View allAll Photos Tagged groupportraits
Slim Aarons, born George Allen Aarons (October 29, 1916, Manhattan - May 29, 2006, Montrose, New York), was an American photographer noted for photographing socialites, jet-setters and celebrities.
At 18 years old, Aarons enlisted in the U.S. Army, working as a photographer at West Point and later serving as a combat photographer in World War II and earning a Purple Heart. Aarons said that combat had taught him that the only beach worth landing on was "decorated with beautiful, seminude girls tanning in a tranquil sun."
After the war, Aarons moved to California and began photographing celebrities. In California, he shot his most praised photo, Kings of Hollywood, a 1957 New's Year's Eve photograph depicting Clark Gable, Van Heflin, Gary Cooper and James Stewart relaxing at a bar in full formal wear. Aaron's work appeared in Life, Town & Country and Holiday magazines.
Aarons never used a stylist, or a makeup artist.
Aarons made his career out of what he called "photographing attractive people doing attractive things in attractive places." "I knew everyone," he said in an interview with The (London) Independent in 2002. "They would invite me to one of their parties because they knew I wouldn't hurt them. I was one of them." Alfred Hitchcock's film, Rear Window, whose main character is a photographer played by Jimmy Stewart, is set in an apartment reputed to be based on Aarons's apartment. He died in 2006, and was buried in Mount Auburn Cemetery in Cambridge, Massachusetts.
Corrosion on the glass negative has given a halo to one of the clergyman.
Uncle Very Rev TR Canon Griffith 1889-1963 is left front row
Local identifier: SFF 89203_0150_l2_003
Photographer: Unknown.
Caption: "Here we come to see you from Tongaland last year with the Gospel Wagon and the natives. If God will I will go now this year also with the gospel. Malla. If you have one before give that to Su"
The reverse side of this image can be seen here: www.flickr.com/gp/fylkesarkiv/f8A197
Group Portrait. Manning, North Dakota. RPPC.
1911 MANNING N. DAK. Postmark.
Sent to:
Miss Ethel Galbraith
Granton, Wis.
Clark Co.
Message:
Yours Rec'd Thanks.
We got back from Fargo the following week. You ought to be here, are having a picnic most every week.
[06673]
Oil on canvas; 186×183 cm.
1954 He was born in Chengdu city of Sichuan province.
1971 He entered Chengdu Art School (5.7 Literature Class).
1974 He worked in Chengdu Art Society.
1977 He entered the oil painting department of Sichuan Art Academy and stayed for teaching after graduation.
1982 He studied in oil painting research class of China Central Art Academy.
1984 He was employed as vice professor by Sichuan Art Academy to teach oil painting.
1986 He was invited by Center National Des Arts Plastiques to work in and teach art. He took part in teaching and communication in Montpellier Art Academy of Avignon in Paris.
1987 He was employed as the visiting professor by Germany University of Osnabrueck.
1987 He was employed as the vice professor of Sichuan Art Academy.
1987 He was employed as the commenting commissary in the 1st China Oil Painting Exhibition.
1991 He was employed as permanent vice professor by the oil painting department in China Central Art Academy.
1992 He became a free artist living in Germany.
1994 He was employed as the commenting commissary in the 2nd China Oil Painting Exhibition. Now he is a member of China Artist Association.
1999 He was employed as specially-invited professor by Sichuan Art Academy to work as graduates’ tutor.
Engraving.
William Blake was an English poet, painter, and printmaker. Largely unrecognized during his lifetime, Blake is now considered a seminal figure in the history of both the poetry and visual arts of the Romantic Age. His prophetic poetry has been said to form "what is in proportion to its merits the least read body of poetry in the English language". His visual artistry has led one contemporary art critic to proclaim him "far and away the greatest artist Britain has ever produced". Although he lived in London his entire life except for three years spent in Felpham he produced a diverse and symbolically rich corpus, which embraced the imagination as "the body of God", or "Human existence itself".
Considered mad by contemporaries for his idiosyncratic views, Blake is held in high regard by later critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterized as part of both the Romantic movement and "Pre-Romantic", for its large appearance in the 18th century. Reverent of the Bible but hostile to the Church of England, Blake was influenced by the ideals and ambitions of the French and American revolutions, as well as by such thinkers as Jakob Böhme and Emanuel Swedenborg.
Despite these known influences, the singularity of Blake's work makes him difficult to classify. The 19th century scholar William Rossetti characterized Blake as a "glorious luminary," and as "a man not forestalled by predecessors, nor to be classed with contemporaries, nor to be replaced by known or readily surmisable successors."
The date 'April 1896' is handwritten on the verso.
