View allAll Photos Tagged Sensitive
.
National Portrait Gallery - June 27, 2026
.
The Primary Collection contains more than 12,700 portraits. Of these, over 4,100 are paintings, sculptures and miniatures. In addition, there are over 8,500 light-sensitive works on paper, shown on a rotating basis to avoid excessive light exposure and thus to minimise deterioration and fading.
Located on the ground floor of the National Portrait Gallery, Room 33 is one of the first spaces visitors encounter on arrival. Known as History Makers Now, this display is dedicated to contemporary sitters through the very best of contemporary portraiture across all mediums. As a result, this room undergoes frequent refreshes and is an ideal space to hang new acquisitions including paintings, photography and sculpture.
The space is arranged in a constellation hang, featuring a cluster of sitters making significant contributions to Britain across a range of industries. Visitors will recognise some of their generation’s most well-known actors and singers alongside others they may be less familiar with who are trailblazers in their respective fields, nonetheless.
For this most recent display changeover, the Contemporary and Photography Curators first consulted the Paper Conservators as to which photographs had reached or were nearing their maximum light exposure levels and were required to come down from this display. Next, the curatorial team discussed how the remaining available space on the wall could be rearranged to show a diverse balance of portraiture that was visually and biographically appealing.
With a wish list of works in hand, the Curatorial and Collections team came together to determine what was practically and logistically possible. Works that were too delicate to display, promised on loan or pending acquisition were no longer contenders. What emerged was a final, carefully curated selection of portraits that you can now see on display.
www.npg.org.uk/blog/blog-container/history-makers
___________________________________
" After a three-year closure, the gallery opens its (new) doors to reveal a brilliant transformation that includes a luminous show on a British pioneer of colour photography
The first image is sky high and spectacular: David Bowie, turning to face the world from a silver screen in his twenties. Colossal photographs glimmer and shift in two-storey projections at the foot of the escalator. Watch long enough and they eventually give way to other people, other images, including the late queen, painted with rigid precision on a damask couch with her favourite corgi. Suddenly, the painting appears to move, very slightly. The corgi twitches one ear.
The National Portrait Gallery (NPG) has come alive, after three years of closure and many more of shadows and stasis. Its temporary exhibitions came and went, almost always superb – Russian portraits, Elizabethan miniatures, Picasso, Cézanne, Freud – but corners of its permanent collection were too often deserted. Now everything (literally) has changed.
You walk from the shining new entrance straight into the present. Marcus Rashford in a humble headshot, Stormzy sitting tight with his mother, Jeanette Winterson posing with a garden spade in Susanne du Toit’s specially commissioned painting.
Tom Shakespeare: Intellect, with Wheels, Lucy Jones’s scintillating vision of the bioethicist and disability rights campaigner, wheeling round in his chair, has his irrepressible energy and mirth. Alex Katz’s massive yet minimalist diagram of Anna Wintour has the Vogue queen’s icy style to perfection. Slotted in between, emphasising its absurdly flattering elongations, and oleaginous glint, Jamie Coreth’s oil portrait of two actual royals, Prince William and the Princess of Wales.
You are immediately in the here and now – and the great feat of this renewal is to sustain that effect from first to last. Visitors ascend by escalator to the Elizabethan court, where the queen appears surrounded by her many male champions, all briefly captured in stupendous portraits before their respective executions or fall from grace. Round a corner, you are confronted by funeral monuments, spotlit in dramatic darkness.
Oliver Cromwell and his Roundheads face Charles I and his Cavaliers in a marvellous reprise of the English civil war through art. Eighteenth-century London is a fabulous throng of writers, drinkers, actors and ribald satirists. Nobody is isolated; every person, and their image, is treated as part of a living society.
The most perfect instance of this homes in on a single historic night. In the summer of 1816, Mary Shelley, her half-sister Claire and her lover, Percy Bysshe Shelley, visited Lord Byron and his physician, Dr John William Polidori, at Lake Geneva. Byron proposed a competition for the best ghost story. Mary Shelley’s Frankenstein won. Their portraits are drawn together, Romantic heads hugger-mugger against a dark wall.
