een plek van diep respect en spirituele betekenis. Rijkelijk versierd met religieuze iconen, kaarsen en sierlijke decoraties, symboliseert het altaar de heilige ruimte waar het goddelijke en het aardse elkaar ontmoeten. De kapel in de kathedraal is een intieme ruimte binnen de grotere kerk, bedoeld voor persoonlijke gebeden en kleinere, meer privéceremonies. Deze kapel is vaak rijkelijk versierd met iconen, kaarsen, en religieuze symbolen die de heilige aard van de ruimte benadrukken. De muren zijn vaak bedekt met fresco's en iconen die heiligen en Bijbelse taferelen afbeelden, wat een diep spirituele sfeer creëert. De kapel biedt een plek van rust en contemplatie, waar gelovigen zich kunnen terugtrekken voor persoonlijk gebed of meditatie, ver weg van de drukte van het hoofdgedeelte van de kathedraal. Kanitha steekt een kaarsje aan in de kapel, haar gedachten gevuld met hoop en gebeden voor iemand die haar dierbaar is. In het zachte schijnsel van het licht, vertrouwt ze op een moment van stille verbinding en wens het beste voor diegene. Sint-Joriskathedraal is niet alleen een plaats van aanbidding, maar ook een symbool van de religieuze en culturele identiteit van Georgië. Het trekt zowel gelovigen als toeristen aan, die de kathedraal bezoeken om haar spirituele en historische betekenis te ervaren.

Sphere of influence by Dasha

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Rye VIC

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