View allAll Photos Tagged groupportraits
Delesio Antonio Berni was a figurative artist, born in Rosario, province of Santa Fe, Argentina. He worked as a painter, an illustrator and an engraver. His father, Napoleón Berni, was an immigrant tailor from Italy. His mother, Margarita Picco, was an Argentinian, daughter of Italians settled in Roldán, a nearby town.
In 1914, he became an apprentice in the Buxadera and Co. vitraux factory, receiving to Buenos Aires, which was attended even by President Marcelo T. de Alvear.
In Paris, he became acquainted with a number of people, such as Louis Aragon, a French writer and one of the leaders of Dada and surrealism, who influenced him artistically and introduced him to André Breton, poet and critic. He also befriended Henri Lefebvre, who initiated him in the reading of Karl Marx. With the combined influence of his friends in politics, and of Giorgio de Chirico's works and René Magritte in the arts, he finally embraced surrealism and Communism. He began helping Aragón in his anti-imperialist struggle in Paris, where Chinese, African, Vietnamese and other minority people were abundant. Berni distributed a newspaper and illustrated other publications. In the meantime, he studied surrealist painting and poetry, and the work of Sigmund Freud. One of his illuminating moments came when he met Tristan Tzara in 1930.
His style of surrealism does not resemble Miró's automatism or Dalí's onirism; he instead took Chirico's style and gave it a new content.
en.wikipedia.org/wiki/Antonio_Berni
University of Minnesota
--Back: Ron Jaco, Assistant Coach, Bob Mowerson, Coach, Hal Whitehead, Assistant Coach, Jim Pellissier, Joe Clack, Ed Bruce, Jim Dragon, Bill Arland, Lloyd Hockel, Bill White
--Middle: Jim Ray, Dave Nybakken, John Gorny, Tom Herrmann, Mike Stauffer, Lonnie Helgemo, Ed Oberg, Wally Richardson, Darrel Anderson, Jim Wilson
--Front: John Bergman, Ralph Allen, Don Estes, Virgil Luken, Bud Erickson, Judd Anderson, John Avery, Ray Ellis
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Seven people posed sitting on grass in field; woman on right wears dark dress with high ruffled collar, dark cape with light buttons and dark hat; man, second from right has dark suit, hat, and tie, two chalk stripes on bottom of each shoe; four women, dressed in suits, wearing hats, seated in back; man laying in foreground, Reuben R. Sallows, wears dark suit with vest, light fedora, dark tie, light shirt, hands are crossed and left hand holds air release cable for taking photograph; rail fence in background on right; trees in extreme background; Sallows imprint in bottom right corner of matte; writing in ink on back: Dear Mother, Aunt Hannah Wright, Auntie Horton, taken out at Benmiller when the Wrights, of Berkeley, Calif., were visiting Goderich, 1900; (photo appears in Colborne Connections: 1836-1986, page 76)
Object ID : 0396-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Oil on canvas; 152.4 x 182.9 cm.
Richard Lindner's Boy with Machine powerfully features a chubby child prodigy, a very important character in Lindner's early repertoire of strange and evocative incarnations. The child is full of his own self-importance, a monster of childhood precocity. The child's smug expression signifies immense self-satisfaction, as he stands in front of a gigantic mechanical creation he operates by pulling on a thin piece of string. Instead of representing childhood hope and innocence, Lindner's children resemble small adults. Dressed in a dark uniform of black shorts and jacket, embellished with gold braid and a high military style collar, the eponymous Boy with Machine also resembles the stark and sinister authority figures - policemen, dictators and mysterious strangers - that inhabit Lindner's universe.
Lindner achieves his canvases' richness through skillful handling of abstract and figurative elements. He hauntingly suggests characters taken from his own childhood. In Boy with Machine, Lindner does not mean to depict a real machine in the mechanical creation behind the boy, only the aura of society's ominous mechanization and the creeping effect that has on humanity. At other times, Lindner builds on the influence of European modernist masters to produce figures with the mass of Leger's legendary statuesque bodies.
