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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.
Rembrandt - Detail De Nachtwacht - Rijksmuseum Amsterdam
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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.
From an album of a german family who run a factory "Multhaupt Hermanos. Fabrica alemana de salchichas y conservas" in South America (Peru, Bolivia?) at the turn of the century. This photograph is one of the older ones in the album, ca. 1890.
A brother of my great grandfather (also his partner in the wine business they ran) seen here at the beach with his family. Jan Fresemann Keppel Hesselink ((1851-1928) was married to Soetje de Jongh (1853-1938) , probably the woman in the high chair at left.
The year seems to be 1914. It is not clear what beach we are talking about but it could be the posh beach resort at Knokke, Belgium, seeing the french inscription above the beach hut's entrance: "cabine à louer, s'adresser à l'hotel Terlinck" ( cabin for rent, contact hotel Terlinck). French was still the language of the upper classes there and the way the name Terlinck is spelled also points to Belgian origin. If it is Knokke or another Belgian beach resort, it would be right before the German army invaded Belgium on August 4th 1914. The last moments of peace...
A few shots from a photo shoot with Stornoway on and around Port Meadow.
Copyright 2007 John Bullock.
Léonard Tsugouharu Foujita was a painter and printmaker born in Tokyo, Japan who applied Japanese ink techniques to Western style paintings.
Immediately after graduating secondary school, Foujita wished to study in France, but on the advice of Mori Ogai (his father's senpai military physician) he decided to study western art in Japan first. In 1910 when he was twenty-four years old Foujita graduated from what is now the Tokyo National University of Fine Arts and Music. His paintings during the period before he moved to France were often signed "Fujita" rather than the gallicized "Foujita" he adopted later.
Three years later he went to Montparnasse in Paris, France. When he arrived there, knowing nobody, he met Amedeo Modigliani, Pascin, Chaim Soutine, and Fernand Léger and became friends with Juan Gris, Pablo Picasso and Henri Matisse. Foujita claimed in his memoir that he met Picasso less than a week after his arrival, but a recent biographer, relying on letters Foujita sent to his first wife in Japan, clearly shows that it was several months until he met Picasso. He also took dance lessons from the legendary Isadora Duncan.[2]
Foujita had his first studio at no. 5 rue Delambre in Montparnasse... Many models came over to Foujita's place to enjoy this luxury, among them Man Ray's very liberated lover, Kiki, who boldly posed for Foujita in the nude... Another portrait of Kiki titled "Reclining Nude with Toile de Jouy .... was the sensation of Paris at the Salon d'Automne in 1922, selling for more than 8,000 francs.... Within a few years, particularly after his 1918 exposition, he achieved great fame as a painter of beautiful women and cats in a very original technique. He is one of the few Montparnasse artists who made a great deal of money in his early years. By 1925, Tsuguharu Foujita had received the Belgian Order of Leopold and the French government awarded him the Legion of Honor.
After the breakup of his third marriage, and his flight to Brazil in 1931 (with his new love, Mady), Foujita traveled and painted all over Latin America, giving hugely successful exhibitions along the way. In Buenos Aires, Argentina, 60,000 people attended his exhibition, and more than 10,000 queued up for his autograph. In 1932 he contributed a work to the Pax Mundi, a large folio book produced by the League of Nations calling for a prolonged world peace.[3] However, by 1933 he was welcomed back as a minor celebrity to Japan where he stayed and became a noted producer of militaristic propaganda during the war. For example, in 1938 the Imperial Navy Information Office supported his visit to China as an official war artist.
On his return to France, Foujita converted to Catholicism. He was baptised in Reims cathedral on 14 October 1959, with René Lalou (the head of the Mumm champagne house) as his godfather and Françoise Taittinger as his godmother. This is reflected in his last major work,at the age of 80, the design, building and decoration of the Foujita chapel in the gardens of the Mumm champagne house in Reims, France, which he completed in 1966, not long before his death.
"Isn't life great princess?"
Shot at Wlen river during Fotocon by Techland 2017.