Turn round and you can see Mary’s mother through a doorway: the pioneering feminist Mary Wollstonecraft, sleeves rolled up in John Opie’s pure and pensive portrait. Equally, there is a direct vantage point between Byron and his daughter, the mathematician and proto-computer-programmer Ada Lovelace. Everyone and everything connects, history knitting up.
The NPG was established in 1856 as an archive of exemplary figures. It was the first museum, outside the Uffizi’s self-portrait corridor, to be devoted entirely to portraits. And here lies its double conundrum: who should be included (it has the power to commission new images) and who should portray them? These two questions produce a third – how to balance the status of the sitter with the quality of the portrait.
So the image of Samuel Pepys is as stiff as the wig the great diarist wears, whereas Lord Beaverbrook, questionable media magnate, gets a tellingly confrontational painting by Walter Sickert. The poor queen got slick Pietro Annigoni, deadpan Bryan Organ and dogged Michael Leonard. No wonder they have tweaked the corgi’s ear.
But along with his terrific team of curators, director Nicholas Cullinan has made the most judicious of selections with this balance in mind. The rare and profoundly significant are beautifully displayed: the Chandos portrait, quietly off to one side, just as one imagines Shakespeare himself. The only surviving portrait of the three Brontës, a damaged fragment in a poignant case. The sole likeness of Jane Austen, so small it is presented at the end of a sequence of perfect miniatures like the coda to an evolving narrative.
And for supreme theatre, look at Joshua Reynolds’s early self-portrait with one hand shielding his eyes against the light, while also appearing to salute the future. What he now has in prospect is his own lifesize (and far-sighted) portrait of Mai, Britain’s first visitor from Polynesia in 1774, with his high intelligence and his tattooed hands, now hanging in pride of place in the 18th-century galleries.
Portraiture comes in every medium at the NPG, from toby jug to daguerreotype, church sampler to public statue, marble bust to digital print. A barely used rotunda has now become an eerie gallery of death masks – the London trees outside cast their fluttering reflections on the bronze face of Oliver Cromwell, strangely outsize even in death. The life mask of Marc Quinn, cast in 10 pints of his own blood, has so deteriorated with the decades as to stand as its own presage of death.
Photography often overshadowed painting towards the end of last century, exposing the inept and kitsch portraits the museum sometimes commissioned. But this is no longer true. It is not just that mediocre paintings have been discreetly stored away, but that the photographs are so well chosen. George Bernard Shaw in warm living colour, Noël Coward absolutely hidden – bar one silvery eye – in darkness, Malala Yousafzai exquisitely dressed in Arabic script in Shirin Neshat’s photographic portrait.
And the first of the temporary shows is the jubilant and uplifting Yevonde: Life and Colour, celebrating Madame Yevonde (1893-1975), the first British photographer to exhibit colour portraits. Born in Streatham, south London, an early suffragette and fast learner in a Westminster studio, Yevonde Middleton was a tireless original. Her idea of colour was practically DayGlo.
She photographed the red-haired actor Joan Maude against scarlet and vermilion, the gloweringly machiavellian Duchess of Argyll through sinister blue cellophane, Mrs Michael Balcon in gold with shotgun and owl as Minerva.
Her society ladies got up as goddesses are tonic and hilarious, especially Anthony Eden’s wife as the muse of history in something like a bathing cap, sent up by a watchful classical bust. Yevonde’s own self-portrait – tiny, in jaunty tweed suit, holding the flash wire of a camera magnified to the size of an elephant – is a final exclamation point to this wittily brilliant exhibition.
Almost half the sitters and artists at the NPG are now women. One gallery is devoted to women’s self-portraits, another to new portraits by women. A Rebel Women display includes mutinous aristocrats, coruscating poets and the original Roaring Girl, Moll Cutpurse. Grace Darling appears head to marble head against her contemporary Queen Victoria; Malala opposite the Princess of Wales.
Extraordinary lives are rediscovered – the Georgian boxer Jem Belcher, the Victorian miniaturist Sarah Biffin, born without arms or legs. The hang is so democratic, it unites servant with mistress and raw recruit with general on the same level. The wall texts are all enthralling knowledge.
