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From a set of originally more than 200 negatives. Unfortunately many of them were exposed to moisture during the last 114 years and are irretrievable lost. I have not scanned and edited all the negatives yet, but I will upload the better ones from time to time. The amateur photographer certainly did not have the best camera, some pictures are only snapshots, but they still convey an interesting impression about an exotic journey at the very beginning of the 20th century.
The family who made this trip started from Lohr am Main heading to Vienna, where they probably visited friends before they boarded the Orient Express Wien - Budapest - Belgrad - Sofia - Constantinople. Part of the journey was made on a ship on the river Danube.
In Turkey, they made a trip to Eskişehir.
Oil on canvas; 89.5 x 125.5 cm.
Edvard Munch (1863-1944) was a turn-of-the-century Norwegian artist, best known for his extremely personal brand of Symbolism, which helped lay the foundations for and proved a lasting influence on the later Expressionist school of art.
Edvard Munch was born on December 12, 1863, in the small town of Loten, Norway, as the second of five children. His father was Christian Munch, a military doctor, and his mother Laura Cathrine Munch, née Bjolstad. Edvard had three sisters, Sophie, Laura and Inger, and one brother, Andreas. Although ostensibly middle class, the family had but modest means and often struggled financially.
In 1864, soon after Edvard's birth, the family moved to Kristiania, the capital of Norway (the city would be renamed to "Christiania" in 1878 and again to "Oslo," its present name, in 1924). In 1868, Edvard's mother died of consumption (tuberculosis) and her sister, Karen Bjolstad, took care for the children and the household upon herself. In 1877, Edvard's elder sister Sophie also succumbed to tuberculosis. These two deaths greatly affected the future painter and echoes of the pain and despair he felt at the time would appear frequently in his work.
Although Munch was interested in painting since he was a boy, his family was not in love with the idea and urged him to acquire a more prestigious and profitable profession. In 1879, at the age of 16, he entered the Oslo Technical College with the idea of becoming an engineer. He pursued this field of study for little more than a year before deciding that his true calling was art and dropping out of the college. Soon thereafter, he enrolled for evening classes at the Royal Drawing School in Oslo. By 1881, he was studying there full-time.
Edvard Munch was a quick and able student. At the Royal Drawing School, he was considered one of the most gifted young artists of his day. In addition to his normal classes, Munch also began taking private lessons with Christian Krohg, an established artist and good friend. He also attended the open-air summer school of Frits Thaulow at Modum.
In 1883, Munch exhibited at the Oslo Autumn Exhibition for the first time. Over the next few years, he would become a regular participant.
Munch was exposed to a wide range of artistic influence during his formative period, which lasted from about 1880 to 1889. The painter often visited Kristiania's (Oslo's) rather modest National Gallery, and had an avid interest in contemporary art magazines. Like most of Northern, Eastern and Central Europe, Norway was considered culturally to be a provincial backwater and, like many of his colleagues and contemporaries, Munch traveled extensively to learn from both the rich painting traditions and the latest artistic developments of Europe's enlightened West and South.
In 1885, the painter attended the World Exhibition at Antwerp and paid a brief visit to Paris, then considered the Mecca of contemporary art. Munch was certainly familiar with the work of the Impressionists, whose large exhibition in Paris he visited that year and again in 1888, when there was another such exhibition in Copenhagen. Certainly, a variety of influences can be seen in Munch's work of the time, such as Maridalen by Oslo (1881), Self-Portrait (1881), Aunt Karen in the Rocking Chair (1883) and At the Coffee Table (1883). Conservative tastes reigned in Oslo at the time, and much of the painter’s work was poorly received by critics.
At home in Norway, the artist was part of a group of radical young intellectuals, which included both painters and writers and espoused a variety of political views, from anarchism to socialism to Marxism. Their ideas certainly influenced Munch's own. However, the painter's artistic focus would always remain on himself and his own subjective experiences, almost notoriously so. Thus, he often re-visited the tragic episode of his beloved sister's sickness and death in such works as The Sick Child (1885-86) and Spring (1889).
This latter painting delighted the critics and paved the way, in 1889, for Munch's first solo exhibition at Kristiania. That same year, he received a scholarship from the Norwegian government to study abroad. The artist traveled to Paris, where he enrolled at the art school of Leon Bonnat. He also attended the major exhibitions, where he became familiar with the works of the Post-Impressionists. His own canvases of the time show considerable Impressionist influence: witness Rue Lafayette (1890) or Moonlight over Oslo Fjord (1891), painted during a brief return to Norway. On the other hand, Night in St. Cloud, a dramatic and highly emotional work, has all the characteristic traits of Naturalism.
In 1892, Munch visited Berlin, where he had been invited to exhibit by the Berlin Artists' Association. The painter's work was received very poorly, and the exhibition was closed down after only a few days, as the critics howled in outrage. Undeterred, the painter toured through Cologne and Dusseldorf, before returning once again to Berlin. As so often happens, the initial scandal attracted a great deal of attention to the artist, and he quickly found supporters and patrons. Munch stayed in Berlin for over a year. Many of his paintings found customers and he was at last able to make a comfortable living.