You can find the Faun Princess at: www.facebook.com/LukaCostumeArtist
and her female faun bodyguard at:
Persistent URL: digital.lib.muohio.edu/u?/snyder,2109
Subject (TGM): Student organizations; Literature; Group portraits;
Irving Penn (June 16, 1917 – October 7, 2009[1]) was an American photographer most known for his fashion photography, portraits, and still lifes. Penn's career included work at Vogue magazine, and independent advertising work for clients including Issey Miyake, and Clinique. His work has been exhibited internationally, and continues to inform the art of photography even after his death.
Irving Penn was born on June 16, 1917 in Plainfield, New Jersey, to Harry Penn and Sonia Greenberg. In 1922, Irving Penn's younger brother, Arthur Penn, was born, who would go on to become a film director and producer.
Irving Penn attended the Philadelphia Museum School of Industrial Art (now the University of the Arts) from 1934 to 1938, where he studied drawing, painting, graphics, and industrial arts under Alexey Brodovitch. While still a student, Penn worked under Brodovitch at Harper's Bazaar, where several of Penn's drawings were published.
Irving Penn worked for two years as a freelance designer and making his first amateur photographs before taking Brodovitch's position as the art director at Saks Fifth Avenue in 1940. Penn remained at Saks Fifth Avenue for a year before leaving to spend a year painting and taking photographs in Mexico and across the US.
When Irving Penn returned to New York, Alexander Liberman offered him a position as an associate in the Vogue magazine Art Department, where Penn worked on layout before Liberman asked him to try his hand at photography for the magazine.[2]
Irving Penn photographed his first cover for Vogue magazine in 1943 and continued to work at the magazine throughout his career, shooting covers, portraits, still lifes, fashion, and photographic essays.
In the 1950s, Penn founded his own studio in New York and began making advertising photographs. Over the years, Penn's list of clients grew to include General Foods, De Beers, Issey Miyake, and Clinique.[3]
Irving Penn met fashion model Lisa Fonssagrives at a photo shoot in 1947.[4][5] In 1950, the two married at Chelsea Register Office, and two years later Lisa gave birth to their son, Tom Penn, who would go on to become a metal designer.[5] Lisa Fonssagrives died in 1992. Irving Penn died aged 92 on October 7, 2009 at his home in Manhattan.[6][7]
While perhaps best known for his fashion photography, Irving Penn's repertoire also includes portraits of creative greats; ethnographic photographs from around the world; Modernist still lifes of food, bones, bottles, metal, found objects, etc.; and stunning scenes from photographic travel essays. That said, his fashion photography is paramount to his career, and his creative eye helped to shape the post-World War II feminine chic and glamour photography of the mid-twentieth century.
Penn was among the first photographers to pose subjects against a simple grey or white backdrop and used this simplicity more effectively than other photographers. Expanding his austere studio surroundings, Penn constructed a set of upright angled backdrops, to form a stark, acute corner. Subjects photographed with this technique included Martha Graham, Marcel Duchamp, Pablo Picasso, Georgia O'Keeffe, W. H. Auden, Igor Stravinsky.
Penn's still life compositions are skillfully arranged assemblages of food or objects—at once spare and highly-organized, the objects articulate the abstract interplay of line and volume. All of Penn's photographs are composed with a great attention to detail, which continues into his craft of developing and making prints of his photographs. Penn experimented with many printing techniques, including prints made on aluminum sheets coated with a platinum emulsion rendering the image with a warmth and maturity that untoned silver prints lacked.[8] His black and white prints are notable for their deep contrast, giving them a clean, crisp feel.
While steeped in the Modernist tradition, Penn also ventured beyond creative boundaries. The exhibition of Earthly Bodies consisted of series of posed nudes whose physical shapes range from thin to plump; while the photographs were taken in 1949-1950, they were not put on exhibit until 1980, perhaps in part because of questions about the public reception of the graphic representations of the female nude.
Some young Hamer children, dancing by the roadside.
