View allAll Photos Tagged groupportraits
Púshkar, Rajasthan (India)
They were very kind. All of them are family members so I took a group portrait. I absolutely love this portrait.
Cabinet card. Plain back.
Studio of Anton Pick, Aachen, Wilhelmstr. 66, Ecke Lothringerstr.
Bought from an eBay seller in Winsen, Germany.
The SIANA conference (International Week of Digital Arts), was held in Nanchang on October 2009.
I had been invited to show off my work as Visual Artist and Photographer.
* * *
La conférence SIANA (Semaine Internationale des Arts Numérique), s'est tenue à Nanchang en octobre 2009.
J'avais été invité à montrer mon travail de photographe-plasticien.
Oil on wood with gold background; 30.5 x 53 cm.
Laurits Andersen Ring (1854–1933) was one of the foremost painters of Danish symbolism. He was born as Laurits Andersen in the village Ring in southern Zealand. In 1881 he the took the name of his birth place, and was since known as L.A. Ring.
For a while, he lived at Baldersbrønde near Hedehusene in the old school building, which was later to be the home of another painter, Ludvig Find. Ring has produced several paintings from these towns.
As a painter, he never distanced himself from his humble origin, but rather made it his dominant theme. Most of his paintings depict the village life and landscapes of southern Zealand from Præstø to Næstved. There are several examples of his work at practically every Danish art museum including the Hirschsprung Collection in Copenhagen.
He was married on July 25, 1896 to fellow painter Sigrid Kähler, who was the daughter of ceramic artist Herman Kähler.
Happy Halloween from your team at Fotodiox! We wish you all a ghoulish (and safe) celebration this evening. Remember to share your favorite festive photos!
- Photo by Alex Mortel
These very colourful characters are part of The Rhubarb Theatre Group . They were performing at a local Arts event in Sleaford called RiverLight. I introduced my self and we chatted about their theatre group and how they were acting out scenes from Alice in Wonderland. Asked if I could take their photo for inclusion in my project, to which they agreed.This picture is #168 in my 100 strangers project volume 2. Find out more about the project and see pictures taken by other photographers at the
But what show?
This picture was taken at St Patrick's Seminary, Maynooth. T R Griffith, the photographer was a student there at that time.
An extremely popular local delicacy here, this buns are usually filled with a sweet center filling and available in most streetside shops during morning and evening.
And boy oh boy, I'm loving the D700 just as much!
Another SOOC.
Zhongshan,China.
Oil on canvas; 140 x 173 cm.
The artist Lasar Segall was a Brazilian Jewish painter, engraver and sculptor born in Lithuania. Segall's work is derived from impressionism, expressionism and modernism. His most significant themes were depictions of human suffering, war, persecution and prostitution. Segall was born in the Jewish ghetto of Vilnius, Lithuania and was the son of a Torah scribe. Segall moved to Berlin at the age of 15 and studied first at Berlin Königliche Akademie der Künste from 1906 to 1910. At the end of 1910 he moved to Dresden to continue his studies at the Kunstakademie Dresden as a "Meisterschüler".
Segall published a book of five etchings in Dresden, Sovenirs of Vilna in 1919, and two books illustrated with lithographs titled Bubu and die Sanfte.[1] He then began to express himself more freely and developed his own style, which incorporated aspects of Cubism, while exploring his own Jewish background. His earlier paintings throughout 1910 to the early 1920s depicted troubled figures surrounded in claustrophobic surroundings with exaggerated and bold features, influenced by African tribal figures.[2] In 1912 his first painted series of works were conducted in an elderly insane asylum.[3] Segall's work largely portrayed the masses of persecuted humanity in his Expressionist form. Later that year, he moved to São Paulo, Brazil, where three of his siblings were already living. He returned to Dresden in 1914 and was still quite active in the Expressionist style. In 1919 Segall founded the 'Dresdner Sezession Gruppe 1919' with Otto Dix, Conrad Felixmüller, Otto Lange and other artists. Segall's exhibition at the Galery Gurlitt received multiple awards. However successful Segall was in Europe, he had already been greatly influenced by his time spent in Brazil, which had already transformed both his style and his subject matter. The visit to Brazil gave Segall the opportunity to obtain a strong idea of South American art and, in turn, made Segall return to Brazil.