In the following years, he traveled throughout Europe, exhibiting in Paris, Berlin, Copenhagen and Stockholm. In 1896, he exhibited at the Parisian Salon des Independents for the first time.
In 1888, Munch had discovered Asgardstrand, a seaside resort located about 50 miles away from Oslo, and rented a cottage there the following year. He would spend many summers there. In 1897, he finally purchased the house and established it as his home base, though he continued to travel extensively.
Munch's work of the period is concerned with human life, love and death. The paintings are more and more concerned with melancholy and the darker emotions. Some of the most notable products of this time include: Moonlight (1893), Puberty (1894), The Day After (1894-95), The Kiss (1897) and Man and Woman (1898). Contrast the picture Evening on Karl Johan Street (1892) with his earlier, brighter Spring Day on Karl Johan (1890). The famous Scream (1893) -- Munch produced several versions -- also belongs to this period. The painter gathered these works into an ensemble he titled The Frieze of Life, which he exhibited in a series of European cities. Like so much of Munch's previous work, this series of works had mixed reception among the critics and the public.
In 1903, the artist was commissioned by physician Dr. Max Linde to paint a number of decorative pieces for the children's room in the doctor's house. Munch produced eleven large canvases, depicting landscapes. Although Dr. Linde paid the artist in full, he was not completely satisfied with the results. The paintings, known as the Linde Frieze, stayed up for only eleven months before being taken down, stored and finally returned to the painter, from where they would find their way, separately, to a variety of museums and collections. Although the subjects of the paintings were quite tame, showing the beautiful Asgardstrand landscape, the doctor felt they were "unsuitable for children," perhaps because of the melancholy, brooding air that Munch seemed to unconsciously imbue his work with.
In 1906, Munch was commissioned by Max Reinhardt, the famous German theater director, to paint a decorative frieze for the Deutsches Theater. The painter had previously designed the stage set for Reinhardt's production of Ghosts, by Henryk Ibsen. The frieze was intended to decorate one of the rooms at the theater. For it, Munch chose to use the same theme as he had for the Linde frieze, but, unconstrained now, he peopled the landscape of Asgardstrand with vacationers and lovers. Works from the Reinhardt Frieze include: Asgardstrand, Two Girls, Couple on the Shore and, of particular note, The Lonely Ones. In total, the artist painted 12 canvases for this project.
While not rejected outright, the work was again received poorly although it is, arguably, some of Munch's best. After only a few years, the room was re-decorated and the paintings taken down. The artist himself complained about the project, claiming that it had been a large amount of work for meager pay.
In fact, Munch was in dire financial straits at this time, which were not helped by his nerves, frail health and heavy drinking. In 1908, he suffered a breakdown, as a consequence of which he retired to his cottage at Asgardstrand, there to live in relative isolation and solitude for the next several years.
In 1909, Munch entered a competition to design murals for the Festival Hall at the Oslo University. His designs were chosen out of a number of competitors, not without controversy, after the University of Jena, Germany, offered to purchase the painter's projects for themselves. The University of Oslo would not allow that and, in 1911, Munch was reluctantly given the job. The canvases, nine of them, 15 feet high each, with the largest spanning 38 feet in width, were finally unveiled in 1916 and easily rank among some of the artist's best work. The most notable painting in this group is probably The Sun, together with Alma Mater and History.
Around this time, Munch purchased the estate of Ekely in a quiet suburb of Oslo, which he would make his permanent home in the coming years.
After 1920, Munch grew increasingly withdrawn from public life, limiting social contacts and carefully guarding his privacy. He lived alone, without a servant or housekeeper, with only several dogs for company, and devoted his days to painting. It was during this period, ironically, that he at last began to gain the recognition that had been denied him previously by both critics and public.
As early as 1912, Munch's work had been exhibited alongside the works of such acclaimed Post-Impressionist painters as Cezanne, Gauguin and Van Gogh. The artist inspired great interest in Germany, which saw him as a vital link between the art world of Paris and the art world of Northern Europe.
Between 1920 and 1928, large exhibitions of his work were held in Berlin, Wiesbaden, Frankfurt, Dresden, Mannheim and Munich, as well as Copenhagen and Zurich. Works of this period include: Model by the Wicker Chair (1919-21), The Wave (1921), Model on the Couch (1924-28), The Wedding of the Bohemian (1925) and Red House and Spruces (1927).
In 1930, a blood vessel in the painter's eye burst, seriously impairing his vision. As a result, Munch was forced to paint much less than before. In 1933, major exhibitions were held in honor of the painter's 70th birthday.