Outside Dimeka in the Omo Valley, Ethiopia
Plan to start catching up with your recent uploads. Sorry I have fallen so behind.
Levi van der Burg, Sannemar Dijkstra, Jitte van Achthoven and Kim van der Staay in the studio for a group portrait.
Mix media on canvas; 59.5 x 69.5 cm.
Liu Ye (simplified Chinese: 刘野; traditional Chinese: 劉野; pinyin: Liú Yě; born in 1964) is a Beijing-based contemporary Chinese painter known for his bright-hued paintings of childlike female figures, his favorite cartoon character Miffy the bunny and works inspired by Piet Mondrian.[1] Liu Ye is part of a generation of artists who grew up during the Cultural Revolution. However, unlike most acclaimed Chinese contemporary art, his works have little political implications. Instead, he prefers to use a universal language to depict his inner world. His work has been exhibited extensively in China, Europe and the United States.
Liu Ye’s interest in Western art and his experience studying in Berlin distinguishes him from many of his contemporary Chinese artists who have turned their art as a weapon against the Communist Regime after the Tiananmen Square protest in 1989. As the art historian Pi Li says,"The major difference between him and his contemporaries was that he did not go through the period of rage around 1989 [following the Tiananmen Square massacre], nor did his works contain elements of 'collective' images." [5] Around the same period of time, Liu Ye was witnessing the change in Europe as the Berlin Wall came down, touring Europe’s art museums and studying masters of Western modernism like Paul Klee and Johannes Vermeer.[6] Instead of focusing on his Chinese origin, Liu Ye embraces some more universal themes like beauty, feeling and hope in his works.[7] As he puts it, " Seeking beauty is the last chance for human beings. It is like shooting at the goal; it arouses an emotion that is wild with with joy." [8] By the time Liu Ye went back to China in 1994, his works were deeply influenced by German Expressionism, showing intense personal expression with an overall gloomy tone.[9] The works by Mondrian as a symbol and the Mondrian composition had already appeared in a lot of his work. Mirror, his self-portray, and the surrealism of René Magritte are other important indicators of his early work. During this period, Liu started to depict a little scenario in each of his work, which continues to be one of his recognizable styles. After 1994, as Liu Ye returned to Beijing, his style and subject matters changed with the environment. He started to portray himself more as a little boy than a young man as he did before. More female figures appeared. The settings of his painting moved from rooms to theatres where scenes he saw in China as a little boy, his childhood dream were depicted. Chorus, fleet and sailor boys were repetitive subjects portrayed during the period.[10] His preference for using primary colors can be traced to his childhood days in Beijing as well. “I grew up in a world of red,” he recalls, “the red sun, red flags, red scarves with green pines and sunflowers often supporting the red symbols.” [11] By 2000, Liu ye had gradually developed his own distinguishable style. From 2000, Liu ye moved his attention away from himself and started to portray figures he has interest in such as Zhang Ailing[disambiguation needed], Ruan Lingyu, Andersen, Little Mermaid, and so on. At the same time, he started to paint his favorite cartoon character Miffy the bunny as a reflection of himself.[12] Liu Ye fell in love with the cartoon character created by Dick Bruna immediately after he first saw her while he was living in Amsterdam because he saw himself in the bunny, who is seemingly simple but actually extremely intelligent.[13] The Mondrian symbol returned to his work, usually portrayed together with a little girl or boy, sometimes with Miffy as well. Around 2004 and 2005, Liu Ye’s fairytale-like fantasy was replaced by a more mild and realistic style.[14] An adolescent girl is featured repetitively. Some paintings depict her engaging in rather simple activities such reading or embarking on a journey while others contain subtle sexual implications.[15] Vermeer’s influence became increasingly obvious in those works with the evidence of his pursuit of the perfection of human beauty.[16]
Image taken 01/28/2018 One light shot with SB-800 on camera thru Gary Fong Light Sphere Clear w/Cloud inverted dome cover.
Lightroom CC + Photoshop CC + Nik Software Nikon D3 + 24-70mm f/2.8 Thanks so much for viewing!