The photo was made at the Kopke Studio in Brooklyn, New York.
Card - 3.75 X 3.75 inches ; photo - 2.75 X 2.75 inches
Oil on canvas; 23 x 51 1/2 in.
Little has been recorded of the life of John William Godward. Inspired by the painter Sir Lawrence Alma Tadema, Godward imitated his Neoclassical style. Both were counted among the members of the "Marble School," known for its depictions of subjects drawn from ancient Greek and Roman life placed in elaborate settings, with especially careful and realistic rendering of details like marble and flowers. Godward regularly exhibited his paintings at the prestigious Royal Academy in London, where they were initially greatly admired by the public. By the time he was in his fifties, however, the Marble School's approach had fallen out of favor. Godward nonetheless continued to paint in this manner until his death at age sixty-one.
Real photo postcard. Postally unused.
Bought from an eBay seller in Dewsbury, West Yorkshire, United Kingdom.
Undated, but from 1902 to about 1906 the instruction “For inland postage only, this space may now be used for communication” was used on postcards in the United Kingdom.
German painter and graphic artist. He probably trained with Dürer in Nuremberg, but his brilliant color, expressive use of distortion, and taste for the gruesome bring him closer in spirit to his other great German contemporary, Grünewald. His output was varied and extensive, including religious works, allegories and mythologies, portraits, designs for stained glass and tapestries, and a large body of graphic work. From 1512 to 1517 he lived in Freiburg-im-Breisgau, where he worked on his masterpiece, the high altar for Freiburg Cathedral. He is noted for representations of the Virgin Mary, in which he combined landscapes, figures, light, and color with an almost magical serenity. His portrayals of age, on the other hand, have a sinister character and a mannered virtuosity. His most characteristic paintings, however, are fairly small in scale - erotic allegories such as Death and the Maiden. Eroticism is often strongly present in his woodcuts, the best known of which is The Bewitched Stable Boy (1544).
Watercolor and pencil on paper; 50 x 39cm
Gertler was born in London, the child of Jewish immigrants. At an early age Gertler showed a talent for drawing. He enrolled in art classes at Regent Street Polytechnic. Due to poverty, he was forced to drop out after a year and he began working at a stained glass company. While there he attended evening classes at the Polytechnic. In 1908 he placed third in a national art competition. He applied for a scholarship from the Jewish Education Aid Society to resume his art studies. The application was successful and he enrolled at the Slade School of Art. At Slade, he met Paul Nash, Edward Wadsworth, C.R.W. Nevinson and Stanley Spencer.
Gertler was patronized by Lady Ottoline Morrell through whom he became acquainted with the Bloomsbury Group. She introduced him to Walter Sickert, the leader of the Camden Town Group. He was soon enjoying great success as a painter of society portraits, but his temperamental manner led to increasing frustration and the alienation of sitters and buyers. As a result, he struggled frequently with poverty. In 1914 Edward Marsh became Gertler's patron. The relationship between the two men was difficult, as Gertler felt that the system of patronage and the circle in which he moved was in direct conflict with his sense of self. In 1916 Gertler ended the relationship.
His earliest still-lifes show the influence of Dutch 17th-century painting and the work of Chardin. Gertler's later works developed a sometimes very harsh edge to them, influenced by his increasing ill health. In 1920 he was diagnosed with tuberculosis, which hospitalized him on a number of occasions. Gertler gassed himself in his London studio in 1939, having attempted suicide on at least one prior occasion in 1936. He was suffering at the time from increasing financial difficulties, his wife had recently left him, he had held a critically derided exhibition at the Lefevre Gallery, he was still depressed over the death of his mother and he was filled with fear over the imminent world war. Gertler’s obituary in The Times described his death as ‘a serious loss to British art. Opinions of his work are likely to vary,’ it conceded, ‘but it is safe to say that a considered list of the half-dozen most important painters under fifty working in England would include him'.
Oil on canvas; 182 x 250 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]
Excursion to the cableway together with the women.
Venezuela, 10.12.1892. Unidentified photographer.
Persistent URL: floridamemory.com/items/show/257705
Local call number: KOR1715
Title: Unidentified Koreshan women in Estero, Florida
Date: ca. 1900
Physical descrip: 1 photoprint - b&w - 3 x 3 in.
Series Title: Koreshan Unity Collection
Repository: State Library and Archives of Florida
500 S. Bronough St., Tallahassee, FL, 32399-0250 USA, Contact: 850.245.6700, Archives@dos.myflorida.com
Carte de visite.
Studio of J. A. Harrison, 93 Rockingham Street, Newington Causeway, London. Old photographs copied.