This magnificent reinvention could not happen without deep observation, curiosity, wisdom and experience. And above all, perhaps, with the sense of humour that is everywhere apparent and perceived as a British trait. You could spend days here, in this spectacular building, with its cobalt and vermilion walls and more than 1,000 exhibits, and come away every time with a new understanding of British history, life and art."
www.theguardian.com/artanddesign/2023/jun/25/national-por...
www.theguardian.com/artanddesign/2023/jun/20/the-10-best-...
I was sitting on the garden steps snapping pictures while Grammy was on the phone talking to a neighbor about some young kids hunting in our woods that morning. She was upset, as there were shots being fired right by our horse pasture. You can tell by the boy's expressions they were worried about her tone. Aussies are some of the most sensitive dogs I've met, whatever you're feeling reflects itself right on their faces!
I made this photo of a Sensitive Habitat warning sign overlooking the Pacific Ocean, coastal rock formations, beach, and Sutro Baths ruins during a visit to Lands End at the northwest corner of San Francisco. This area has seen many changes during the last many decades but, as part of the Golden Gate National Recreation Area, still remains a patch of rugged and wild terrain within urban boundaries. I shot this using my Canon EOS 80D DSLR on a Friday morning after dropping my sweet Melody at her weekly quilting class.
I haven't been confronted about taking photographs since 2003. That was the sketchy night when I parked in a gravel driveway down by Back Bay National Wildlife Refuge late at night for some meteor photographs. I was in the middle of nowhere, with nobody for miles around, when a park ranger rolled up, lights ablaze, and ordered me to produce ID. Turns out half of my car was trespassing on federal land. The ranger didn't care and clearly just wanted to make sure I wasn't making meth or chopping up prostitutes or something. But that was the last time somebody confronted me about photography.
In fact, the last time I really thought about confrontation in terms of my life was back in 2004 when Ian Spiers was harassed for taking photographs up in Seattle. That was back when I was transitioning from nature and landscape photography into portraits and street photography. It was a challenging transition because I was terribly shy about making images of strangers -- namely because of all the stories about photographers getting confronted! But I knew it was vital to my success to overcome my reticence, and I jumped in with both feet. Since then, I've photographed very sensitive subjects, from the Pentagon, to presidential candidates, to the Queen of England (!), and never once have I been confronted about taking a photograph.
Until today.
I took e. to get ice cream because I've been traveling and haven't spent much time with her this month. I tried to create a photograph of our reflections in the window because I'm cheesy like that. As soon as I snapped the shutter, the manager stuck his head out the window and yelled at me for taking photographs of his prices. "I can't have you taking pictures of my price board!" "What?" "Don't take pictures of the prices... or else!"
It was the "or else" that forced me to make second and third photographs.
Here's a 4-step pampering skincare routine for sensitive skin and a full workout for our skin with some incredible massage techniques to tone and detoxify the skin! Read more tips and guides at our Conscious Beauty and Wellbeing Blog: blommabeauty.com/blogs/blomma-blog.
Lens: Canon EF 100mm f/2.8L Macro IS USM
ISO: 400
Focal Lenght: 100mm
Aperture: f/2.8
Shutter Speed: 1/100s
EV: 0
En la programación de los veranos de la Villa de Madrid 2010 los días 12, 13 y 14 de Julio junto a la entrada principal del Museo Nacional Centro de Arte Reina Sofia se han representado varias obras de danza dentro del programa Danzacalles 2010.
Con "Sensitive to Noise" se cerró la programación el día 14 y el programa completo.
80-G-700311: In May 1941, USS Semmes (DD 189) joined USS Leary (DD 158) and USS New York (BB 34) in becoming a radar experimental ship marking the advent of microwave equipment. Semmes successfully tracked enemy craft with the sensitive antennae mount on her mast. Photograph May 1941. U.S. Navy photograph, now in the collections of the National Archives. (2016/06/28).
The Institut du Monde Arabe (IMA), or Arab World Institute (AWI) was built 1981-87, to a design by Jean Nouvel (b.1945). The glass exterior covers 240 photo-sensitive shutters controlling heat and light entering the building as a brise-soleil..
The Institute was founded by 18 Arab countries working with the French government to promote cooperation and exchange (particularly science and technology).
Taken in the 5ieme Arrondissement
After I had taken the components of this composite froma public street, a stout guy in a Sherriff's uniform walked up to us and told us the area was sensitive, and didn't like being photographed.
