View allAll Photos Tagged Published
well, not in a book, but it's a start:
Nordiska muséet
www.schmap.com/stockholm/sights_djurgrden/p=235652/i=2356...
Suspended Animation Classic #237
Originally published July 11, 1993 (#29)
(Dates are approximate)
Doom Patrol
By Michael Vance
They were doomed from the beginning. They broke the first rule of literature: be different, but not too different.
They break the same rule today.
In 1963, DC Comics’ “My Greatest Adventure” introduced “The Doom Patrol”. Robotman and crew pushed the envelope of accepted comic book fare for five years until it tore. The bizarre superhero team left behind a cult following after cancellation, but mainstream readers never accepted this squabbling collection of ‘geeks’ who were not well-muscled beautiful heroes and were barely even human.
Elasti-Girl’s chief ran The Doom Patrol from a wheelchair. Robotman was a machine with a human brain. Negative Man’s head-to-toe bandages hid more than a negative attitude. Strange.
What was revolutionary then subtly influenced today’s cartoonists, and yesterday’s Doom Patrol now is the envelope. Even stranger.
The Chief heading the current team does so literally. He is nothing but a head. “The Doom Patrol” may be the Picasso of today’s comics.
In self-parody of its own abstractions, this superhero team now battles “The Master Cleaner”, an alien out to clean Earth. When it kidnaps to clean, Master Cleaner leaves a paper cutout behind bearing the victim’s name. “Cat”. “Trash Can”. “Fridge”.
Waiting in the wings is a superhero addict with worthless and hilarious powers. They include the power to drown an enemy in face sweepstakes, and appeals for money, and the power to make everyone conventional and boring.
As Master Cleaner reduces morality and reality to black and white symbol, little Dorothy reduces childhood nightmares into real monsters.
“I wish to h##l I knew what was going on here,” muses Robotman.
His and your musings are answered in this well-written and drawn series. But readers must ‘listen’ closely. Doom Patrol has the power to confuse … and entertain.
Those enjoying abstraction will relish this comic book. Others will find this difficult splash of shapes, colors, and ideas numbing.
I relish.
“Doom Patrol” #s 68 & 69/$1.95 and 24 pages each, published by DC-Vertigo Comics/words: Rachel Pollack; art: Linda Medley/available in comic shops.
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Little Steven, uno dei personaggi più eclettici della storia del rock, storico chitarrista della E Street Band di Bruce Springsteen, reduce dai successi televisivi di Soprano e Lillyhammer, torna in Italia sul palco dell’Alcatraz di Milano, il 13 giugno 2019 con il Summer Of Sorcery Tour.
Steven Van Zandt è un musicista, performer, songwriter, arrangiatore, produttore musicale, produttore televisivo, attore, regista, produttore teatrale, compositore di colonne sonore, produttore di eventi live, dj, attivista, storico, insegnante, membro della New Jersey Hall of Fame e della Rock and Roll Hall of Fame ed è riconosciuto come una delle principali autorità sia nel mondo del Rock and Roll contemporaneo che di quello tradizionale.
Dopo aver contribuito alla creazione del Jersey Shore sound insieme agli Asbury Jones è divenuto un membro fondatore della E Street Band di Bruce Springsteen ed è andato avanti fino a diventare un artista solista di successo, esibendosi con la sua formazione Little Steven and The Disciples of Soul. Nel 2017 ha fatto uscire “Soulfire” il suo primo album dopo 15 anni ritornando alle sue radici Rhythm and Blues che Rolling Stone ha inserito tra i migliori dischi del 2017.
Ha appena fatto uscire “Soulfire LIVE!” un box set contenente 3 cd registrato durante quello che è stato il suo primo tour solista dopo 20 anni.
Le sue canzoni sono state eseguite da artisti come Jackson Browne, Pearl Jam, Jimmy Cliff, Damian Marley, Margo Price, Gary U.S Bonds, Darlene Love, Nancy Sinatra, Brian Setzer, Black Uhuru e molti altri.