Bought from an eBay seller in Kettering, Northamptonshire, United Kingdom.
John Ashworth Harrison (1821-1900), London photographer and inventor of photographic devices. Co-inventor with J. R. Johnson of the "Pantascopic" camera, one of the first cameras capable of taking panoramic photographs on glass plates, patented in 1862, and perfected in 1865. - www.nationalmediamuseum.org.uk/
The "Pantascopic" camera is descibed in detail in the 1901 issue of the British Journal of Photography (in lieu of an obituary): notesonphotographs.org/index.php?title=British_Journal_of...
Oil on canvas; 280 x 400 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]
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group portrait of twenty men and women in front of a sugaring shack; eight men and women sitting on roof; team of horses on right in background; bare trees in extreme background; title and date (1910/26) in pencil and Sallows stamp in blue ink on back
Object ID : 0368-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.
Marcel Duchamp was a French artist who broke down the boundaries between works of art and everyday objects. After the sensation caused by “Nude Descending a Staircase, No. 2” (1912), he painted few other pictures. His irreverence for conventional aesthetic standards led him to devise his famous ready-mades and heralded an artistic revolution. Duchamp was friendly with the Dadaists, and in the 1930s he helped to organize Surrealist exhibitions. He became a U.S. citizen in 1955.
In 1911 Duchamp, the great iconoclast of 20th-century art, was still adhering to the conventions of easel painting, formal composition, narrative structure, and individual inspiration. His formative years were bracketed by studies at the Académie Julien in Paris in 1904–05 and participation in the artistic circle known as the Puteaux Group, which gathered at the home of his older brothers and fellow artists, Raymond Duchamp-Villon and Jacques Villon, after 1910. During this period, Duchamp moved rapidly through a succession of Modernist styles before renouncing painting altogether in 1913 in favor of an art that privileged the intellectual over the optical.
As artist and anti-artist, Marcel Duchamp is considered one of the leading spirits of 20th-century painting. With the exception of the “Nude Descending a Staircase, No. 2,” however, his works were ignored by the public for the greater part of his life. Until 1960 only such avant-garde groups as the Surrealists claimed that he was important, while to “official” art circles and sophisticated critics he appeared to be merely an eccentric and something of a failure. He was more than 70 years old when he emerged in the United States as the secret master whose entirely new attitude toward art and society, far from being negative or nihilistic, had led the way to Pop art, Op art, and many of the other movements embraced by younger artists everywhere. Not only did he change the visual arts but he also changed the mind of the artist.
Oil on canvas; 134.5 x 165.5 cm.
Peder Severin Krøyer, known as P.S. Krøyer, was a Norwegian-Danish painter. He is one of the best known and beloved, and undeniably the most colorful of the Skagen Painters, a community of Danish and Nordic artists who lived, gathered or worked in Skagen, Denmark, especially during the final decades of the 19th century. Krøyer was the unofficial leader of the group.
Krøyer was born in Stavanger, Norway. Krøyer moved to Copenhagen to live with his foster parents soon afterward. Having begun his art education at the age of nine under private tutelage, he was enrolled in Copenhagen's Technical Institute the following year. In 1870 at the age of 19 Krøyer completed his studies at the Royal Danish Academy of Art, where he had studied with Frederik Vermehren. In 1873 he was awarded the gold medal, as well as a scholarship.
His official debut as a painter was in 1871 at Charlottenborg with a portrait of a friend, painter Frans Schwartz. He exhibited regularly at Charlottenborg throughout his life. In 1874 Heinrich Hirschsprung bought his first painting from Krøyer, establishing a long-standing patronage. Hirschsprung's collection of art forms the basis of the Hirschsprung Museum in Copenhagen. Between 1877-1881, Krøyer traveled extensively in Europe, meeting artists, studying art, and developing his skills and outlook. He stayed in Paris and studied under Léon Bonnat, and undoubtedly came under the influence of contemporary impressionists -- Claude Monet, Alfred Sisley, Edgar Degas, Pierre-Auguste Renoir and Edouard Manet. He continued to travel throughout his life, constantly drawing inspiration from foreign artists and cultures. Hirschsprung provided financial support during the early travels, and Krøyer continued exhibiting in Denmark throughout this period.
In 1882 he returned to Denmark. He spent June–October at Skagen, then a remote fishing village on the northern tip of Denmark, painting themes from local life, as well as depictions of the artistic community there. He would continue to be associated with the developing art and literary scene at Skagen. Other artists at Skagen included writers Holger Drachmann, Georg Brandes, and Henrik Pontoppidan, and artists Michael Ancher and Anna Ancher.
