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shot on right is my full page photo that appearing in Artrocker Magazine Issue 53 - my first feature shot!
here is another shot from the night
Size 48x72in. w/ 12in sqs. White, Lavender and Blue multi-color fr 100 Afghans to Knit & Crochet. For the book go to amazon.com and search for Jean Leinhauser and Rita Weiss.
Gísli Pálmi
Secret Solstice Music Festival 2016
June 2016
Reykjavik, Iceland
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Erie Bank in Erie Pa has used this photo for the July 2011 Calendar..I took this photo last year and it was choosen for July. ...so I thought I would repost this shot.
I will not be on the computer and therefore won't be able to comment or answer things that may be asked of me for awhile...be back soon.
Our book because 2 is better than 1
Self published book with photographic inspiration for everyone. More info here.
The Postcard
A postally unused postcard that was extracted from a book of 30 Goya postcards that was published by Magna Books.
Señora Francisca Sabasa y Garcia
The work is an oil on canvas measuring 71 x 58 cm.
The years between Goya's appointment as first painter to the court of Charles IV and the Napoleonic invasion of 1808 were a time of great activity and financial security for the artist.
He painted some of his finest portraits at that time, Señora Sabasa García being one of them.
In contrast with his earlier work -- The Marquesa de Pontejos, for example -- Goya dispensed with the setting entirely, and treated the costume much more impressionistically.
Eliminating unessential details, he gave life to the figure with the greatest technical economy, his vibrant brushwork merely suggesting the gossamer qualities of the señora's mantilla rather than defining its details.
Señora Sabasa García was the niece of Evaristo Pérez de Castro, Spain's minister of foreign affairs, for whom Goya was painting an official portrait when, according to a perhaps legendary anecdote, the young woman appeared.
The artist, struck by her beauty, stopped work and asked permission to paint her portrait.
With images like this, spotlighting the restrained fire and beauty of the subject, Goya created the visual vocabulary that embodies the words "Spanish beauty," just as his earlier tapestry cartoons and genre paintings of popular pastimes distilled the essence of Spanish life.
Francisco de Goya
Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker. He is considered to be the most important Spanish artist of the late 18th. and early 19th. centuries.
His paintings, drawings, and engravings reflected contemporary historical upheavals, and influenced important 19th.- and 20th.-century painters.
Goya is often referred to as the last of the Old Masters and the first of the Moderns.
Goya was born to a middle-class family on the 30th. March 1746 in Fuendetodos in Aragon. He studied painting from the age of 14 under José Luzán y Martinez, and moved to Madrid to study with Anton Raphael Mengs.
He married Josefa Bayeu in 1773. Goya became a court painter to the Spanish Crown in 1786, and this early portion of his career is marked by portraits of Spanish aristocracy and royalty, and Rococo-style tapestry cartoons designed for the royal palace.
Although Goya's letters and writings survive, little is known about his thoughts. He had a severe and undiagnosed illness in 1793 that left him deaf, after which his work became progressively darker and more pessimistic.
His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels, and contrast with his social climbing.
He was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France.
In 1799, Goya became Primer Pintor de Cámara, the highest rank for a Spanish court painter.
In the late 1790's he completed his La Maja Desnuda, a remarkably daring nude for the time, and clearly indebted to Diego Velázquez. In 1800–01, he painted Charles IV of Spain and his family, also influenced by Velázquez.
In 1807, Napoleon led the French army into the Peninsular War against Spain. Goya remained in Madrid during the war, which seems to have affected him deeply. Although he did not speak his thoughts in public, they can be inferred from his Disasters of War series of prints (although published 35 years after his death) and his 1814 paintings The Second of May 1808 and The Third of May 1808.
Other works from his mid-period include the Caprichos and Los Disparates etching series, and a wide variety of paintings concerned with insanity, mental asylums, witches, fantastical creatures and religious and political corruption, all of which suggest that he feared for both his country's fate and his own mental and physical health.
His late period culminates with the Black Paintings of 1819–1823, applied to the plaster walls of his house the Quinta del Sordo (House of the Deaf Man) where, disillusioned by political and social developments in Spain, he lived in near isolation.
Goya eventually abandoned Spain in 1824 to retire to the French city of Bordeaux, accompanied by his much younger maid and companion, Leocadia Weiss, who may have been his lover.
There he completed his La Tauromaquia series and a number of other works. Following a stroke that left him paralyzed on his right side, Goya died on the 16th. April 1828 aged 82.
The Postcard
A postally unused postcard that was extracted from a book of 30 Goya postcards that was published by Magna Books.
Francisco Goya: Self-portrait at 69 Years
Two original versions of this work have been preserved. One of the paintings, painted on canvas, is housed in the collections of the Prado Museum.
The other, created on wood panel, is located in the Real Academia de Bellas Artes de San Fernando in Madrid (see below).
Both paintings were created in 1815, in the post-war period, and depict a very similar image of the artist. This is one of the most sincere and direct self-portraits of the painter.
-- Goya's Self-Portraits
Throughout his long life, Goya created many self-portraits – at least fifteen are recognized as authentic, with a total of over thirty.