In 1936, the painter's eye problems grew worse, and he was forced to abandon work on decorative friezes and murals. That year, Munch had his first exhibition in England, which had thus far not shared the enthusiasm with which the painter was greeted in Central and Northern Europe. Ironically, the attitude towards the painter in Germany, where the painter had first gained widespread recognition had changed for the worse. With the rise to power of the Nazis in 1933, artistic innovations began to be regarded negatively. In 1937, eighty-two of Munch's paintings were declared "degenerate" and removed from museums. Many of these works found their way to the private collections of prominent Nazis, indicating that their personal views on Munch's art were rather different from the official party line.
In 1940, Germany occupied Norway. The artist refused to be associated in any way with the Nazis and the Quisling puppet-government they set up in Norway, isolating himself in his country home. His dramatic self-portrait By the Window (1940) dates to this period. In the painting, a balding and aging Munch stares defiantly upwards at something beyond the canvas. In the window behind him, a tangled winter landscape contrasts sharply with the warm, ruddy colors of the interior and the painter's face.
Following the USA's entry into the Second World War in 1942, the painter's anti-Nazi stance gained him recognition there as well. That year saw his first -- and only -- exhibition in the Americas, less than one and a half years before the artist's death.
Edvard Munch died on January 23, 1944, at his estate in Ekely. He bequeathed all of his property, which included over 1,000 paintings and close to 20,000 sketches, woodcuts and lithographs, to the city of Oslo. The Munch Museum was subsequently opened there to mark the painter's centenary, in 1963.
Biography by Yuri Mataev.
PsP gallery (buy PsP pictures on SmugMug)
PsP (Wordpress)
500px
www.instagram.com/psp.gallery/?hl=en
Shutterstock
Oil on canvas; 79 x 110.5 cm.
Christen Dalsgaard was a Danish painter, a late student of Christoffer Wilhelm Eckersberg. The son of the estate owner, Christen Dalsgaard was born at Krabbesholm Manor near Skive in Jutland. He showed early signs of artistic talent, and received training as a craft painter. In spring 1841 Niels Rademacher, a visiting landscape painter, encouraged the young artist and convinced his parents of their son’s talent. Later that year he traveled to Copenhagen and began his art studies at the Royal Danish Academy of Art in October 1841. In December 1841 he began private studies with painter Martinus Rørbye. These last until 1847.
In 1843 he began his studies at the Academy’s freehand drawing school, and the following year at the Academy’s plaster school. Home during the summer and holidays he busied himself by filling sketchbooks with studies of the local landscape, costumes and way of life. These formed a lifelong basis for his art. He also began collecting local folk costumes, another lifelong interest. In 1844 Dalsgaard cames under the influence of Niels Lauritz Høyen, art historian, who held a famous lecture “On the conditions for a Scandinavian national art’s development”. Høyen called for artists to search for subject matter in the folk life of their country instead of searching for themes in other lands, such as Italy (which was at that time considered a requirement for an artist’s training). Dalsgaard was a loyal follower of Højen’s artistic ideals, and forwent the customary journey to Italy, choosing rather to concentrate on themes closer to home. In March 1846 he began at the Academy’s model school under professors Christoffer Wilhelm Eckersberg, J. L. Lund og Martinus Rørbye. He had his exhibition debut at Charlottenborg in 1847, and continued showing there every year with few exceptions.
An artistic career flourishes. In 1855 he painted his first altarpiece at the church in his hometown of Skive. He goes on to paint a number of other altarpieces in the years to come. Dalsgaard's Mormoner på besøg hos en tømrer på landet (Mormons visit a country carpenter), 1856 He has his big breakthrough in 1856 with the painting "Mormons visit a country carpenter". The painting, created only 6 years after the missionary’s arrival in Denmark, is set in the shadowed interior of a provincial cottage. A group of people are gathered around a table, listening to a missionary’s message. Light filters in through a small window and an open door. It is a study of contemporary daily life, carefully depicting the interior and costumes of the people in detail. The painting was donated to the Danish National Gallery in 1871.
He married Hansine Marie Hansen on 21 August 1857. The newlyweds purchased a house in Frederiksberg. Their circle of social acquaintances included Constantin Hansen, Niels Lauritz Høyen, Wilhelm Marstrand, P.C. Skovgaard, Vilhelm Kyhn, Godtfred Rump, Frederik Vermehren and Julius Exner. He received the Academy’s Neuhausen's prize (Neuhausens præmie) in both 1859 and 1861. He began teaching drawing at Sorø Academy in 1862. He was selected to become and became a member of the Academy of Art in 1872. He exhibited at the World Exhibition in Paris for the first time in 1878. He painted his famous painting "I wonder when he will come home" in 1879. This painting is typical of his style. The picture features a young woman standing in an open doorway looking off to one side. One foot is on the doorframe, and one foot is on the ground outside. The interior is dark and shadowed. The outside is a sunlit agrarian landscape. The title of the painting refers to her inner dialogue.