Painted in 1954, against the all-encompassing backdrop of the New York School, Lindner completed Boy with Machine only a few years after he decided to give up his commercial illustration work and paint full time. It was also the year of his first solo show in New York at the Betty Parsons Gallery. Lindner's work at this time attracted widespread critical attention, with the painter Robert Indiana describing him as 'a bridge between European Expressionism and the extreme sophistication of the American social milieu" (R. Indiana, quoted in M. Bouisset, 'Biographical Notes on Richard Lindner,' Homage to Richard Lindner, 1980, New York, p.126).
We got a guy from a nearby encampment (the beach was so quiet that meant 30 metres away) to take a group shot. The other one was better of the missus but she graciously accepted that this one was the better overall.
Oil on canvas; 80.5 x 100cm.
Tadeusz Makowski was a prominent Polish painter active in France for most of his life. He was born in Oświęcim. Makowski attended the Academy of Fine Arts in Kraków. He studied under Jan Stanisławski and Józef Mehoffer. In 1909, he departed for Paris. Makowski started off as a landscape painter but then shifted towards Post-Impressionism and Cubism. However, he is arguably most famous for his rural landscape paintings. He met Pablo Picasso,who was his good friend.
Oil on canvas; 172.5 × 294.5 cm.
Chen Yanning was born in Guangzhou, China in 1945.Chen graduated from the Guangzhou Academy of Art in 1965.He was a professional painter at Guangdong Art Institute from 1970 to 1986 and received numerous awards during the period.In 1987, his work was exhibited in The Contemporary Oil Painting from the People's Republic of China held in New York.In 1987 and 1989, he had two successful solo exhibitions presented by the Hefner Gallery in New York.
In 1988, he graduated from the Oklahoma City University and was engaged as an instructor at the Art Department of the university.In 1991, he won the national prize in a portraiture competition held by the Federation of British Artists in UK.Since then, he has been making portraits for the royal family and the aristocracies, for which he was highly acclaimed.From 1992 to 1994, his works were exhibited as an artist at the Portrait Centre of America.In 1998, his work was exhibited at the China 5000 Year exhibition at the Solomon R Guggenheim Museum in New York.In 1999, he was commissioned to do a portrait for Queen Elizabeth in the Buckingham Palace.
He has had many solos and group exhibitions in Australia, Brazil, the UK, Canada, France, Hong Kong, Singapore and the US.And his works are in the permanent collection of the China National Gallery, the West Australia National Gallery, the California State Capital Museum and the Scottish National Portrait Gallery, and are also in private collections in the US, Singapore, Japan and Europe.
Pencil.
Fang Lijun (born 1963, Handan, Hebei province, China) is an artist based in Beijing [1]. He was born into a wealthy family with a high social status. In the 1990s, there was a cultural movement[1] in China referred to as Cynical Realism of which Fang Lijun was a membe. Living in China during this critical time [2] shaped his worldview in terms of his views on art, human values and morality.
During his time at school, he met LiXianting (who would later be a famous critic) and was introduced to watercolors, oil paints and ink. Fang Lijun decided to leave high school to pursue his artistic dream. He made a decision to go to Hebei Light Industry Technology school to study ceramics for three years. However, Fang Lijun did not want to stop his studies there. Instead of having an intellectual job in ceramics department, he prepared himself to take the entrance exam to enroll at the Central Academy of Fine Arts in Beijing.
At the beginning of 1992, Fang Lijun moved to Yuanmingyuan village in north-west Beijing.[5] Due to the economy and other difficult cultural issues, painters wanted to create a utopia where they could freely paint and express themselves. That was when Yuanmingyuan village drew artists' attention. At the time, painters like Fang Lijun had to face many obstacles and challenges, particular financial issues. Fang Lijun and other artists like him had paint for a living due to the economic pressure.
Fang Lijun made a large number of works featuring the subject "bald heads".[7] Under the influence of his family and friends, his art expresses the freedom, the integrity in two different settings: traditional and modern era, and the will of making a change.[8] He explained in an interview that he wished to send a message about the lives of painters through bald-head figures. The bald headed traditional Chinese men are viewed as dumb or stupid.[9] Through these figures, he is sending a message about morality and how people define what is normal based on physical appearance, rather than internal moral character. Fang Lijun values the individual stories of each person. He is asking the society to look at painters as normal people, as people who are making a change, rather than as eccentric outcasts.