Steven ha co-prodotto gli storici album di Bruce Springsteen “The River” e “Born in the USA”. Ha anche prodotto album per Southside Johnny and The Asbury Jukes, Gary U.S Bonds, Ronnie Spector, Demolition 23, Majek Fashek e molti altri. Ha prodotto e arrangiato “Introducing Darlene Love”, l’album acclamato dalla critica della leggendaria Darlene Love, star del documentario premio Oscar “Twenty Feet From Stardom”.
Nel 1985 Van Zandt ha formato la Artists United Against Apartheid e ha scritto “Sun City” una canzone a cui hanno partecipato più di 50 Artisti per protestare contro l’Apartheid. Molti analisti politici ritengono che quella canzone sia stata uno dei colpi fatali all’Apartheid, con Nelson Mandela rimesso in libertà solo pochi anni dopo. Steve è stato premiato due volte dall’ONU per il suo attivismo politico: per il progetto Sun City e per il suo coinvolgimento nell’ “International Peace Day” insieme a Peter Gabriel. Ha anche fondato la Solidarity Foundation per promuovere la sovranità delle popolazioni indigene e per favorire uno sviluppo economico in armonia con la terra.
Steven ha recitato in tutte le sette stagioni dei Soprano interpretando Silvio Dante, un personaggio da lui creato. Ha poi recitato, scritto, prodotto, musicato e diretto (l’ultimo episodio) la serie Lilyhammer che è stato il primo contenuto originale programmato da Netflix.
Steve e sua moglie Maureen sono membri del board del Count Basie Theatre e hanno contribuito all’espansione del leggendario teatro ad uno dei migliori Arts Center del mondo che comprende musica, teatro e danza.
Stevie Van Zandt - Guitar, Vocals
Marc Ribler - Music Director, Guitar, Slide Guitar
Rich Mercurio - Drums
Jack Daley - Bass
Andy Burton - B3 Organ, Accordion, Synthesizers
Lowell “Banana” Levinger - Piano, Mandolin, Esraj
Eddie Manion - Horn Director, Baritone Sax
Stan Harrison - Tenor Sax, Alto Sax, Flute, Oboe
Clark Gayton - Trombone
Ravi Best - Trumpet
Ron Tooley - Trumpet
Anthony Almonte - Percussion
Jessica Wagner - Backing Vocals
Sara Devine - Backing Vocals
Tania Jones - Backing Vocals
@jordynjones having fun with Stella 🐾 - Jordyn Jones Photo | Published by Social Media: www.instagram.com/p/Bjs--iYHOp4/ | Website: www.jordynonline.com | Official Website: www.jordynjonesofficial.com | Tags: #jordynjones #jordyn #jones #actress #model #singer #dancer #designer
1989 Emmy Awards
NOTE: Permission granted to copy, publish, broadcast or post any of my photos, but please credit "photo by Alan Light" if you can. Thanks.
Scanned from the original 35MM film negative.
Published in "Living the Photo Artistic Life," Issue No. 108, Feb 2024, p. 48, www.issuu.com. A conjurer works her magic in a cemetery. Image Stock: stock___rotten_flowers_gothic_straight_portrait_by_s_t_a_r_gazer_dc9mepu photographed by Volker Bergmann Fotografie; pere_lachaise_stock_091_by_malleni_stock_da6x6gq on Deviant Art
This photograph was published in the Illustrated Chronicle August 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
This is my husband Chris's new book!! (His second)
Published by Yale University Press
I borrowed this image from the stream of Steven Keylon .
He collects modern design in L.A. and was nice enough to not only purchase but also display Chris's book among some of his fine modern treasures.
You should really check out his stream.
I'm so excited to share with you that my Gratitude Pages have been published in the April issue of Art Journaling Magazine! More at my blog.
This picture was published as part of a set by ESA astronaut Sophie Adenot on social media , with the following caption:
[🇫🇷 version FR 👇] Day 188 orbit 2915 — A few pictures from my first EVA, straight from Anil's camera... and mine!
--
Jour 188, orbite 2915 – Quelques photos de ma première sortie dans l’espace, tout droit sorties de l’appareil photo d’Anil… et du mien !
Credit: ESA/NASA
iss075e0045279
This photograph was published in the Illustrated Chronicle August 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Bain News Service,, publisher.