In 1890 he finished the first of 21 small Bible pictures, a project which he continued to work on for the next ten years. He was named a professor at the Academy of Art in 1892, and quit his position at Sorø Academy. Christen Dalsgaard, like his contemporaries Julius Exner and Frederik Vermehren, painted primarily genre paintings, national romantic folk scenes rooted in the grasslands of Jutland. He paid great attention to details– folk costumes, manners and habits of the people, architecture and landscape. He was a storyteller. His artistic works, as well as those of his contemporaries helped open the way for more realistic paintings in the late 1800’s. A collection of his work can be found at the Skive Art Museum. Other paintings can be found, among other museums at the National Museum of Art.
Mixed media; 29 x 32 cm.
Fortunato Depero was an Italian futurist painter, writer, sculptor and graphic designer.
Depero grew up in Rovereto and it was here he first began exhibiting his works, while serving as an apprentice to a marble worker. It was on a 1913 trip to Florence that he discovered a copy of the paper Lacerba and an article by one of the founders of the futurism movement, Filippo Tommaso Marinetti. Depero was inspired, and in 1914 moved to Rome and met fellow futurist Giacomo Balla. It was with Balla in 1915 that he wrote the manifesto Ricostruzione futurista dell’universo ("Futurist Reconstruction of the Universe") which expanded upon the ideas introduced by the other futurists.
In 1919 Depero founded the House of Futurist Art in Rovereto, which specialized in producing toys, tapestries and furniture in the futurist style. In 1925 he represented the futurists at the International Exposition of Modern Industrial and Decorative Arts. In 1928 he moved to New York, where he experienced a degree of success, doing costumes for stage productions and designing covers for magazines including The New Yorker and Vogue. In 1930 he returned to Italy.
In the 1930s and 40s Depero continued working, although due to futurism being linked with fascism, the movement started to wane. The artistic development of the movement in this period can mostly attributed to him and Balla. One of the projects he was involved in during this time was Dinamo magazine, which he founded and directed. After the end of the Second World War, Depero had trouble with authorities in Europe and in 1947 decided to try New York again. This time he found the reception not quite as welcoming. One of his achievements on his second stay in the United States was the publication of So I Think, So I Paint, a translation of his autobiography initially released in 1940. From the winter of 1947 to late October 1949 Depero lived in a cottage in Connecticut, relaxing and continuing with his long-standing plans to open a museum. His host was William Hillman, an associate of the then-President, Harry S. Truman. After New Milford, Depero returned to Rovereto, where he lived out his days. In August 1959 Galleria Museo Depero opened, fulfilling one of his long-term ambitions
Local identifier: SFF 89203_0025_bakside
Caption: "Her kommer vi at Hilse paa Eder m Miss Edvard Thompson, Miss Inga Brunver Eders tante Malla, Det har nu gaet 15 aar siden den tid - men Gud er den samme i dag som fram,... dette var taget i 1922 London. Kjærlig hilsning til alle kjente fra Africa."
This is the reverse side of the following image: www.flickr.com/gp/fylkesarkiv/C71g23
Leaders of Sarawak Street Photography ( Bakir Bujang and Abd Rahman) with Master Chan Hua Chiang of Sarawak Photographic Society who is also East Malaysia Chairman of EM, Malaysia Chapter of the Royal Photographic Society (RPS) .
Unfortunately I got no further information about this stereoview.
I suppose that it shows an 1860s orphanage.
Leonardo di ser Piero da Vinci was an Italian polymath, scientist, mathematician, engineer, inventor, anatomist, painter, sculptor, architect, botanist, musician and writer. Leonardo has often been described as the archetype of the renaissance man, a man whose unquenchable curiosity was equaled only by his powers of invention. He is widely considered to be one of the greatest painters of all time and perhaps the most diversely talented person ever to have lived. Helen Gardner says "The scope and depth of his interests were without precedent...His mind and personality seem to us superhuman, the man himself mysterious and remote".
Outdoor Group Portrait of the Students, Govt High School Bagalagunte, Bengaluru celebrating 75th Constitution day at Karnataka Vidhana Soudha.
Local identifier: SFF 89203_0024
Photographer: Unknown
Caption: "Misjonær Malla Moe på besøk i Hafslo 1905. Til v. 3 av barna i Mo: Unni, Sina og Klaus. Til høgre 3 av barna i Tang: Lina, Anna og Karl".
The reverse side of this image can be seen here: www.flickr.com/gp/fylkesarkiv/P4S7nv
Three boys, one girl, and a rather perplexed looking dog.
Albumen print mounted on card. 10.5 x 4.4 cm.
Bought from a Delcampe seller in Sofia, Bulgaria.
Persistent URL: digital.lib.muohio.edu/u?/snyder,3802
Subject (TGM): Football players; Sports; Universities and colleges; Group portraits;
In 1948 a fellow student and photographer for Columbia University's student paper showed Garry Winogrand the darkroom, which was open twenty-four hours in the basement of the architecture building. Two weeks later, Winogrand abandoned painting for photography and "never looked back." Described as "an undisciplined mixture of energy, ego, curiosity, ignorance, and street-smart naiveté," the Bronx native photographed incessantly, mostly on the streets, working as a freelance photographer for a picture agency and eventually publishing journalistic images in numerous magazines throughout the fifties.