In his paintings, he also uses elements of water and flower a lot. Water plays a big role in Fang Lijun's paintings. On an interview, he explained that water is helping him convey a message about his feeling and his voice about the truth and what is going in Chinese society.[10] His famous work with water is the guy being drowned in the water. Part of the reason for this paining relates to his childhood experience when he was almost drown.[11] The second and most important part relation about this painting is he is expressing his feelings about the Chinese society. When the guy is drown in the water, that guy is representing for painter like Fang Lijun.[12] He feels like he does not have a voice, that he is powerless in this societal structure and that he cannot even make his own decision or speak the right truth. Also, his hope is to freely go and move in the water metaphorically. He is hoping to be able to speak for himself, for other artists and to inspire everybody.
He is one of the artists who is standing in the middle line between traditional and modern practice. For example, he still follows the process of the carving wood with the negative image, coats it with ink and then impresses the image on the paper.[13] Because one art projects requires different color immersion, Fang uses different plates and a set order of printing on different adjoined scrolls. Each scroll represents for one individual against the mass which leads to "personal probity" in facing adversity.[14]
The earliest exhibition about the Cynical Realism was done by Fang Lijun and Liu Wei.[15] "Wanshi"-Cynical Realism which is translated into English is "cynical'. However, this English term cannot fully cover the whole meaning of the attachment of reality and life. The figures in Cynical Realism's paintings were cynical, distorted and accidental. In each of these painting, there is a sense of "self - mockery and ridiculous snippets of the surrounding circumstances".[16] Different metaphysical questions and searches were discarded by this Cynical Realism. Fang Lijun said: "The bastard can be duped a hundred times but he still falls for the same old trick. We'd rather be called losers , bores, basket cases, scoundrels, or airheads, than ever be cheated again".[17] Leading the Cyncial Realist movement after 1989, "Fang Lijan is considered one of the most important figures in Chinese contemporary art".
Two African American women with children standing in front of chaufere driven Cadillac sedean, circa 1920's
Vintage African American photography courtesy of Black History Album, The Way We Were.
Follow Us On Twitter @blackhistoryalb
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Posed picture of four men and bicycles after crash on path; three women in background; trees frame view on either side; 'View of Goderich and vicinity' imprint on left of card; 'Photographed by R.R. Sallows' imprint on right of card; (title 'Wrecked' written across bottom).
Object ID : 0321-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Chen Yifei is a central figure in the development of Chinese oil painting and is one of China's most renowned contemporary artists. Although he was denounced for "capitalist behavior" Chen's obvious talent and mastery of oil painting techniques won him recognition by the authorities. Chen soon became one of the leading painters of the Cultural Revolution. He was famous for his big Mao portraits and depiction of grand heroic events of the modern Chinese nation. After the Cultural Revolution, Chen became the forerunner of a new age in Chinese aesthetics, promoting a new sense of modernity and lifestyle in his paintings as well as in fashion, cinema and design. In his oil paintings Chen abandoned his uncritical glorification of the party to blend realistic technique and romanticism with Chinese subject matter, especially melancholic and lonely women in traditional dresses. His characteristic "Romantic Realism" paintings use dark and dense colors and convey a sense of richness and integrity.
In 1980 he became one of the first artists from the People's Republic of China permitted to study art in the United States. Chen Yifei enrolled at Hunter College and later found work as an art restorer. In 1983, before he attained his master's degree at Hunter, his solo exhibition at the Hammer Galleries was a great success. Later, he established as a contract artist for the Hammer Galleries.
Chen returned to China and settled in Shanghai in 1990. He painted Impressionist landscapes of Tibet and his native Zhejiang Province. At the same time, he had also transformed himself into a style entrepreneur, creating fashion brands, decorating hotels and selling high-end clothing and chic home furnishings. He also supervised one of the country's biggest modeling agencies. Some critics said he turned increasingly commercial.