Segall's subject matter was portrayed more subtly and softer in his early career. He did not depict much of the African influence on his artwork until he moved to Brazil. It was not until Segall visited Brazil for the first few times, that he branched out towards the Expressionist style. He was able to express himself in a freer manner while he portrayed the lifelong theme of his Jewish culture depicting the tribulations of European Jews.[1] Although he was a humanist, he never forgot his Jewish roots.[9]
Segall's initial paintings in Brazil reflect a strong national connection and passion for his newfound homeland. He portrayed the landscapes in São Paulo and Rio de Janeiro and portrayed the different races without tension or malintention.[10] However, Segall remained faithful towards his Cubist nature throughout the majority of his artworks. Specifically, one of his famous artworks, entitled Banana Plantation, shows a Brazilian banana plantation, thick in density.[7] Segall achieved balance in this painting by centering the worker's neck and head protruding from the bottom of the painting. This causes the audience to be fully focused towards the center space. This significant symmetrical balance emphasizes the human element involved in the Brazilian agricultural system.[7] The diminished amount of slavery in Brazil during this time period, the 1920s, abolished Brazilian-Negro slaves and replaced them with an overwhelming amount of European workers coming to Brazil. This particular image portrays the engulfment of the plantations by the Europeans.
Other prominent theme in Segall's work is human suffering and emigration. In another famous artwork of Segall's, entitled Ship of Emigrants, a ship dock is overcrowded and engulfed with emigrant passengers. Not only does the image portray a dark and saddening emotion, but it significantly portrays the troubled figures aboard the ship.[2] The solemn faces and lack of expression on the passengers blatantly shows the harsh reality of emigrants and their depressing lifestyles of forced moves.
Group portrait of the South Jersey garage band, "Then There's Us." They were from the Cape May area, and this was taken at the Cape May-Lewes Ferry terminal.
Front row: Bunny Foster, Sgt. Ducky (Ken Mallard), Tommy Larkin, Randy Pomykacz (with guitar). Back row: Bob Sherwin, Jimi Prettyman.
Ken and Jimi were both fellow Vietnam war veterans, and now they've both gone on to that place where they've "...got a hell of a band."
I did a story on them back in 2015:
deadreckoning1.wordpress.com/2015/11/10/back-in-the-world...
Just a quick post this evening as it has been a busy day. I believe these children are of the Hamer tribe and they were dancing on the side of the street hoping we would stop to photograph them so they could earn some money. It all worked out as planned.
(Please view in the light box - click on photo or press the L key)
South of Dimeka in the Southern Nations Nationalities and People's Region, Ethiopia
A group portrait of the four female members of Kataklo, an Italian athletic dance theatre group who created part of the opening spectacle for the last Winter Olympics. This was the last show of about ten that I photographed at this year's Edinburgh Festival. In this case as a result of a kind invitation from the Producer (thanks Angella!).
Cabinet card. Plain back.
Bought from an eBay seller in Winsen, Germany.
"Tuckesburg" was the home of Hermann Landois (1835-1905), professor of zoology and founder of the Westphalian Zoological Garden in Münster. The house, where he lived with his monkey, is within the grounds of the former zoo.
The statue of Prof. Hermann Landois which looms above the group (in the head of which is a nesting box for starlings), was sculpted by August Schmiemann (1846-1927) to commemorate the 25th anniversary of the zoo in 1900. The statue now stands near the entrance of the present zoo, the Allwetterzoo, in Aasee.