Around 1960, after being shown a copy of Walker Evans's book American Photographs, Winogrand began to take a more artistic approach in his work. The first half of the decade, however, was a difficult time, including political disillusionment and the breakup of his first marriage. He persevered in his career and eventually published four books of photographs, including The Animals in 1969, images made in zoos, and Women Are Beautiful in 1975, candid shots of anonymous women on the street. Winogrand used a small-format, 35mm camera that enabled him to photograph quickly and freely, which he did to the extreme: at the time of his death in 1984, he left more than 2,500 undeveloped rolls of film.
Oil on canvas; 211 x 162 cm.
Spanish painter and writer. His private tuition in art from 1893 was furthered with studies at the Real Academia de Bellas Artes de San Fernando in Madrid from 1900 to 1904. On completing his studies he began to frequent the Nuevo Café de Levante, where he met many writers of the ‘Generation of 1898’ movement. Their irony, satire and melancholy strongly influenced Solana’s painting and literary work, such as his first book of essays on contemporary life in Spain, Madrid, Escenas y costumbres (Madrid, 1913, 2/1918). From the 1920s he exhibited widely in Spain and in group exhibitions abroad. In his paintings, influenced above all by Goya and by Spanish Baroque masters such as Juan de Valdés Leal, he treated subjects such as death, as in The Procession of Death (1930; Madrid, Mus. A. Contemp.), prostitution and alcoholism.
Repin was born in the town of Chuhuiv near Kharkiv in the heart of the historical region called Sloboda Ukraine. His parents were Russian military settlers. In 1866, after apprenticeship with a local icon painter named Bunakov and preliminary study of portrait painting, he went to Saint Petersburg and was shortly admitted to the Imperial Academy of Arts as a student. From 1873 to 1876 on the Academy's allowance, Repin sojourned in Italy and lived in Paris, where he was exposed to French Impressionist painting, which had a lasting effect upon his use of light and colour. Nevertheless, his style was to remain closer to that of the old European masters, especially Rembrandt, and he never became an impressionist himself. Throughout his career, he was drawn to the common people from whom he himself traced his origins, and he frequently painted country folk, both Ukrainian and Russian, though in later years he also painted members of the Imperial Russian elite, the intelligentsia, and the aristocracy, including Tsar Nicholas II.
My daughter and her boyfriend stopped by last evening to pick up masks before going to the grocery store. We had a socially distant conversation through their car's sunroof.
This is a photo in a series of mostly self-portraits made during the coronavirus pandemic lockdown. The idea is to show scenes from my life that in some small way document this extraordinary time. To distinguish these photos from my usual stream, I'm using the Fujifilm Classic Chrome film emulation provided by my X100F camera.
SFFf-1992078.0014
Group of tourists visiting a glacier.
www.fylkesarkiv.no/foto/detalj?http://www.sffarkiv.no/sff...
Oil on canvas; 250 x 350.5 cm.
Joaquín Sorolla y Bastida was a Spanish painter, born in Valencia, who excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land.
Sorolla's work is represented in museums throughout Spain, Europe, and America, and in many private collections in Europe and America. In 1933, J. Paul Getty purchased ten Impressionist beach scenes done by Sorolla, several of which are now housed in the J. Paul Getty Museum. In 2007, many of his works were exhibited at the Petit Palais in Paris, France, alongside those of John Singer Sargent, a contemporary who painted in a similar style. In 2009 there is a special exhibition of his works at the Prado in Madrid, Spain.
Oil on canvas; 26 x 56 cm.
Frida Kahlo (1907-1954), Mexican painter, who produced mostly small, highly personal self-portraits using elements of fantasy and a style inspired by native popular art. Kahlo was born in Coyoacán, Mexico, near Mexico City. While a student at Mexico City's National Preparatory School in 1925, she sustained severe injuries in a bus accident. During her recuperation, Kahlo taught herself to paint. After three years she took some of her first paintings to the famous Mexican muralist Diego Rivera, who encouraged her to continue her work. Kahlo and Rivera married in 1929.
Influenced by Rivera's work, Kahlo adopted his use of broad, simplified color areas and a deliberately naive style in her paintings. Like Rivera, she wanted her paintings to affirm her Mexican identity, and she frequently used technical devices and subject matter from Mexican archaeology and folk art. The impact of her work is enhanced by techniques such as the inclusion of fantastic elements, a free use of space, and the juxtaposition of incongruous objects.