Walking along the outer kora "circumambulation" of Sershul monastery, strolling on this kora taking shots with my camera here and there, I came across this beautiful Tibetan family.
This is what I saw from a distance took this shot, and kept walking hoping for a front shot (here is the front shot: www.flickr.com/photos/reurinkjan/15542870283/in/set-72157...
While one family member was trying to shoot a family photo on his iphone, but did not get it right the first time and second time.
Meanwhile still fiddling with his iPhone.
This gave me the opportunity to steal his family snapshot, with my camera.
I took two shots, the first one is this picture.
This family was sitting on a steep slope with high grasses and wildflowers.
They had arranged themselves in a beautiful triangular or diamond like shape.
Bakkerij La Figounette ging tot groot plezier van mij vandaag weer op de foto met al haar personeel. Het was weer een feestje. Dit is zo leuk om te mogen maken.
By accident the crew paused in this arrangement when they spotted me taking their picture. Then, in what Bob Ross would call a Happy Accident, I ended up with their 3...1 composition being mirrored in the light reflections above them. Dumb luck and I'll take it. :))
Best viewed LARGE
We had our annual office Christmas party today. Merry Christmas and Happy Holidays from the Fotodiox team!
We came for 3 days and really enjoyed the time we shared together. They started to know that after we pointed a camera to them, there would be a little them in the screen of our black machines. (but sometimes they can't find it when it comes to my film camera..)
So they tried to pose, but sometimes not sure what a pose is, there came this result. : )
A group portrait straight out of the Great War: Six soldiers sitting on rolls of barbed wire and posing with unexploded ordnance in a ruined building. Date on reverse: July 1916.
My learning curve continues on natural light (available light) portrait...
This photo was taken just before the sunset with my buddy Sony a77.
Model: My wife Shawon and family friend Nafisa.
Between my daughter's regular multi-hour dance practices and general chaos of keeping, living, working all from one place - we stay pretty busy around the house. Over the last few months, Wednesday has organically become our, "chill out, hang with the kids, and attempt to relax" night. Looks like a weasel even made it into this shot.
C.T.Ben's friends. My grandmother is JLB in the photo. This was a trip they took with friends before they were married. This may be friends from Syracuse (College) - the dates may be earlier than I first thought. More like 1910 .
There is a whole album of photos called "Stone's Cottage." What was Stone's Cottage? I don't know. The pictures are charming snapshots of life for young professionals in the early 1900s. My grandfather posed, lit , shot and developed the photographs, so he is rarely portrayed here.
It is his eye through which we see.
I wanted to do a group shot of everyone at the Christmas party, but since there were so many people that showed up, I decided to do individual portraits of everyone then composite them together in one shot.
Strobist: Each person was shot with an SB-600 camera left & right rear at 1/8 power with flags to prevent lens flare, an SB-800 was my main light in a DIY Beauty Dish at varying powers between 1/4 & 1/8 power depending on the subject, the BD was slightly camera right and up high, all strobes were triggered with CLS.
I added a High Pass layer in PS and a sky background that I darkened and then highlighted in spots. I got the idea from this shot.
If anyone from the party would like a copy of the original jpg version, please let me know, I'll have to put it on a CD, because *ahem* its a little large! =)
Title: Mexican Cart and Burro.
Creator: Jacobson, Mary E. [attrib.]
Date: ca. 1892
Part Of: Album of views of Arizona, New Mexico and the southwest, 1892
Place: San Antonio, Bexar County, Texas
Physical Description: 1 photographic print: albumen; 11 x 19 cm. on 27 x 34 cm. mount
File: vault_ag1982_0122x_38b_sm_opt.jpg
Rights: Please cite DeGolyer Library, Southern Methodist University when using this file. A high-resolution version of this file may be obtained for a fee. For details see the sites.smu.edu/cul/degolyer/research/permissions/ web page. For other information, contact degolyer@smu.edu.