On a trip to Paris in 1888 he ran into Marie Martha Mathilde Triepcke, whom he had known in Copenhagen. They fell in love and, after a whirlwind romance, married. Marie Krøyer, who was also a painter, became associated with the Skagen community, and after their marriage was often featured in Krøyer's paintings. The couple had one child. They were divorced in 1905 following a prolonged separation. Krøyer died in 1909 at 58 years of age after years of declining health caused by advanced syphilis. He had also been in and out of hospitals, suffering from bouts of mental illness. His eyesight failed him gradually over the last ten years of his life until he was totally blind. Ever the optimist, Krøyer painted almost to the end, in spite of health obstacles. In fact, he painted some of his last masterpieces while half-blind, joking that the eyesight in his one working eye had become better with the loss of the other eye.
Roll the Thirteen Emperors Yan Liben assigned, active 640-673, horizontal scroll, ink and colors on silk; 51 x 531cm.
Yan Liben (Chinese: 閻立本; pinyin: Yán Lìběn; Wade–Giles: Yen Li-pen) (c. 600-673), formally Baron Wenzhen of Boling (博陵文貞男), was a Chinese painter and government official of the early Tang Dynasty. His most renowned work is the Thirteen Emperors Scroll. He also painted the Portraits at Lingyan Pavilion, under Emperor Taizong of Tang, commissioned in 643 to commemorate 24 of the greatest contributors to Emperor Taizong's reign, as well as 18 portraits commemorating the 18 great scholars who served Emperor Taizong when he was the Prince of Qin. Yan's paintings included painted portraits of various Chinese emperors from the Han Dynasty (202 BC-220 AD) up until the Sui Dynasty (581-618) period. His works were highly regarded by the Tang writers Zhu Jingxuan and Zhang Yanyuan, who noted his paintings were "works among the glories of all times".[1]
From the years 669 to 673, Yan Liben also served as a chancellor under Emperor Taizong's son Emperor Gaozong (r. 649-683).
Etching; 28 x 36 in.
Zhiyuan Cong was born in Nantong, China. Currently he is a professor at the William Paterson University of New Jersey as well as the head of the university’s Printmaking Program and the Director of the Center for Chinese Art.
When I was serving with the US Army in Vietnam, I bought a Minox subminiature camera to play with. While I didn't keep it very long, I do have the 66 original prints I took with the camera along with the original negatives.
I decided to scan the faded original prints, edit them a little and post them. The resulting 66 scans are in random order because the negatives have no numbers.
The beach photos were taken in Ocean City, Maryland with two friends while at home on leave. I hope you enjoy this series.
I wonder what I ever did with that Minox camera!
Corneliu Baba was a Romanian painter, primarily a portraitist, but also known as a genre painter and an illustrator of books. Having first studied under his father, the academic painter Gheorghe Baba, Baba studied briefly at the Faculty of Fine Arts in Bucharest. His first public exhibition was in 1934 in the town of Băile Herculane; this led to his studying later that year under Nicolae Tonitza in Iaşi, finally receiving a diploma in Fine Arts in 1938, where he was named assistant to the Chair of Painting in 1939 and a Professor of Painting in 1946. Shortly after his 1948 official debut with a painting called The Chess Player at the Art Salon in Bucharest, he was arrested and briefly imprisoned in Galata Prison in Iaşi.
Despite an initially uneasy relationship with communist authorities who denounced him as formalist, Baba soon established himself as an illustrator and artist. In 1955 he was allowed to travel to the Soviet Union, and won a Gold Medal in an international exhibition in Warsaw, Poland. In 1956, Baba accompanied The Chess Player and two other paintings showed at the Venice Biennale, after which the paintings traveled on to exhibits in Moscow, Leningrad, and Prague. In 1958 Baba was appointed Professor of Painting at the Nicolae Grigorescu Institute of Fine Arts, where Niculiţă Secrieriu and Ștefan Câlția were among his pupils. By this time, his earlier problems with the communist authorities appear to have been smoothed over. In the next decade, both he and his paintings were to travel the world, participating in exhibitions in places as diverse as Cairo, Helsinki, Vienna, and New Delhi. In 1962, the Romanian government gave him the title of People's Artist; in 1963 he was appointed a corresponding member of the Romanian Academy, and in 1964 was similarly honored by the East Berlin Academy of Fine Art. Honors and exhibitions continued to accumulate, ranging from a 1970 solo exhibition in New York City to the receipt of a Red Star decoration in 1971. While his name became a household word in Romania and, to a lesser extent, throughout the Eastern bloc, he never achieved comparable fame in the West.