Kahlo primarily depicted her personal experience. She frequently focused on the painful aspects of her life, using graphic imagery to convey her meaning. The turbulence of her marriage is shown in the weeping and physically injured self-portraits she painted when she felt rejected by Rivera. She portrayed her physical disintegration, the result of the bus accident, in such works as The Broken Column (1944, Collection of Dolores Olmedo Foundation, Mexico City), in which she wears a metal brace and her body is open to reveal a broken column in place of her spine. Her sorrow over her inability to bear children is revealed in paintings such as Henry Ford Hospital (1932, Collection of Dolores Olmedo Foundation), in which objects that include a baby, a pelvic bone, and a machine hover around a hospital bed where she lies having a miscarriage.
Kahlo had three exhibitions during her lifetime. The exhibitions in New York City in 1938 and in Paris in 1939 were organized through her contact with the French surrealist poet and essayist André Breton. In 1953 she had her first exhibition in Mexico, at a gallery in Mexico City. The Diary of Frida Kahlo: An Intimate Self-Portrait was published in 1995. Her home in Coyoacán is now the Frida Kahlo Museum.
Microsoft ® Encarta ® 2006. © 1993-2005 Microsoft Corporation. All rights reserved.
Oil on canvas; 215 x 280 cm.
Martin Bigum is a Danish painter, poet, writer, and video artist. Born in Copenhagen in 1966. He is best known today for his paintings. During the 1980s he worked as comic artist for the Danish version of Mad Magazine.
Bigum's work is focused on uniting High Art and Low Art in comic-style paintings and video installations. Unlike former pop artists such as Andy Warhol and Roy Lichtenstein, his aim is not to show the emptiness of pop culture, but rather its fullness. His ambition is to create his own mythology through art.
Works:
Heartland, 1990–1991. Bigum's first exhibition Heartland showed a new artist, trying out different techniques, addressing questions to contemporary art. Still, the two paintings in comic art style First Sight 1 and First Sight 2 gave an impression of what he was about to become. Each of these two pictures presents a child thrown into a dream of colours, coping with this situation as well as they can. Maybe they are psychological self-portraits of the artist himself.
Radical Myth, 1992–1993
Literary Body, 1994–1995
Millennium, 1995–1996
The Homecoming, 1997–2002
Chr. IV: Barn og Konge, 2003–2004
The Face of God 2002–2006
Landstedet Elvebakken ble bygd i 1850 av Johan Friedrich Daniel Mack som da var en kjent kjøpmann i byen. Da han døde i 1875 overtok hans sønn med samme navn eiendommen sammen med sin kone Karen Mack. På slutten av 1800-tallet hadde Karen Mack utviklet hagen på eiendommen til parksmessig anlegg. Verandaen som denne gjengen er samlet på, kom til under ombygging av hovedbygget rundt århundreskiftet.
I bakgrunnen ser vi hvordan tromsøpalmen brer seg utover. Planten skal ha blitt innført som hagevekst i byen av Nanna Sabine Mack på 1860-tallet. Den trivdes godt på Elevebakken og spredte seg raskt til fortvilelse for eierene.
På gelenderet bak fra venstre ser vi: Frk. Jørgensen fra Trondheim, Margot Mack (gift Bredrup), Agnes Mack, Johannes Giæver.
Foran fra venstre: Assessor Mack (bror av Daniel Mack), Ludvig Mack, Karen Mack, Sakfører Hveding, Frk. Lise Normann, Magna Giæver (født. Mack), Fru Kristine Mack (gift med Ludvig Mack), Daniel Mack og Mathilde Mack.
Kilde:
- Hegstad, Sveinulf (2015) "Oppe på Øen - 1800-tallets landssteder og hager i Tromsø". I Hager mot nord av I. Hage, E. Haugdal og S. Hegstad. Orkana forlag.
Foto: ukjent
Har du mer informasjon om dette bildet? Kontakt: fotoarkiv@perspektivet.no
65 x 81 cm
Anker was a painter and illustrator who has been called the "national painter" of Switzerland because of his enduringly popular depictions of 19th-century Swiss village life. He took early drawing lessons with Louis Wallinger in 1845–48. In 1849–51, he attended the Gymnasium in Berne. Afterwards, he studied theology, in Berne and continuing in Germany. In Germany he was inspired by the great art collections, and in 1854 he convinced his father to agree to an artistic career. He moved to Paris, where he studied with Charles Gleyre and attended the Ecole Impériale et Spéciale des Beaux-Arts in 1855–60. In 1866, he was awarded a gold medal at the Paris Salon for Schlafendes Mädchen im Walde (1865) und Schreibunterricht (1865); in 1878 he was made a knight of the Légion d'honneur.
During his studies, Anker produced a series of works with historical and biblical themes. Soon after returning to Switzerland, though, he turned the everyday life of people in rural communities. His paintings depict his fellow citizens in an unpretentious and plain manner, without idealizing country life, but also without the critical examination of social conditions that can be found in the works of contemporaries such as Daumier, Courbet or Millet. Although Anker painted occasional scenes with a social significance, such as visits by usurers or charlatans to the village, his affirmative and idealistic Christian world-view did not include an inclination to issue any sort of overt challenge.