When I said that that was a shame, because it looked so great, he smiled sadly and said "yes, in a sick way. Reminds me of Orwell". Funny people, Shiriffs.
Jay Heritage Center
210 Boston Post Road
Rye, NY 10580
(914) 698-9275
Email: jayheritagecenter@gmail.com
Follow and like us on:
Twitter @jayheritage
Facebook www.facebook.com/jayheritagecenter
Pinterest www.pinterest.com/jaycenter
YouTube www.youtube.com/channel/UChWImnsJrBAi2Xzjn8vR54w
www.instagram.com/jayheritagecenter/
A National Historic Landmark since 1993
Member of the African American Heritage Trail of Westchester County since 2004
Member of the Hudson River Valley National Heritage Area since 2009
On NY State's Path Through History (2013)
NY State Parks Nonprofit Excellence Award 2022
Description and Transcription from Henry Paget-Lowe (Juha-Matti Rajala):
[this 2nd page continues the letter (from HPL to Price, 18 November1932) from here: www.flickr.com/photos/cthulhuwho1/6943903575/ in/photostream/] basis of this type of psychosis. As to further Derlethiana—if you’re game to pay the postage on some 190 pages of thin onion-skin second sheets, I’ll send you (for later return to Derleth) the kid’s real masterpiece—“Evening in Spring”—when he sends me the new & revised version he is just finishing. If that isn’t a real book of art I’ll never utter a critical opinion again! As for the financial side—Pagany, The Midland, & other high-grade experimental magazines of this type do not pay for contributions at all. It is a matter of art, not of business. Their standards are very high, & Derleth bombarded them for six years before they would accept anything of his. Look at the tables of contents & see the type of author that contributes. Derleth’s business is writing cheap junk for W.T. & the pulp detective magazines, plus working in a canning factory at odd seasons. That is one thing. His literary work—the effort of a sensitive personality to live fully & satisfactorily through adequate & finely-modelled self-expression—is something altogether different. One’s business is only a disagreeable means to an end. Dissinterested self-expression is life itself—the thing in order to enjoy which undergo the loathsome process of commercial endeavour. It is an end in itself—not a means toward anything else. If we’re paid for it, that’s just so much ‘velvet’, as the Babbitt’s say.
I note your reasoning on the subject of revision of stories already accepted, but can’t quite concur with all its points. The wish to change a tale which as editor has approved is by no means a reflection on his judgement. The tale, as taken, was good—but there may be a way of making it still better. The editor would, we may assume, have himself thought the new better if he had seen it. In sending it you could make that point quite clear—confidently expecting the editor to like the new version still more than he liked the original fairly-good version. Surely it is generally recognised thing that there are degrees of merit among soundly meritorious items. As for the all-rights business—I dare say you know best about that. I’m no business-man—in fact, I am conspicuously lacking in all that pertains to the commercial mood & psychology.
I am hoping to get at Randolph Carter before many more weeks fly past—but hades, what a turmoil of work I am in! Have been too tied to the house to get any kind of view of the autumn foliage this year. Haven’t seen The Magic Carpet, but must try to get hold of the issue with your Ismeddin story. As a matter of fact, I haven’t had a chance to look at the last three issues of W.T. or the final issue of S.T. I shall shim them through before long—though I can’t bother with the serials.
[continued here: www.flickr.com/photos/cthulhuwho1/6797824810/ in/photostream/]
Randolph Carter = "Through the Gates of the Silver-Key"
S.T. = Strange Tales of Mystery and Terror
W.T. = Weird Tales
See and hear more Lovecraftian Items at the sister sites to these Flickr collections at:
and
Undershoot, sensitive data: Cristiano is a video game. The character, Cristiano Ronaldo, generates random existential monologues about its condition of media interface & digital pet and a few actions through a data bank supplied by the author. In 1996, the Japanese company Bandaï launched a game called Tamagotchi. This name refers to virtual animals one takes care of by using an interface that resembles the screen of a colorful watch, in the shape of a key chain. They can be washed, fed, and raised with the help of basic commands located around the screen to ensure that they live as long as possible (even though many users entertain themselves by letting them die)
Cerdit: Mezzanine Sud