For more information, see: digitalcollections.smu.edu/cdm/singleitem/collection/tex/1771
View Texas: Photographs, Manuscripts, and Imprints: digitalcollections.smu.edu/all/cul/tex/
Known simply as Tarsila, is considered to be one of the leading Latin American modernist artists, described as "the Brazilian painter who best achieved Brazilian aspirations for nationalistic expression in a modern style." She was a member of the Grupo dos Cinco (Group of Five), which included Anita Malfatti, Menotti Del Picchia, Mário de Andrade, and Oswald de Andrade.
Biography
Tarsila was born in the city of Capivari, part of the interior of São Paulo, Brazil, to a wealthy family who were coffee growers and landowners. Her family's position provided her a life of privilege. Although women of privilege were not expected to seek higher education, her parents supported her educational and artistic pursuits. During her teens, Tarsila and her family traveled to Barcelona, where she attended school and first exhibited her interest in art by copying images seen in the school's collections.
Beginning in 1916, Tarsila studied sculpture in São Paulo with Zadig and Montavani. Later she studied drawing and painting with the academic painter Pedro Alexandrino. These were all respected but conservative teachers In 1920, she moved to Paris and studied at the Académie Julian and with Emile Renard. The Brazilian art world was conservative, and travels to Europe provided students with a broader education in the areas of art, culture, and society. At this time, her influences and art remained conservative.
Brazilian modernism
Returning to São Paulo in 1922, Tarsila was exposed many things after meeting Anita Malfatti, Oswald de Andrade, Mário de Andrade, and Menotti Del Picchia. Prior to her arrival in São Paulo from Europe, the group had organized the Semana de Arte Moderna ("Week of Modern Art") during the week of February 11–18, 1922. The event was pivotal in the development of modernism in Brazil. The participants were interested in changing the conservative artistic establishment in Brazil by encouraging a distinctive mode of modern art. Tarsila was asked to join the movement and together they became the Grupo dos Cinco, which sought to promote Brazilian culture, the use of styles that were not specifically European, and the inclusion of things that were indigenous to Brazil.
During a brief return to Paris in 1923, Tarsila was exposed to Cubism, Futurism, and Expressionism while studying with André Lhote, Fernand Léger, and Albert Gleizes. European artists in general had developed a great interest in African and primitive cultures for inspiration. This led Tarsila to utilize her own country's indigenous forms while incorporating the modern styles she had studied. While in Paris at this time, she painted one of her most famous works, A Negra (1923). The principal subject matter of the painting is a large negroid female figure with a single prominent breast. Tarsila stylized the figure and flattened the space, filling in the background with geometric forms.
Excited about her newly developed style and feeling ever more nationalistic, she wrote to her family in April 1923:
"I feel myself ever more Brazilian. I want to be the painter of my country. How grateful I am for having spent all my childhood on the farm. The memories of these times have become precious for me. I want, in art, to be the little girl from São Bernardo, playing with straw dolls, like in the last picture I am working on…. Don’t think that this tendency is viewed negatively here. On the contrary. What they want here is that each one brings the contribution of his own country. This explains the success of the Russian ballet, Japanese graphics and black music. Paris had had enough of Parisian art."
Legacy
Besides the 230 paintings, hundreds of drawings, illustrations, prints, murals, and five sculptures, Tarsila's legacy is her effect on the direction of Latin American art. Tarsila moved modernism forward in Latin America, and developed a style unique to Brazil. Following her example, other Latin American artists were influenced to begin utilizing indigenous Brazilian subject matter, and developing their own style.The Amaral Crater on Mercury is named after her.
Source: Tarsila do Amaral - Wikipedia (edited version)
PsP gallery (buy PsP pictures on SmugMug)
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Cabinet card.
Studio of Davidson & Smith, Photographic Artists, Corner of Maxwell and Pollokshaws Roads, Eglinton Toll, Glasgow.
Bought from an eBay seller in Hove, East Sussex, United Kingdom.
The boys look affluent. A boarding school?
The photographers are possibly the same Davidson & Smith who were printers in Aberdeen during the 1870s, until 1881. Both were named William.