Anker was quick to reach his artistic objectives and never strayed from his chosen path. His works, though, exude a sense of conciliation and understanding as well as a calm trust in Swiss democracy; they are executed with great skill, providing brilliance to everyday scenes through subtle choices in coloring and lighting. His work made him Switzerland's most popular genre painter of the 19th century, and his paintings have continued to enjoy a great popularity due to their general accessibility. Indeed, as a student, Anker summed up his approach to art as follows: "One has to shape an ideal in one's imagination, and then one has to make that ideal accessible to the people."
Charcoal and gouache on paper; 62 x 50 cm.
Fortunato Depero was an Italian futurist painter, writer, sculptor and graphic designer.
Depero grew up in Rovereto and it was here he first began exhibiting his works, while serving as an apprentice to a marble worker. It was on a 1913 trip to Florence that he discovered a copy of the paper Lacerba and an article by one of the founders of the futurism movement, Filippo Tommaso Marinetti. Depero was inspired, and in 1914 moved to Rome and met fellow futurist Giacomo Balla. It was with Balla in 1915 that he wrote the manifesto Ricostruzione futurista dell’universo ("Futurist Reconstruction of the Universe") which expanded upon the ideas introduced by the other futurists.
In 1919 Depero founded the House of Futurist Art in Rovereto, which specialized in producing toys, tapestries and furniture in the futurist style. In 1925 he represented the futurists at the International Exposition of Modern Industrial and Decorative Arts. In 1928 he moved to New York, where he experienced a degree of success, doing costumes for stage productions and designing covers for magazines including The New Yorker and Vogue. In 1930 he returned to Italy.
In the 1930s and 40s Depero continued working, although due to futurism being linked with fascism, the movement started to wane. The artistic development of the movement in this period can mostly attributed to him and Balla. One of the projects he was involved in during this time was Dinamo magazine, which he founded and directed. After the end of the Second World War, Depero had trouble with authorities in Europe and in 1947 decided to try New York again. This time he found the reception not quite as welcoming. One of his achievements on his second stay in the United States was the publication of So I Think, So I Paint, a translation of his autobiography initially released in 1940. From the winter of 1947 to late October 1949 Depero lived in a cottage in Connecticut, relaxing and continuing with his long-standing plans to open a museum. His host was William Hillman, an associate of the then-President, Harry S. Truman. After New Milford, Depero returned to Rovereto, where he lived out his days. In August 1959 Galleria Museo Depero opened, fulfilling one of his long-term ambitions
Oil on canvas; 70.0 x 90.0 cm.
Sims painted portraits, landscapes, and decorative paintings. He was one of a group of artists who continued to treat symbolic and romantic themes after the First World War. He received his art education in London at Royal Academy Schools, and in Paris in the ateliers of Julian and Baschet. His continental training probably accounts for his fluent handling of paint, and his confident treatment of space and atmosphere. These qualities rapidly gained him critical and academic success. He held a highly successful one man show at the Leicester Gallery in 1906. Academic honors followed. He was elected Associate of the Royal Academy in 1908, Associate of the Royal Watercolour Society in 1911, Member of the Royal Watercolour Society in 1914 and Royal Academician in 1915. He became keeper of the Royal Academy Schools in 1920. The First World War proved to be a traumatic experience for Sims, from which he never recovered. His eldest son was killed and he was unbalanced by what he witnessed in France where he was sent as a war artist in 1918. His subsequent paintings often show signs of the mental disturbance which led him to resign his post at the Royal Academy Schools in 1926. In 1928, Sims committed suicide.
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Wilhelm Ferdinand Bendz Danish painter mainly known for genre works and portrait which often portray his artist colleagues and their daily lives. He was one of the most talented artists in the successful generation of painters who studied under Christoffer Wilhelm Eckersberg but died early and has therefore left a relatively small oeuvre.
He attended the Royal Danish Academy of Fine Arts from 1820 to 1825, where he studied under Christoffer Wilhelm Eckersberg. In 1825 he made an unsuccessful attempt to win the gold medal, only given to history paintings, the most prestigious genre at that time, and after that decided to specialize in portraits and genre works. After graduation, Bendz contributed successfully with a number of works to the annual exhibitions at Charlottenborg. Three of his paintings were acquired by the Royal Painting Collection; Model Class at the Art Academy and A Young artist looking at a sketch through a mirror from 1826 and the monumentally sized A sculptor working with a live model from 1827 and A Tobacco Party from 1828. After this Bendz was emploed as an assistant at Eckersberg's studio, working on routine assignments.