Waiter's Strike
1912 June (date created or published later by Bain)
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title and date from data provided by the Bain News Service on the negative.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.10456
Call Number: LC-B2- 2405-13
Luminance HDR 2.3.0 tonemapping parameters:
Operator: Mantiuk08
Parameters:
Luminance Level: Auto
Color Saturation: 1
Contrast Enhancement: 1
------
PreGamma: 1
This photograph was published in the Illustrated Chronicle on the 9th of May 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images or have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
This photograph was published in the Illustrated Chronicle on the 21st of September 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
This photograph was published in the Illustrated Chronicle on the 13th of October 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Bain News Service,, publisher.
Woodrow Wilson, May 11, 1914
May 11, 1914 (date created or published later by Bain)
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.15796
Call Number: LC-B2- 3030-1
This photo was published on Austrianinline on 080904. I took it at the Austrianinline tour in Klagenfurt. Andreas Wagenblast is risking quite a lot with this True Spin Backside Savannah he did in a line!
Canon Speedlite 540 to the left against the wall
Canon Speedlite 430 from front next to the wall
Triggered with Ebay PT-04 and RF-04
Published in Crochet With Bits & Pieces (DRG)
A beginner-level pattern.
A few of these strands tied around the waist make a good summer belt.
WDCC Digital Photographer Magazine club focus article that featured Richard Kempton, Richard Connolly, Steve Conway and Tony Smith of the Grappenhall based camera club.
Alex Waddington interviewed the Warrington District Camera Club ay the GYCA www.flickr.com/photos/42023242@N06/3893967532/in/photostr...
The article was published in July 2003.
If you would like to be one of the clubs studio or photographic subjects or models, please get in touch via the Warrington District Camera Club Website at www.thewdcc.org.uk/
Being published in the Birmingham Evening Mail August 2012
You can take him a walk and then he still wants to play. It a great ball that takes shape once Ben gets his head off it. Wish I had removed the weeds now
© sergione infuso - all rights reserved
follow me on www.sergione.info
You may not modify, publish or use any files on
this page without written permission and consent.
-----------------------------
Il grande successo dei Dear Jack, in radio con il nuovo singolo La pioggia è uno stato d'animo, è anche discografico con “Domani è un altro film – prima parte”, in pochissimo tempo certificato disco di platino, per ben cinque settimane in cima alla classifica degli album più venduti in Italia e album più venduto in Italia nel primo semestre del 2014 pur essendo uscito solo a maggio.
I Dear Jack sono reduci dal grande successo come opening act dei Modà nei trionfali show di “Stadi 2014”, allo Stadio Olimpico di Roma allo Stadio San Siro di Milano.
Maria De Filippi li inventa, Miguel Bosè li sprona, i Modà li pretendono nei loro tour, inutile, a questo punto, aggiungere che migliaia di fan li idolatrano. Sono i Dear Jack, Alessio Bernabei e compagni, gli artisti del gruppo musicale del momento, un po' Negramaro degli esordi e un po' Modà. E poi tatuaggi, pettinature alla moda, innumerevoli foto su Instagram e talento, sì, bisogna dirlo, c'è del talento. Perché i Dear Jack è vero, nascono ad Amici ed è facile allora paragonarli al fortunatissimo panorama pop figlio dello schermo televisivo e di Sua Maestà il televoto come se non ci fosse un domani. Quel domani che è un altro film, come cantano loro, di cui cambiano il finale, aggiungono.
Ed è così. Ammesso che non c'è nulla di male a nascere in un talent televisivo e vendere dischi, quello dei Dear Jack è però un discorso davvero a parte. Loro sembravano stare lì, in sordina, pronti a esplodere, finiti di passaggio dove sono passati i vari Emma, Amoroso, Moreno e compagnia per poi sostituire subito l'etichetta 'Amici di' con quella di un vero e credibilissimo 'Prodotto rock'. Staremo a vedere. Intanto a San Siro hanno fatto impazzire i fan - sia loro che dei Modà - e si preparano adesso per riempire il Mediolanum Forum. Così, appena nati. Niente posticini underground, feste di piazza, opening sparsi ovunque come di solito accade, loro vanno subito nei palazzetti. Mica male.