He used various techniques: painting, engraving, and drawing. He also portrayed himself in various ways, for example, classically before easels with attributes of the painter: Self-portrait at an Easel modeled after Velázquez and his Las Meninas.
Goya also depicted himself with important clients: Charles IV of Spain and Family, The Family of the Infante Don Luis, and José Moñino, 1st. Count of Floridablanca and Francisco de Goya.
He also appears in religious scenes like The Sermon of Saint Bernardino of Siena, genre scenes like La novillada (The Young Bulls' Fight), in a drawing with his muse, the Duchess of Alba, or in Self-portrait with Dr. Arrieta painted as a votive offering.
There are also several portraits of Goya executed by other artists, such as by Vicente López (Portrait of Goya at 80 years.
Francisco Goya
Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker. He is considered to be the most important Spanish artist of the late 18th. and early 19th. centuries.
His paintings, drawings, and engravings reflected contemporary historical upheavals, and influenced important 19th.- and 20th.-century painters.
Goya is often referred to as the last of the Old Masters and the first of the Moderns.
Goya was born to a middle-class family on the 30th. March 1746 in Fuendetodos in Aragon. He studied painting from the age of 14 under José Luzán y Martinez, and moved to Madrid to study with Anton Raphael Mengs.
He married Josefa Bayeu in 1773. Goya became a court painter to the Spanish Crown in 1786, and this early portion of his career is marked by portraits of Spanish aristocracy and royalty, and Rococo-style tapestry cartoons designed for the royal palace.
Although Goya's letters and writings survive, little is known about his thoughts. He had a severe and undiagnosed illness in 1793 that left him deaf, after which his work became progressively darker and more pessimistic.
His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels, and contrast with his social climbing.
He was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France.
In 1799, Goya became Primer Pintor de Cámara, the highest rank for a Spanish court painter.
In the late 1790's he completed his La Maja Desnuda, a remarkably daring nude for the time, and clearly indebted to Diego Velázquez. In 1800–01, he painted Charles IV of Spain and his family, also influenced by Velázquez.
In 1807, Napoleon led the French army into the Peninsular War against Spain. Goya remained in Madrid during the war, which seems to have affected him deeply. Although he did not speak his thoughts in public, they can be inferred from his Disasters of War series of prints (although published 35 years after his death) and his 1814 paintings The Second of May 1808 and The Third of May 1808.
Other works from his mid-period include the Caprichos and Los Disparates etching series, and a wide variety of paintings concerned with insanity, mental asylums, witches, fantastical creatures and religious and political corruption, all of which suggest that he feared for both his country's fate and his own mental and physical health.
His late period culminates with the Black Paintings of 1819–1823, applied to the plaster walls of his house the Quinta del Sordo (House of the Deaf Man) where, disillusioned by political and social developments in Spain, he lived in near isolation.
Goya eventually abandoned Spain in 1824 to retire to the French city of Bordeaux, accompanied by his much younger maid and companion, Leocadia Weiss, who may have been his lover.
There he completed his La Tauromaquia series and a number of other works. Following a stroke that left him paralyzed on his right side, Goya died on the 16th. April 1828 aged 82.
This photograph was published in the Illustrated Chronicle on the 14/06/1917.
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 recognize anyone in the images and have any stories and information to add please comment below.
Photograph published 19th July 1918.
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 recognize anyone in the images and have any stories and information to add please comment below.
Published in the Alberta College of Art and Design Course Guideline recruitment materials, distributed world wide.
Published Photo @ Rolling Stone Brasil #14.
Photos taken @ Incubus Live Concert At Citibank Hall, São Paulo 2007.
This photograph was published in the Illustrated Chronicle on 25/04/1917.
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 recognize anyone in the images and have any stories and information to add please comment below
This is my winning entry to the Digital Camera Magazine's Landscape Photo Competition w/Charlie Waite published on November 2007 issue.
An example of donated photos to the creative commons and where they have turned up while celebrating 15 years of digital camera technology.
The Postcard
A postally unused postcard that was extracted from a book of 30 Goya postcards that was published by Magna Books.
The Marquise de Villafranca
Doña María Tomasa Palafox y Portocarrero, Marquise of Villafranca and Duchess of Medina Sidonia (1780–1835, was a patron and muse of the painter Francisco de Goya y Lucientes.
She was also the wife of Francisco de Borja Álvarez de Toledo, 12th. Marquis of Villafranca.
In his famous painting, Goya portrays the Marchioness as an artist with brush and maulstick in her hand. A maulstick or mahlstick is a stick with a soft leather or padded head used by painters to support the working hand holding a paintbrush or pen.
She was certainly more than just a dilettante dabbler in art -- she was an honorary member of the Madrid Academy, which also honoured her with an award.
The Marquise, who is fashionably dressed in the Empire style, has interrupted her work at the easel, and is leaning back in her armchair. She is scrutinising her model, her husband — invisible to the viewer — who is posing for his portrait.
He must have been seated facing sideways with his profile to the artist, unable to turn his attention to his wife until the picture was done.