In 2005, while working on a feature film, "Barber," Chen fell ill and died. His early death left intellectual circles in shock and highlighted his major role in the Chinese contemporary art scene.
I was setting up to take a photo of the profiles of these young children as they all had their attention directed forward when, all of a sudden, I noticed through my viewfinder that someone had a cell phone. I exclaimed out in surprise, as I had not seen a single cell phone in any of the villages of Mali (which have no roads, no electricity, no running water.....). My response caused everyone to turn and look at me. I quickly clicked the shutter and likely ended up with a more interesting photo than the one I originally planned.
To my flickr contacts: I am finally wrapping up my photos of Mali and have now organized my uploads into thematic sets. For those of you who have been my contact for some time, you know that my photos are designed to be part of photoessay, rather than to stand as individual photographs. If you are interested in learning more about Mali and would like to see the photos in a more organized and meaningful fashion, feel free to visit my Mali collection. I thank you very much for your very kind and insightful comments. It has been my pleasure to share my visit to this fascinating country with you.
Explore #238 on November 19, 2011
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group portrait of five men, some of whom are dressed women's bathing attire posed on dock; canoe in foreground; 'View of Goderich and vicinity' imprint on left of card; 'Photographed by R.R. Sallows' imprint on right of card; (title 'Bathing in Lake Huron' written across bottom).
Object ID : 0324-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Oil on canvas; 114 x 146 cm.
Tadeusz Makowski was a prominent Polish painter active in France for most of his life. He was born in Oświęcim. Makowski attended the Academy of Fine Arts in Kraków. He studied under Jan Stanisławski and Józef Mehoffer. In 1909, he departed for Paris. Makowski started off as a landscape painter but then shifted towards Post-Impressionism and Cubism. However, he is arguably most famous for his rural landscape paintings. He met Pablo Picasso,who was his good friend.
Gouache, pastel and charcoal on thin card; 54.6 x 38 cm.
Suzanne Valadon, original name Marie-clémentine Valadon, was a French painter noted for her robust figures and bold use of color. She was the mother of the painter Maurice Utrillo. She was the illegitimate daughter of a laundress, and, even before reaching her teens, she was surviving without her mother’s support. She took a variety of jobs, including those of waitress and circus acrobat. In the early 1880s she became an artist’s model, posing for such artists as Pierre Puvis de Chavannes, Henri de Toulouse-Lautrec, and Pierre-Auguste Renoir. By observing the artists for whom she modeled, she began to learn technique and to draw and produce pastels. About 1890 she met Edgar Degas, who admired and purchased her work and whose friendship she won. Her first paintings date from about 1892 and her prints from about 1894. She married a businessman in 1896, but she continued to exhibit and produce art. In 1909 she ended her marriage, and about that time her mature style began to emerge. Her subjects were nudes, still-lifes, portraits, and landscapes. Her sensitive observation combined with bold line work and patterns won her much acclaim. She exhibited frequently and in the 1920s and ’30s became internationally known.
Black-and-white photo of a group in historical costumes, part of a theatrical performance in Hungary, 1944.
Real photo postcard. Postally unused.
Bought from an eBay seller in Germany.
en.wikipedia.org/wiki/Emil_and_the_Detectives
Oil on canvas; 144.5 x 113 cm.
Massimo Campigli, born Max Ihlenfeld, was an Italian painter and journalist. He was born in Berlin, but spent most of his childhood in Florence. His family moved to Milan in 1909, and here he worked on the Letteratura magazine, frequenting avant-garde circles and making the acquaintance of Boccioni and Carrà. During World War I Campigli was captured and deported to Hungary where he remained a prisoner of war from 1916–18. At the end of the war he moved to Paris where he worked as foreign correspondent for the Milanese daily newspaper. Although he had already produced some drawings, it was only after he arrived in Paris that he started to paint. At the Café du Dôme he consorted with artists including Giorgio de Chirico, Alberto Savinio, Gino Severini and Filippo De Pisis. Extended visits to the Louvre deepened Campigli's interest in ancient Egyptian art.