Alessio Bernabei – voce
Francesco Pierozzi – chitarra elettrica, chitarra acustica
Lorenzo Cantarini – chitarra elettrica, voce secondaria
Alessandro Presti – basso
Riccardo Ruiu – batteria
The Postcard
A postally unused postcard that was published on behalf of the Carisbrooke Castle Museum Trust by W. J. Nigh & Sons Ltd. of Shanklin, Isle of Wight.
Carisbrooke Castle
Carisbrooke Castle is one of a number of paintings that were previously in the collection of B. G. Windus, and acquired for the Nation through the Government’s Acceptance in Lieu (of inheritance tax) scheme.
Turner's view of Carisbrooke Castle was allocated to the Carisbrooke Castle Museum on the Isle of Wight in 2007, and was the first work by Turner to enter a public collection on the island.
Turner's watercolour of the gatehouse to Carisbrooke Castle was painted in 1828 for the series of Picturesque Views in England and Wales, a collaborative project with the printmaker Charles Heath, who produced 96 of Turner’s engravings between 1827 and 1838. This work is regarded as one of the finest in the series.
It captures the picturesque qualities of Carisbrooke, with Turner’s trademark use of the effects of light casting a diagonal shaft of sunshine on the castle’s imposing entrance, set off by stormy clouds overhead.
Turner visited the Isle of Wight at least twice. In the summer of 1827 he stayed with the architect, John Nash, at East Cowes Castle which may be when he made the sketches for this painting.
East Cowes Castle, a Gothic Revival mansion, was Nash's home from its completion until his death in 1835. Nash himself designed the building which was built between 1798 and 1800. The castle was said to have been built at unlimited expense. The house was demolished in 1960, and most of the parkland was covered by a housing estate, although the Ice House and Lodge remain.
Carisbrooke Castle featured in a local exhibition in 2013 where John Medland noted that:
"His 1828 watercolour, Carisbrooke Castle,
illustrated his developing obsession with
light and the drama of the natural world.
The castle shines like yellowed ivory as
a vibrant purple sky threatens Newport."
J. M. W. Turner
Joseph Mallord William Turner RA, who was born in 1775, and known in his time as William Turner, was an English Romantic painter, printmaker and watercolourist.
He is known for his expressive colouring, imaginative landscapes and turbulent, often violent marine paintings.
William left behind more than 550 oil paintings, 2,000 watercolours, and 30,000 works on paper. He was championed by the leading English art critic John Ruskin from 1840, and is today regarded as having elevated landscape painting to an eminence rivalling history painting.
Turner was born in Covent Garden, London, to a modest lower-middle-class family. He retained his lower class accent, while assiduously avoiding the trappings of success and fame.
A child prodigy, Turner studied at the Royal Academy of Arts from 1789, enrolling when he was 14, and exhibited his first work there at 15. During this period, he also served as an architectural draftsman.
William earned a steady income from commissions and sales, which he often only begrudgingly accepted owing to his troubled and contrary nature.
He opened his own gallery in 1804, and became professor of perspective at the academy in 1807, where he lectured until 1828. He travelled around Europe from 1802, typically returning with voluminous sketchbooks.
Intensely private, eccentric, and reclusive, Turner was a controversial figure throughout his career. He did not marry, but fathered two daughters, Evelina (1801–1874) and Georgiana (1811–1843), by the widow Sarah Danby.
William became more pessimistic and morose as he got older, especially after the death of his father in 1829. When his outlook deteriorated, his gallery fell into disrepair and neglect, and his art intensified.
In 1841, Turner rowed a boat into the Thames so he could not be counted as present at any property in that year's census.
William lived in squalor and poor health from 1845, and died in London in 1851 aged 76. Turner is buried in St Paul's Cathedral, London.
-- J. M. W. Turner - The Early Years
Joseph Mallord William Turner was born in Maiden Lane, Covent Garden on the 23rd. April 1775, and baptised on the 14th. May 1775.
His father William Turner (1745 - 1829) was a barber and wig maker who had moved to london around 1770 from South Molton, Devon.
William's mother, Mary Marshall, came from a family of butchers. A younger sister, Mary Ann, was born in September 1778, but died in August 1783.
Turner's mother showed signs of mental disturbance from 1785, and was admitted to St Luke's Hospital for Lunatics in Old Street in 1799. She was moved in 1800 to Bethlem Hospital, a mental asylum, where she died in 1804.