In late 1830 Bendz finally received a travel scholarship which enabled him to leave for southern Europe which was considered a crucial part of an art education . After shorter visits to Dresden and Berlin, he went to Munich, which had developed into a vibrant centre for the arts, and where he stayed for around a year. His most important work from the stay is the thoroughly composed group portrait "Artist in the Evening at Finck's Coffee House in Munich". In the autumn of 1832 he continued his journey towards Rome, stopping in Venice on the way where he reunited with Ditlev Blunck, a friend and fellow painter from his student days at the Academy in Copenhagen. Shortly after, in Vicenza, Bendz who had felt ill since Venice died from a lung infection at age 28.
Today he is mainly remembered for his many technically accomplished portraits, though his ambition most of all ran towards a refined fusion of portrait, genre scene and allegorical history painting. His technical virtuosity is particularly visible in his depictions of the play of light cast from an obscured source and the resulting shadows.
Creator: Unknown
Date: c. 1856
Format: Photograph; collodion positive / ambrotype
Collection: Kodak Collection at the National Media Museum
Inventory no: 1990-5036/CD6
Blog: Happy Australia Day
A collodion positive, commonly known as an ambrotype, of an Australian plantation owner with his wife and their eleven Aboriginal servants. Eight male servants stand at the back and three women sit at the front. The woman on the right of the photograph is holding a baby.
The collodion positive process was popular during the 1850s and 1860s. An underexposed collodion negative on glass was backed with a black opaque coating to create a unique positive image.
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Mayday 1919
Live As Though
From my Great Aunt Anna's photo albums
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I'm not a huge Ted Hughes fan, but these quotes are wonderful. "That child is the only real thing in them."
I never knew my Great Aunt Anna. When I inherited her photos and her diaries, I investigated her by looking and reading and imagining. I feel as though the young woman, the woman whose life is evidenced in the above photo, is vivid to me. She never married and never had children. Perhaps she, particularly, is living again through me.
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"At every moment, behind the most efficient seeming adult exterior, the whole world of the person's childhood is being carefully held like a glass of water bulging above the brim. And in fact, that child is the only real thing in them. It's their humanity, their real individuality, the one that can't understand why it was born and that knows it will have to die, in no matter how crowded a place, quite on its own. That's the carrier of all the living qualities. It's the center of all the possible magic and revelation."
- Ted Hughes
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"And that's how we measure out our real respect for people - by the degree of feeling they can register, the voltage of life they can carry and tolerate - and enjoy. End of sermon. As Buddha says: live like a mighty river. And as the old Greeks said: live as though all your ancestors were living again through you."
- Ted Hughes
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Sir Lawrence Alma-Tadema, OM, RA was one of the most renowned painters of late nineteenth-century Britain. Born in Dronrijp, the Netherlands, and trained at the Academy of Antwerp, Belgium, he settled in England in 1870 and spent the rest of his life there.
A classical-subject painter, he became famous for his depictions of the luxury and decadence of the Roman Empire, with languorous figures set in fabulous marbled interiors or against a backdrop of dazzling blue Mediterranean sea and sky.
Universally admired during his lifetime for his superb draftsmanship and depictions of Classical antiquity, he fell into disrepute after his death and only in the last thirty years has his work been reevaluated for its importance within nineteenth-century English art.
Joaquín Sorolla y Bastida was a Spanish painter, born in Valencia, who excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land.
Sorolla's work is represented in museums throughout Spain, Europe, and America, and in many private collections in Europe and America. In 1933, J. Paul Getty purchased ten Impressionist beach scenes done by Sorolla, several of which are now housed in the J. Paul Getty Museum. In 2007, many of his works were exhibited at the Petit Palais in Paris, France, alongside those of John Singer Sargent, a contemporary who painted in a similar style. In 2009 there is a special exhibition of his works at the Prado in Madrid, Spain.
Bunny, Rupert (Charles Rupert Wulsten) was an Australian painter. After studying in Melbourne under G. F. Folingsby (d 1891), he moved to Europe in 1884 and studied in London under P. H. Calderon and in Paris under Jean-Paul Laurens, who introduced him to the Société des Artistes Français in 1887. His early works consisted mainly of mythological subjects and graceful images of pleasant Symbolist landscapes (e.g. Pastoral, c. 1893; Canberra, N.G.); he defected to the New Salon in 1901 and produced some less decorative works, including images of biblical subjects (e.g. the Prodigal Son, c. 1903; Melbourne, Wesley Church). A long series of paintings of women followed (e.g. the Distant Song, c. 1909; Canberra, N.G.), but his style again changed abruptly when in 1913 he exhibited at the Salon d’Automne a series of images of dancers, The Rite that shows the influence of Primitivism. Although not attracted to the avant-garde, Bunny showed an adventurous spirit in his unusual sense of color, sense of rhythm and witty use of his subjects’ poses. He continued to live in Paris and London until 1933 when he returned to Melbourne.
Local identifier: SFF 89203_0151_l4_002_bakside
Caption: "Ruth Hall Malla Moe adind Thompson you know Her. She came with me Here 25 years ago. Malla"
This is the reverse side of the following image: www.flickr.com/gp/fylkesarkiv/C00zj9