Hermann Landois (1835-1905), German zoologist. - en.wikipedia.org/wiki/Hermann_Landois
See also: westfalium.de/wp-content/uploads/2015/04/55090.jpg
If you are able to count how many schoolboys are in the picture, then you have more patience than me!
Léon Joseph Florentin Bonnat was a French painter. He was born in Bayonne, but from 1846 to 1853 he lived in Madrid, Spain. In Madrid he received his artistic training under Madrazo. He later worked in Paris, where he became known as a leading portraitist. His many portraits show the influence of Velázquez, Ribera and other Spanish masters, as well as Titian and Van Dyke, whose works he studied in the Prado. Following the period in Spain Bonnat worked in Leon Cogniet's atelier (1854) then spent three years in the French Academy in Rome (1858-60). He won a medal of honor in Paris in 1869, where he became one of the leading artists of his day. Bonnat went on to win the Grand Officer of the Légion d'honneur and became a professor at the Ecole des Beaux Arts in 1882. Bonnat was quite popular with American students in Paris. In May 1905 he succeeded Paul Dubois as director of the Ecole des Beaux-Arts. Bonnat "was a liberal teacher who stressed simplicity in art above high academic finish, as well as overall effect rather than detail".
Bonnat's vivid portrait-painting is his most characteristic work, but his history paintings, such as the Martyrdom of St Denis in the Pantheon, are also famous. Bonnat was one of Édouard Manet's friends—both shared a love of Spanish painting. Bonnat founded a museum in his native city, donating his collection of old master drawings. The artist died in 1922. Some of Bonnat's more notable students include: Gustave Caillebotte, Suzor-Coté, Georges Braque, Thomas Eakins, Raoul Dufy, Marius Vasselon, Fred Barnard, Aloysius O'Kelly, and Henri de Toulouse-Lautrec.
Photo not made by yours truly. I’m the pointy-nosed guy in the bottom row.
Top: Drew
Next Row, L to R: Robin, Donna (partly hidden), Ariella, Andi, Rick
Bottom Row, L to R: Nina, Steve, Tori, Jonah
Edited in Prisma app with Feeling
Never tire of their special appearance, colours and petals, in group or single.
Fragrant or not, it does not matter, they are just beautiful!
Have a wonderful day and thank you for your visit, M, (*_*)
For more of my work: www.indigo2photography.com
Please do not use any of my images on websites, blogs or any other media without my explicit permission. © All rights reserved
Rose, white, pink bloom, bud, red, group portrait, emotion, flower, conceptual art, studio, design, colour, black-background, square, NIKOND7000, Magda-indigo
Since everyone below is asking what these men are so intently looking at, let me add that they are part of the audience at the Festival au Desert. I was also in the audience and I believe we were all watching a Tuareg dance. I found I often enjoyed photographing the audience more so than I did the performers.
Festival au Desert, 2011
Sahara Desert, outside Timbuktu, Mali
Pablo Ruiz y Picasso, known as Pablo Picasso (Spanish: [ˈpaβlo piˈkaso]; 25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist, and stage designer who spent most of his adult life in France. As one of the greatest and most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture,[2][3] the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and Guernica (1937), a portrayal of the German bombing of Guernica during the Spanish Civil War.
Picasso, Henri Matisse and Marcel Duchamp are regarded as the three artists who most defined the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting, sculpture, printmaking and ceramics.[4][5][6][7]
Picasso demonstrated extraordinary artistic talent in his early years, painting in a realistic manner through his childhood and adolescence. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, and ideas. His revolutionary artistic accomplishments brought him universal renown and immense fortune, making him one of the best-known figures in 20th-century art.
This image is from a roll of film I shot in Portuguese Timor in 1971. I was with a group of mostly western travelers leaving Australia and heading over land to Europe & the United States. The negatives were developed somewhere in Indonesia. Evidently these negatives were developed improperly and over the years the fixer has been deteriorating. Also, flaking of the emulsion has occurred and odd scratch like marks have appeared.