Turner was sent to his maternal uncle, Joseph Mallord William Marshall, a butcher in Brentford, which was then a village on the banks of the River Thames west of London, where Turner attended school.
The earliest known artistic exercise by Turner is from this period - a series of simple colourings of engraved plates from Henry Boswell's Picturesque View of the Antiquities of England and Wales.
Around 1786, Turner was sent to Margate on the Kent coast. There he produced a series of drawings of the town and surrounding area that foreshadowed his later work.
By this time, Turner's drawings were being exhibited in his father's shop window and sold for a few shillings. His father boasted to the artist Thomas Stothard that:
"My son, sir, is going to be a painter."
In 1789, Turner again stayed with his uncle who had retired to Sunningwell (now part of Oxfordshire). A whole sketchbook of work from this time in Berkshire survives, as well as a watercolour of Oxford.
The use of pencil sketches on location, as the foundation for later finished paintings, formed the basis of Turner's essential working style for his whole career.
Many early sketches by Turner were architectural studies or exercises in perspective, and it is known that, as a young man, he worked for several architects, including Thomas Hardwick, James Wyatt and Joseph Bonomi the Elder.
By the end of 1789, he had also begun to study under the topographical draughtsman Thomas Malton, who specialised in London views. Turner learned from him the basic tricks of the trade, copying and colouring outline prints of British castles and abbeys.
He later called Malton:
"My real master".
Topography at the time was a thriving industry by which a young artist could pay for his studies.
-- J. M. W. Turner's Career
Turner entered the Royal Academy of Art in 1789, and was accepted into the academy a year later by Sir Joshua Reynolds. He showed an early interest in architecture, but was advised by Hardwick to focus on painting.
William's first watercolour, A View of the Archbishop's Palace, Lambeth, was accepted for the Royal Academy summer exhibition of 1790 when Turner was 15.
As an academy probationer, Turner was taught drawing from plaster casts of antique sculptures. From July 1790 to October 1793, his name appears in the registry of the academy over a hundred times.
In June 1792, he was admitted to the life class to learn to draw the human body from nude models.
Turner exhibited watercolours each year at the academy while painting in the winter and travelling in the summer widely throughout Britain, particularly to Wales, where he produced a wide range of sketches for working up into studies and watercolours.
These particularly focused on architectural work, which used his skills as a draughtsman. In 1793, he showed the watercolour titled The Rising Squall – Hot Wells from St. Vincent's Rock Bristol (now lost), which foreshadowed his later climatic effects.
The British writer Peter Cunningham, in his obituary of Turner, wrote that:
"It is recognised by the wiser few as a
noble attempt at lifting landscape art
out of the tame insipidities ... and
evinced for the first time that mastery
of effect for which he is now justly
celebrated".
In 1796, Turner exhibited Fishermen at Sea, his first oil painting for the academy, of a nocturnal moonlit scene of the Needles off the Isle of Wight, an image of boats in peril.
Wilton said that:
"The image is a summary of all that had
been said about the sea by the artists of
the 18th. century".
The work in fact shows the influence of artists such as Claude Joseph Vernet, Philip James de Loutherbourg, Peter Monamy and Francis Swaine, who was admired for his moonlight marine paintings.
The image was praised by contemporary critics, and founded Turner's reputation as both an oil painter and a painter of maritime scenes.
Turner travelled widely in Europe, starting with France and Switzerland in 1802, and studying in the Louvre in Paris in the same year. He also made many visits to Venice.
Important support for his work came from Walter Ramsden Fawkes of Farnley Hall, near Otley in Yorkshire, who became a close friend of the artist. Turner first visited Otley in 1797, aged 22, when commissioned to paint watercolours of the area.
William was so attracted to Otley and the surrounding area that he returned to it throughout his career. The stormy backdrop of Hannibal Crossing The Alps is reputed to have been inspired by a storm over the Chevin in Otley while he was staying at Farnley Hall.
Turner was also a frequent guest of George Wyndham, 3rd. Earl of Egremont, at Petworth House in West Sussex, and painted scenes that Egremont funded taken from the grounds of the house and of the Sussex countryside, including a view of the Chichester Canal. Petworth House still displays a number of Turner's paintings.
