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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
Family photo. Daughter, grand daughter, and son-in-law just before they added a new member, my grandson.
Isaac Israels was the son of the painter Jozef Israëls. He was largely self-taught, showing precocious talent and attending the Academie in The Hague in 1878-80. His first paintings date from 1880-84 and include a self-portrait, portraits of women and military subjects. They were composed in the studio in a precise style, soft grey and brown tones predominating, showing the influence of the Hague school. In 1887 Israels moved to Amsterdam, where he was at the center of the Tachtigers (Eighties Movement) of writers and painters. In Amsterdam, after a brief and abortive period at the Rijksacademie, he sought a more fluent technique with which to record contemporary life.
In 1889 he visited Paris, where he met Stéphane Mallarmé, Berthe Morisot, Odilon Redon and Emile Zola. From then on he applied transparent colours (mainly pink, blues, green and light brown) to capture the fleeting effects of light in oil, watercolor and pastel. His oils were painted in flat broad strokes. For the rest of his life he employed his very personal Impressionist style, which emphasized the interplay of light, colour, line and movement. His favorite subjects were beach, street and park scenes, cabarets and circuses, fairs, ballet schools and the theater. He also painted portraits, nudes and occasionally still-lifes.
Cabinet card. Plain back.
Studio of G. H. Nicholas, [On Tour].
Found in a junk shop in Darlinghurst, Sydney.
Oil and tempera on canvas; 219 × 296 cm (86.22 × 116.54 in)
One of the most important Swiss painters of the late 19th and early 20th century. He was orphaned at the age of 12 and studied first at Thun under an artist who painted landscapes for tourists. After 1872, however, he worked in a more congenial atmosphere at Geneva, under Barthélémy Menn. By 1879, when Hodler settled in Geneva, he was producing massive, simplified portraits owing something to the French realist painter Gustave Courbet. By the mid-1880s, however, a tendency to self-conscious linear stylization was visible in his subject pictures, which dealt increasingly with the symbolism of youth and age, solitude, and contemplation, in such works as “Die Nacht” (1890; “The Night,” Kunstmuseum, Bern), which brought him acclaim throughout Europe. From this time his serious work can be divided between landscapes, portraits, and monumental figural compositions. The latter works present firmly drawn nudes who express Hodler’s mystical philosophy through grave, ritualized gestures. These pictures are notable for their strong linear and compositional rhythms and their clear, flat, decorative presentation.
Oil on canvas; 81.5 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.
Who watches the Watchmen?! The camera does... on a tripod... on a timer... using second curtain... that's who!
These three beautiful ladies are part of an Edinburgh Fringe show called Chess, which mercifully owes nothing to Tim Rice.
It's based on an old Chinese tale which involves ancient warrior rivals, and is told through music, dance and storytelling in English.
It's being performed at the Universal Arts Theatre on George Street until August 25th (at 1:15pm).
Marianna Wladimirowna Werefkina, a member of ancient Russian nobility, was born on 29 August 1860 in the Russian town of Tula. She was well educated according to western standards and the young girl's artistic talents were recognised early and encouraged. She had her first private academic drawing lessons at the age of fourteen. She was introduced to Illarion Michailowitsch Prjanischnikow, a member of the "Peredwischniki" (travelling painter), where she began her studies, by the Repin family. When her family moved to St. Petersburg in 1886 Marianne von Werefkin took private lessons under Repin.
While hunting in 1888 she accidentally shot her right hand which remained crippled after a lengthy period of recovery. By practising persistently she finally managed to use drawing and painting instruments with her right hand again. She soon reached a perfection in realist painting which gave her the reputation as "Russian Rembrandt".
In 1891 the painter met Alexej von Jawlensky, who deeply fascinated her and whom she accompanied to Munich five years later. She put aside her own work and initiated a Salon which soon became a centre of lively artistic exchange. She also founded the "Lukasbruderschaft" of which also Kandinsky was a member.
A private crisis with Jawlensky culminated at the birth of their son in 1902 and Marianne von Werefkin was so badly effected that she needed to recover during extensive travels in France. She began painting again in 1906. She and Jawlensky spent several periods working with Kandinsky and Münter after their discovery of the picturesque town of Murnau in 1908.