I've had the negatives scanned and am posting the images here without attempting to repair any of the imperfections.
Film : Ilford HP4
Camera : rangefinder
Rembrandt - Detail De Nachtwacht - Rijksmuseum Amsterdam
Press 'F' if you like it.
De Nachtwacht is het bekendste schilderij en meesterwerk van Rembrandt van Rijn. Rembrandt schilderde het tussen 1639 en 1642. Een officiëlere titel luidt: De compagnie van kapitein Frans Banning Cocq en luitenant Willem van Ruytenburgh maakt zich gereed om uit te marcheren. Dit werk, een schuttersstuk, werd door een compagnie uit het schuttersgilde als groepsportret besteld. Het werd waarschijnlijk rond 1796/1797 voor het eerst De Nachtwacht genoemd.
Al in de 16e eeuw organiseerden vrijwilligers, op de manier van de beroepsgilden, zich in burgerwachten, zogenoemde schutterscompagnieën, om in tijden van oorlog of oproer ook werkelijk in actie te komen om de veiligheid van de republiek te waarborgen. Later verloren zij hun functie, al bleef het decorum. De schutterscompagnieën verwerden tot ceremoniële gezelschappen met een niet onaanzienlijke invloed: politieke machtsuitoefening en functies werden vergeven. Zij beschikten over een eigen gebouw, doelen geheten, waar zij oefenden en bijeenkwamen bij feestelijke gelegenheden. De schutterscompagnieën dienden ook als erewacht, zoals bij de feestelijke intocht in 1638 van Maria de' Medici in Amsterdam.
De compagnie van Frans Banninck Cocq was een van de schutterscompagnieën van Amsterdam. Vanaf het eind van de 16e eeuw had elke stadswijk in Amsterdam zo'n compagnie, die was onderverdeeld in vier korporaalschappen. De schutterscompagnieën waren met de verdediging van de stad belast. Aan het hoofd van elke compagnie stonden een kapitein, en diens plaatsvervangende luitenant. Verder kende elke compagnie een vaandeldrager. Het was een voornaam gezelschap waarvan de officieren en de leden er alle belang bij hadden om zich mooi uitgedost te laten portretteren.
In 1638 besloot een groep schutters zichzelf te laten vereeuwigen door hun wijkgenoot Rembrandt van Rijn, die aan de Breestraat woonde, niet ver van de Kloveniersdoelen. Het motief of het eigenlijke onderwerp van het grote doek staat kort beschreven in het latere familiealbum van Banninck Cocq, naast een kleine aquarel van het schilderij; de heren dragen hier hun chique naam als landjonker: Schets van de schilderije op de groote Sael van de Cleveniers Doelen, daerinne de Jonge Heer van Purmerlandt als Capiteijn, geeft last aen zijnen Lieutenant, de Heer van Vlaerdingen, om sijn Compaignie burgers te doen marcheren.
Rembrandt hield het schilderij tamelijk donker waardoor hij met lichteffecten de aandacht op bepaalde partijen kon vestigen. Door verkleuring van het vernis werd het schilderij nog veel donkerder, waardoor onterecht werd aangenomen dat het scenario op het schilderij zich 's nachts afspeelt. Zo kreeg het in de 18e eeuw als bijnaam De Nachtwacht.
Rembrandt heeft het enorme doek waarschijnlijk in een galerij op de binnenplaats van zijn woning geschilderd. Toen het doek klaar was, klaagden sommige geportretteerden over hun onherkenbaarheid op het werk. Daarop heeft later een andere schilder een medaillon bijgeschilderd, rechts in de boog van de poort, met de namen van al de 18 geportretteerden.
Bas Dudok van Heel ontrafelde de onderlinge familiebetrekkingen van de 18 personen, afgebeeld op De Nachtwacht. Bovendien reconstrueerde hij de situering van de verschillende schuttersstukken in de grote zaal van de Kloveniersdoelen.