-- J. M. W. Turner - The Later Years
As Turner grew older, he became more eccentric. He had few close friends except for his father, who lived with him for 30 years, and worked as his studio assistant. His father's death in 1829 had a profound effect on him, and thereafter he was subject to bouts of depression.
William never married, but had a relationship with an older widow, his housekeeper Sarah Danby. He is believed to have been the father of her two daughters Evelina Dupuis and Georgiana Thompson.
Turner formed a relationship with Sophia Caroline Booth after her second husband died, and from 1846 he lived with her as "Mr Booth" or "Admiral Booth" in her house at 6 Davis's Place (now Cheyne Walk) in Chelsea, until his death.
Turner was a habitual user of snuff; in 1838, Louis Philippe I, King of the French, presented a gold snuff box to him. Of two other snuffboxes, an agate and silver example bears Turner's name, and another, made of wood, was collected along with his spectacles, magnifying glass and card case by an associate housekeeper.
Turner formed a short but intense friendship with the artist Edward Thomas Daniell. The painter David Roberts wrote of Daniell that:
"He adored Turner, when I and others doubted,
and taught me to see and to distinguish his
beauties over that of others ... the old man really
had a fond and personal regard for this young
clergyman, which I doubt he ever evinced for
the other".
Daniell may have supplied Turner with the spiritual comfort he needed after the deaths of his father and friends, and to "ease the fears of a naturally reflective man approaching old age".
After Daniell's death in Lycia at the age of 38, he told Roberts that he would never form such a friendship again.
Before leaving for the Middle East, Daniell commissioned Turner’s portrait from John Linnell. Turner had previously refused to sit for the artist, and it was difficult to get his agreement to be portrayed. Daniell positioned the two men opposite each other at dinner, so that Linnell could observe his subject carefully and portray his likeness from memory.
-- The Death of J. M. W. Turner
Turner died of cholera at the home of Sophia Caroline Booth, in Cheyne Walk in Chelsea, on the 19th. December 1851. He was 76 years of age when he died. William was laid to rest in St. Paul's Cathedral, where he lies near the painter Sir Joshua Reynolds. Apparently his last words were "The Sun (or Son?) is God", though this may be apocryphal.
Turner's friend, the architect Philip Hardwick, the son of his old tutor, was in charge of making the funeral arrangements, and wrote to those who knew Turner to tell them at the time of his death that:
"I must inform you,
we have lost him."
Other executors were his cousin and chief mourner at the funeral, Henry Harpur IV (benefactor of Westminster – now Chelsea & Westminster – Hospital), Revd. Henry Scott Trimmer, George Jones RA and Charles Turner ARA.
-- J. M. W. Turner's Art
Turner's talent was recognised early in his life. Financial independence allowed Turner to innovate freely; his mature work is characterized by a chromatic palette, and broadly applied atmospheric washes of paint.
According to David Piper's The Illustrated History of Art, his later pictures were called "fantastic puzzles".
Turner was recognised as an artistic genius; the English art critic John Ruskin described him as:
"The artist who could most stirringly and
truthfully measure the moods of Nature".
Turner's imagination was sparked by shipwrecks, fires (including the burning of Parliament in 1834, an event which Turner witnessed first-hand, and transcribed in a series of watercolour sketches), and natural phenomena such as sunlight, storm, rain, and fog.
He was fascinated by the violent power of the sea, as seen at the 1840 Royal Academy of Arts exhibition, where The Slave Ship (1840), and Rockets and Blue Lights (Close at Hand) to Warn Steamboats of Shoal Water (1840) were first shown.
A 2003 exhibition at the Clark Art Institute suggested that these two paintings were pendants, due in part to their similar content and size. (In art, a pendant is one of two paintings, statues, reliefs or other type of work of art intended as a pair. Typically, pendants are related thematically to each other, and are displayed in close proximity. For example, pairs of portraits of married couples are very common, as are symmetrically arranged statues flanking an altar.)
Turner's work however drew criticism from some contemporaries. An anonymous review of the 1840 Royal Academy exhibition, later identified as John Eagles, called the displayed paintings:
"Absurd extravagances that
disgrace the Exhibition”.