His first figurative works applied geometrical designs to the human figure, reflecting the influence of Pablo Picasso and Fernand Léger as well as the Purism of "L’Esprit Nouveau". In 1923, he organized his first personal exhibition at the Bragaglia Gallery in Rome. During the next five years his figures developed a monumental quality, often with stylized poses and the limbs interwoven into a sculptural solidity. The importance given to order and tradition, the atmosphere of serenity and eternity were in line with the post-war reconstruction and the program of the “Twentieth Century” artists with whom Campigli frequently exhibited both in Milan from 1926–29 and abroad from 1927–31. In 1926 he joined the "Paris Italians" together with Giorgio de Chirico, Filippo de Pisis, Renato Paresce, Savinio, Severini and Mario Tozzi. In 1928, year of his debut at the Venice Biennial, he was very much taken by the Etruscan collection when visiting the National Etruscan Museum in Rome. He then broke away from the compact severity of his previous works in favor of a plane with subdued tones and schematic forms rich in archaisms.
During a journey in Romania he started a new cycle of works portraying women employed in domestic tasks and agricultural labor. These figures were arranged in asymmetrical and hieratic compositions, hovering on a rough textured plane, inspired by ancient fresco. These works were enthusiastically received by the critics at the exhibition held in the Jeanne Bucher gallery, Paris, in 1929 and at the Milione Gallery, Milan, in 1931. During the ‘thirties he held a series of solo exhibitions in New York, Paris and Milan which brought him international acclaim. In 1933 Campigli returned to Milan where he worked on projects of vast dimensions. In the same year he signed Mario Sironi’s Mural Art Manifesto and painted a fresco of mothers, country-women, working women, for the V Milan Triennial which unfortunately was later destroyed. In the following ten years other works were commissioned: I costruttori ("The builders") for the Geneva League of Nations in 1937; Non uccidere ("Do not kill") for the Milan Courts of Justice in 1938, an enormous 300 square metre fresco for the entrance hall, designed by Gio Ponti, of the Liviano, Padua which he painted during 1939–40. He spent the war years in Milan and in Venice, then after the war they divided his time between Rome, Paris and Saint-Tropez. In a personal exhibition at the Venice Biennial in 1948 he displayed his new compositions: female figures inserted in complicated architectonic structures. During the 60s his figures were reduced to colored markings in a group of almost abstract canvasses. In 1967 a retrospective exhibition was dedicated to Campigli at the Palazzo Reale in Milan.
A vintage group photograph taken in Máriaremete, Hungary, on August 20, 1929. The image features Fritz János and his circle of friends posing outdoors, commemorating a special gathering. The group includes men, women, and children dressed in 1920s fashion, showcasing a snapshot of Hungarian culture and social life in the early 20th century.
Met this bunch on a Saturday night in Downtown Calgary. They were huddling together at the entrance of a dark alley, close to my office, when I walked past and snapped their silhouettes and shadows. They noticed and asked for a group portrait. The wall looked like it can make for an interesting background. I didn't pose them though.
Check out my main stream: flickr.com/eyeopenerpratyay
Oil on canvas; 70 x 71 in.
Yu Hong (b. 1966, Beijing) studied oil painting at the Central Academy of Fine Arts in Beijing, China, during the 1980s. It is here that she continues to teach her painterly skills, initially grounded in the techniques of Social Realist painting (which was common in art academies in China at that time), but has since developed into her own recognized visual language anchored in the depiction of the human figure.
Yu Hong centers her practice on her experience as a woman, taking inspiration from both her own life and the lives of others around her. The world that she creates through her art encapsulates a sense of time and memory that is intermingled in the delicate, often domestic scenes that she portrays, resulting in large-scale works that are personal and emo tionally reflective. Working on canvas, silk or resin, with oil, pastel or fabric paint, Yu Hong frequently uses photography as a starting point for her work, at times incorporating this medium into the final piece. Interested in how our recollection of the past is enhanced or diminished through the camera lens, Yu Hong places the photographed subject in direct relationship with its own painterly image and thus examines the power of subjectivity in memory.