Goya honoured his aristocratic "colleague" with the inscription of her name on the palette, and he himself signed his work with his signature on the arm of the chair.
Francisco de Goya
Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker. He is considered to be the most important Spanish artist of the late 18th. and early 19th. centuries.
His paintings, drawings, and engravings reflected contemporary historical upheavals, and influenced important 19th.- and 20th.-century painters.
Goya is often referred to as the last of the Old Masters and the first of the Moderns.
Goya was born to a middle-class family on the 30th. March 1746 in Fuendetodos in Aragon. He studied painting from the age of 14 under José Luzán y Martinez, and moved to Madrid to study with Anton Raphael Mengs.
He married Josefa Bayeu in 1773. Goya became a court painter to the Spanish Crown in 1786, and this early portion of his career is marked by portraits of Spanish aristocracy and royalty, and Rococo-style tapestry cartoons designed for the royal palace.
Although Goya's letters and writings survive, little is known about his thoughts. He had a severe and undiagnosed illness in 1793 that left him deaf, after which his work became progressively darker and more pessimistic.
His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels, and contrast with his social climbing.
He was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France.
In 1799, Goya became Primer Pintor de Cámara, the highest rank for a Spanish court painter.
In the late 1790's he completed his La Maja Desnuda, a remarkably daring nude for the time, and clearly indebted to Diego Velázquez. In 1800–01, he painted Charles IV of Spain and his family, also influenced by Velázquez.
In 1807, Napoleon led the French army into the Peninsular War against Spain. Goya remained in Madrid during the war, which seems to have affected him deeply. Although he did not speak his thoughts in public, they can be inferred from his Disasters of War series of prints (although published 35 years after his death) and his 1814 paintings The Second of May 1808 and The Third of May 1808.
Other works from his mid-period include the Caprichos and Los Disparates etching series, and a wide variety of paintings concerned with insanity, mental asylums, witches, fantastical creatures and religious and political corruption, all of which suggest that he feared for both his country's fate and his own mental and physical health.
His late period culminates with the Black Paintings of 1819–1823, applied to the plaster walls of his house the Quinta del Sordo (House of the Deaf Man) where, disillusioned by political and social developments in Spain, he lived in near isolation.
Goya eventually abandoned Spain in 1824 to retire to the French city of Bordeaux, accompanied by his much younger maid and companion, Leocadia Weiss, who may have been his lover.
There he completed his La Tauromaquia series and a number of other works. Following a stroke that left him paralyzed on his right side, Goya died on the 16th. April 1828 aged 82.
This photograph was published in the Illustrated Chronicle on 14/04/1917.
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
Well, they didn't exactly pay me cash, but I did get a photo published in a new book! The book, "State By State, A Panoramic Portrait of America", was edited by Matt Weiland and Sean Wilsey and is available in bookstores everywhere. Okay, you might have to special order it. Anyway, Dave Eggers, who wrote the Illinois essay, found one of my photo's on Flickr and asked if they could use it in the book. Click here to see the original photo
Published; Via photo essay contest. New York Writers society..
Kick the Bucket House - M.D. Willow Creek, Alberta
TRUST YOUR OWN INNER VOICE/GUT/ FEELING /INTUITION. each person has their own wisdom. I guess the reason why I'm on every single social media platform I can find including alternative ones mainstream, alternative, whatever I'm on every single one that I can find that's free in addition to having my own website Shannon Kringen dot com since 2000... and then I share my photos on Flickr and my videos on YouTube. And I have several blogs and the reason why I maintain all of this is because in case they- whoever's in charge- decides to delete it or eliminate it all together. I cross post my art on every single website that I possibly can so that I can keep my creative expression published in the universe online as well as recording my voice making music and publishing poetry books and art books. That's my way of creative expression and keeping my voice literally expressed in the community online and I try to ignore all of the drama if i cannot personally do anything to "solve" it... and all of the people arguing about every topic imaginable. Everything we say and do online has been curated in some way and its being "collected as data to train machines etc anyway ha ha right? what a GAME. in the last several years especially, and it's kind of creepy like humans are being trained to think a certain way and act a certain way. And I am continuously trying to figure out how I can keep creating in some kind of inspirational way and not react with anger to all the things that I think are BS + downright abusive and disgusting and disruptive and negative/manipulative/mostly wanting to sell ideas and agendas and literally products... and blah blah blah blah blah. And I don't want to argue or debate with anybody who has different opinions than mine- and i want the world to have variety. I just want to keep creating from a place of joy and love and whatever Freedom we have left as humans. heres a collages i just made of my art book, poetry book i self published along with the article seattle magazine and the everett herald published on my art car. thank you everyone involved in this- this gives me joy and hopefully spreads positive eNeRgY to others in the community reminding them of playful fun aspects of life. i am inspired by Pippi Longstocking and Willy Wonka Oompa Loompa Boopity Do su·per·ca·li·fra·gil·is·tic·ex·pi·a·li·do·cious KringFlower Goddess KRING Music. Shannon Nicole Kringen is me.