Sir George Beaumont, a landscape painter and fellow member of the Royal Academy, described Turner's paintings as "blots".
Turner's major venture into printmaking was the Liber Studiorum (Book of Studies), comprising seventy prints that he worked on from 1806 to 1819. The Liber Studiorum was an expression of his intentions for landscape art.
The idea was loosely based on Claude Lorrain's Liber Veritatis (Book of Truth), where Claude had recorded his completed paintings; a series of print copies of these drawings, by then at Devonshire House, had been a huge publishing success.
Turner's plates were meant to be widely disseminated, and categorised the genre into six types: Marine, Mountainous, Pastoral, Historical, Architectural, and Elevated or Epic Pastoral.
William's printmaking was a major part of his output, and a museum is devoted to it, the Turner Museum in Sarasota, Florida, founded in 1974 by Douglass Montrose-Graem to house his collection of Turner prints.
Turner's early works, such as Tintern Abbey (1795), stay true to the traditions of English landscape. In Hannibal Crossing the Alps (1812), an emphasis on the destructive power of nature has already come into play.
His distinctive style of painting, in which he used watercolour technique with oil paints, created lightness, fluency, and ephemeral atmospheric effects.
In Turner's later years, he used oils ever more transparently, and turned to an evocation of almost pure light by the use of shimmering colour. A prime example of his mature style can be seen in Rain, Steam and Speed – The Great Western Railway, where the objects are barely recognisable.
The intensity of hue and interest in evanescent light not only placed Turner's work in the vanguard of English painting but exerted an influence on art in France; the Impressionists, particularly Claude Monet, carefully studied his techniques.
William is also generally regarded as a precursor of abstract painting.
High levels of volcanic ash (from the eruption of Mount Tambora) in the atmosphere during 1816, the "Year Without a Summer", led to unusually spectacular sunsets during this period, and were an inspiration for some of Turner's work.
John Ruskin said that an early patron, Thomas Monro, Principal Physician of Bedlam, and a collector and amateur artist, was a significant influence on Turner's style:
"His true master was Dr. Monro; to the practical
teaching of that first patron and the wise simplicity
of method of watercolour study, in which he was
disciplined by him and companioned by his friend
Girtin, the healthy and constant development of
the greater power is primarily to be attributed;
the greatness of the power itself, it is impossible
to over-estimate."
Together with a number of young artists, Turner was able, in Monro's London house, to copy works of the major topographical draughtsmen of his time and perfect his skills in drawing.
However the curious atmospherical effects and illusions of John Robert Cozens's watercolours, some of which were present in Monro's house, went far further than the neat renderings of topography. The solemn grandeur of his Alpine views were an early revelation to the young Turner, and showed him the true potential of the watercolour medium, conveying mood instead of information.
-- J. M. W. Turner's Use of Materials
Turner experimented with a wide variety of pigments. He used formulations like carmine, despite knowing that they were not long-lasting, and against the advice of contemporary experts to use more durable pigments.
As a result, many of his colours have now faded. Ruskin complained at how quickly his work decayed; Turner was indifferent to posterity, and chose materials that looked good when freshly applied. By 1930, there was concern that both his oils and his watercolours were fading.
-- The Legacy of J. M. W. Turner
Turner left a small fortune, which he hoped would be used to support what he called "decayed artists". He planned an almshouse at Twickenham in west London with a gallery for some of his works.
His will was contested and in 1856, after a court battle, his first cousins, including Thomas Price Turner, received part of his fortune. Another portion went to the Royal Academy of Arts, which occasionally awards students the Turner Medal.
William's finished paintings were bequeathed to the British nation, and he intended that a special gallery would be built to house them. This did not happen because there was disagreement over the final site.
Twenty-two years after his death, the British Parliament passed an act allowing his paintings to be lent to museums outside London, and so began the process of scattering the pictures which Turner had wanted to be kept together.
One of the greatest collectors of his work was Henry Vaughan, who when he died in 1899 owned more than one hundred watercolours and drawings by Turner, and as many prints.
His collection included examples of almost every type of work on paper that the artist produced, from early topographical drawings and atmospheric landscape watercolours, to brilliant colour studies, literary vignette illustrations and spectacular exhibition pieces.