Perhaps unfashionably for a 20th century painter, Baba consciously worked in the tradition of the Old Masters, although, from the outset of his studies with his father, he was also influenced by expressionism, art nouveau, academicism and "remnants" of impressionism. Baba himself cited El Greco, Rembrandt, and Goya as particularly strong influences. This did not put him in good stead either with the official Socialist realism of the Eastern bloc (where, especially in the early Communist years, he periodically received damning criticism—and sometimes punishment, such as being suspended from teaching—for his "formalism"). Nearly all of Corneliu Baba's work remains in Romania; hardly a major museum in that country is without some of his work.
Geishas chatting as they go to their evening appointments in Gion, Kyoto, Japan. Taken in 2007. Explore#286
A family suddenly receives an unexpected visit from Pumuckl.
Pumuckl: en.wikipedia.org/wiki/Pumuckl
Reference: root.jumajo.at/photos/2008-08-28_schwimmen__zocken__st__b...
Check out my blogggg: foehre.blogspot.com/
Thank you.
Persistent URL: floridamemory.com/items/show/165431
Local call number: PHF118
Title: Crew members of the "Savannah" - Miami
Date: ca. 1925
Physical descrip: 1 photoprint - b&w - 7 x 11 in.
Series Title: Fishbaugh Collection
Repository: State Library and Archives of Florida
500 S. Bronough St., Tallahassee, FL, 32399-0250 USA, Contact: 850.245.6700, Archives@dos.myflorida.com
Oil on canvas; 217 x 190 cm.
Fernando Botero Angulo is a Colombian figurative artist, self-titled "the most Colombian of Colombian artists" early on, coming to prominence when he won the first prize at the Salón de Artistas Colombianos in 1958. His work includes still-lifes and landscapes, but Botero tends to primarily focus on situational portraiture. His paintings and sculptures are united by their proportionally exaggerated, or "fat" figures, as he once referred to them. Botero explains his use of these "large people", as they are often called by critics, or obese figures and forms thus: "An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it."
Botero is an abstract artist in the most fundamental sense of the word, choosing what colors, shapes, and proportions to use based on intuitive aesthetic thinking. Though he currently spends only one month a year in Colombia, he considers himself the "most Colombian artist living" due to his insulation from the international trends of the art world. Botero gained considerable attention in 2005 for his Abu Ghraib collection, which began as an idea he had on a plane, finally culminating in more than 85 paintings and 100 drawings. The Circus collection followed in 2008, with 20 works of oil and watercolor. In an interview promoting his Circus collection, Botero said: "After all this, I always return to the simplest things: still lifes."
Group Of Children. Manitou Falls, Wisconsin. RPPC.
Unposted.
VELOX Stamp Box.
Written on reverse:
Manitou Falls
[06593]
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Studio portrait of man and woman, full-length, facing front; woman standing on left wears long black dress, with black hat; man seated on right wears dark jacket, buttoned at top, black pants and shoes; painted backdrop; Sallows imprint on back of photocard
Object ID : 0808-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Martin Parr (born 23 May 1952) is a British documentary photographer,[1] photojournalist and photobook collector. He is known for his photographic projects that take a critical look at aspects of modern life, in particular provincial and suburban life in England. He is a member of Magnum Photos.
Born in Epsom, Surrey, Parr wanted to become a documentary photographer from the age of fourteen, and cites his grandfather, an amateur photographer, as an early influence.[2] From 1970 to 1973, he studied photography at Manchester Polytechnic. He married Susan Mitchell in 1980, and they have one child, Ellen Parr (born 1986). He has lived in Bristol since 1987.
Parr began work as a professional photographer and has subsequently taught photography intermittently from the mid-1970s. He was first recognised for his black-and-white photography in the north of England, Bad Weather (1982) and A Fair Day (1984), but switched to colour photography in 1984. The resulting work, The Last Resort: Photographs of New Brighton, was published in 1986.
Parr's approach to documentary photography is intimate, anthropological and satirical. Macro lenses, ring flash, high-saturation colour film, and since it became an easier format to work in, digital photography, all allow him to put his subjects "under the microscope" in their own environment, giving them space to expose their lives and values in ways that often involve inadvertent humour.[2] For example, to create his book Signs of the Times: A Portrait of the Nation's Tastes. (1992), Parr entered ordinary people's homes and took pictures of the mundane aspects of his hosts' lives, combining the images with quotes from his subjects to bring viewers uncomfortably close to them. The result of Parr's technique has been said to leave viewers with ambiguous emotional reactions, unsure whether to laugh or cry.
In 2008 Parr was awarded the Centenary Medal of The Royal Photographic Society 'in recognition of a sustained, significant contribution to the art of photography' which also carried with it an Honorary Fellowship (HonFRPS) of The Society.