Influenced by the social, cultural and political changes taking place around her in China, Yu Hong seeks to portray a realistic representation of the everyday experiences which challenge women in China today, exploring how they endure the fragile relationship between tradition, career, family life and social expectations.
Yu Hong’s work has been shown extensively in China and abroad, including ‘Golden Sky’, Ullens Center for Contemporary Art, ‘In and Out of Time – Yu Hong’, Guangdong Museum of Art; ‘Half Life of a Dream: Contemporary Chinese Art from the Logan Collection’, SFMOMA, San Francisco, USA, 2008; 5th Shanghai Biennale, Shanghai Art Museum, China, 2004; Transience — Chinese Experimental Art at the End of the Twentieth Century’, The David and Alfred Smart Museum of Art, Chicago, USA, 1999; 47th Venice Biennale, 1997 and the 45th Venice Biennale, 1993 in Venice, Italy, with participation in major museum including National Art Museum of China, Beijing, China; National Museum of Contemporary Art, Athens, Greece and Tomayo Art Museum, Mexico City, Mexico.
www.longmarchspace.com/artist/list_11_brief.html?locale=e...
Oil on canvas; 220.3 x 200 cm.
Yue Minjun (Chinese: 岳敏君) is a contemporary Chinese artist based in Beijing, China. He is best known for oil paintings depicting himself in various settings, frozen in laughter. He has also reproduced this signature image in sculpture, watercolour and prints. While Yue is often classified as part of the Chinese "Cynical Realist" movement in art developed in China since 1989, Yue himself rejects this label, while at the same time "doesn't concern himself about what people call him."[1]
Yue Minjun in the town of Daqing in Heilongjiang, China. Yue's family had been working on oil fields. When he was ten, his family moved to Beijing. He eventually moved to Hebei to find education and work, there he studied oil painting, he graduated from the Hebei Normal University in 1983. In the 1980s, he started painting portraits of his co-workers and the sea while he was engaged in deep-sea oil drilling. In 1989, he was inspired by a painting by Geng Jianyi at an art show in Beijing, which depicted Geng's own laughing face.[2] In 1990, he moved to Beijing, which was also home to other Chinese artists. During this period, his style of art developed out of portraits of his bohemian friends. Yue had been living a "nomadic" existence for much of his life, because his family often moved in order to find work on various oilfields.[3]
Over the years, Yue Minjun's style has rapidly developed. Yue often challenges social and cultural conventions by depicting objects and even political issues in a radical and abstract manner. He has also shifted his focus from the technical aspects to the "whole concept of creation". His self-portraits have been described by theorist Li Xianting as “a self-ironic response to the spiritual vacuum and folly of modern-day China.”[5] Art critics have often associated Yue with the Cynical Realism art movement in contemporary Chinese art.
Yue is currently residing with fifty other Chinese artists in the Songzhuang Village. His piece Execution became the most expensive work ever by a Chinese contemporary artist, when sold in 2007 for £2.9 million pounds (US $5.9 million) at London's Sotheby's.[7] The record sale took place week after his painting Massacre of Chios sold at the Hong Kong Sotheby's for nearly $4.1 million.[9] 'Massacre of Chios' shares its name with a painting of the same name, by Eugène Delacroix. As of 2007 thirteen of his paintings had sold for over a million dollars. One of his most popurar series was his "Hat" collection. This series, pictures Yue's grinning head wearing a variety of hats. The artist tells us that the series is about a "sense of the absurdity of the ideas that govern the sociopolitical protocol surrounding hats." The series nicely illustrates the way that Yue's character is universally adaptable, a sort of logo that can be attached to any setting to add value.
In 1999 Yue began fabricating bronze sculptural versions of his signature self-portrait paintings, playing off China's famous Qin Dynasty army of terracotta warriors. While the ancient sculptures are known for the subtle individuality of each of the warriors, his cackling modern-day version are relentlessly identical, cast from the same mold. During the "Year of China" in France in 2003/2004, he participated to the exhibition "China, the body everywhere?" including 39 Chinese contemporary artists at the Museum of Contemporary Art of Marseille.[10]