It included nearly a hundred proofs of Liber Studiorum and twenty-three drawings connected with it. It was an unparalleled collection that comprehensively represented the diversity, imagination and technical inventiveness of Turner's work throughout his sixty-year career.
Vaughan bequeathed the most of his Turner collection to British and Irish public galleries and museums, stipulating that the collections of Turner's watercolours should be 'exhibited to the public all at one time, free of charge and only in January', demonstrating an awareness of conservation which was unusual at the time.
In 1910, the main part of the Turner Bequest, which includes unfinished paintings and drawings, was re-housed in the Duveen Turner Wing at the National Gallery of British Art (now Tate Britain).
In 1987, a new wing at the Tate, the Clore Gallery, was opened to house the Turner bequest, though some of the most important paintings remain in the National Gallery in contravention of Turner's condition that they be kept and shown together.
Increasingly paintings are lent abroad, ignoring Turner's provision that they remain constantly and permanently in Turner's Gallery.
St. Mary's Church, Battersea, added a commemorative stained glass window for Turner, between 1976 and 1982. St Paul's Cathedral, Royal Academy of Arts and the Victoria & Albert Museum all hold statues representing him.
A portrait by Cornelius Varley with his patent graphic telescope (Sheffield Museums & Galleries) was compared with his death mask (National Portrait Gallery, London) by Kelly Freeman at Dundee University 2009–10 to ascertain whether it really depicts Turner.
The City of Westminster unveiled a memorial plaque at the site of his birthplace at 21 Maiden Lane, Covent Garden, on the 2nd. June 1999.
Selby Whittingham founded The Turner Society at London and Manchester in 1975. After the society endorsed the Tate Gallery's Clore Gallery wing (on the lines of the Duveen wing of 1910), as the solution to the controversy of what should be done with the Turner Bequest, Selby Whittingham resigned and founded the Independent Turner Society.
The Tate created the prestigious annual Turner Prize art award in 1984, named in Turner's honour, and 20 years later the Royal Institute of Painters in Water Colours founded the Winsor & Newton Turner Watercolour Award.
A major exhibition, "Turner's Britain", with material (including The Fighting Temeraire) on loan from around the globe, was held at Birmingham Museum and Art Gallery from the 7th. November 2003 to the 8th. February 2004.
In 2005, Turner's The Fighting Temeraire was voted Britain's "greatest painting" in a public poll organised by the BBC.
-- Portrayal of J. M. W. Turner in the Media
Leo McKern played Turner in The Sun Is God, a Thames Television production directed by Michael Darlow. The programme aired on the 17th. December 1974, during the Turner Bicentenary Exhibition in London.
British filmmaker Mike Leigh wrote and directed Mr. Turner, a biopic of Turner's later years, released in 2014. The film stars Timothy Spall as Turner, Dorothy Atkinson, Marion Bailey and Paul Jesson, and premiered in competition for the Palme d'Or at the 2014 Cannes Film Festival, with Spall taking the award for Best Actor.
The Bank of England announced that a portrait of Turner, with a backdrop of The Fighting Temeraire, would appear on the £20 note beginning in 2020. It is the first £20 British banknote printed on polymer. It came into circulation on Thursday the 20th. February 2020.
Bain News Service,, publisher.
[Baseball executives Edward J. McKeever (Brooklyn NL) and wife, Ben Shibe (Philadelphia AL), Garry Herrmann (Cincinnati NL), Joseph Flanner (Sec'y on Herrmann's Commission) (baseball)]
1913 Oct. 9 (date created or published later by Bain)
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Original data provided by the Bain News Service on the negatives or caption cards: McKeever & wife, Shibe, Hermann, Flanner.
Corrected title and date based on research by the Pictorial History Committee, Society for American Baseball Research, 2006.
Photo shows spectators at Game 2 of the 1913 World Series at Shibe Park in Philadelphia, Pennsylvania which took place on October 8, 1913 between the New York Giants and the Philadelphia Athletics. (Source: Flickr Commons project, 2010 and Library staff)
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.14497
Call Number: LC-B2- 2856-9
This photograph was published in the Illustrated Chronicle on the 26th of January 1916.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories or information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order.
Published in "The Birds of Cyprus, by George Konstantinou"
www.birdingtourscyprus-bitw.com