They formed a new group: the "Neue Künstlervereinigung München". When Wassily Kandinsky and Franz Marc distanced themselves from this group and formed the "Blauer Reiter", Werefkin also began exhibiting together with this group in 1913. She moved to Switzerland with Jawlensky in 1914. Another move in 1919 took the couple to Ascona where she joined the artist group "Großer Bär". She and Jawlensky separated two years later.
Marianne von Werefkin died in Ascona on 6 February 1938.
Oil on canvas; 114 x 146 cm.
Jean Jansem was born in 1920 at Seuleuze in Asia Minor and spent his early childhood in Salonika. When he was twelve years old his family settled in Paris. As a schoolboy he liked to copy reproductions of ancient sculptures, then following an accident in which he broke the bones of his foot, he spent three years in hospital. Thus, at an age when most children were playing, Jansem came to know the meaning of solitude. This long period of physical inactivity accustomed him to long periods of reflection and meditation, and from this came the gravity that has always characterized him.
Although the early chapters of his artistic life were difficult, in fact up to the war his most lucrative work was in the decorative arts - producing designs for fabrics and designing furniture, he never lost sight of his real passion, namely painting. From 1934 – 1936 he attended a variety of evening classes in Montparnasse and the Marais. He met fellow Armenian teacher, Ariel, who taught him to draw, but it was in the works of Picasso that he found his grand revelation.
Before he was sixteen he had been admitted to the Ecole des Arts Decoratifs (1936 - 1938) where Beianchon, Leguelt and Oudet exercised a silent and unobtrusive influence on the young artist. During 1937 he completed a training course at the Beaux-Arts and at Atelier Sabatier. In 1950 he went to Greece and it was in the Mediterranean that he discovered light, until then his painting had been sombre. Throughout the Greek countryside he eagerly sketched the shadowy figures who had surrounded him in his infancy and who until then had remained hidden in his subconscious mind - peasants, fishermen, tradesmen. All these he submitted to his friendly scrutiny, these men, women and children whose work was the same from one ocean to another and from one continent to another. He stripped them of the accessories that particular societies might have added to their essential, changeless characteristics.
Then followed a period of activity in which he won many awards, in 1951 the Prix Populiste, 1953 the Prix Antral, 1954 the Bourse Natioale, in 1958 Prix Comparaison in Mexico.
In 1959 he participated in the Biennale de Bruges. He is a member of the Salon d'Automne and has participated in: Salons des Independents, Salon des Tuileries, Salon d'Art Sacre, Salon de l,'Ecole de Paris, Salon des Peintres temoins de leur temps. He has exhibited in Salon d'Atitimne, Salon de Comparaison, Salon du Dessin and Salon de la Peinture a 1'eau. His paintings appear in Museums at Ville de Paris, Ennery de Paris, Poitiers and several Art Museums in the U.S.A.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Studio portrait of twelve family members, seated or standing, facing front; younger man stands in centre back, wears dark suit, vest, white shirt & white bow tie; three younger women in centre front row wear black skirts, white high-necked blouses; woman on left seated in ornate carved high-backed chair, wears long black dress; painted backdrop with curtains on left and right. Sallows imprint in lower right corner of matte. Title written in ink on bottom: Mr. and Mrs. Elliott and family, one son and nine daughters, lived on Hwy 21 north of Bayfield.
Object ID : 0476-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
There is part of a series from a whole album of photos that belonged to my Grandfather called "Stone's Cottage." What was Stone's Cottage? I don't know. The pictures are charming snapshots of life for young professionals in the early 1900s.
Most of the ladies were new schoolteachers. Most of the men were bankers and lawyers. My grandfather posed, lit , shot and developed the photographs, so he is rarely portrayed here.
It is his eye through which we see.
Belgian painter, printmaker and draughtsman. No single label adequately describes the visionary work produced by Ensor between 1880 and 1900, his most productive period. His pictures from that time have both Symbolist and Realist aspects, and in spite of his dismissal of the Impressionists as ‘superficial daubers’ he was profoundly concerned with the effects of light. His imagery and technical procedures anticipated the coloristic brilliance and violent impact of Fauvism and German Expressionism and the psychological fantasies of Surrealism. He was largely unrecognized before the 1920s in his own country. His work was highly influential in Germany, however: Emil Nolde visited him in 1911, and was influenced by his use of masks; Paul Klee mentions him admiringly in his diaries; Erich Heckel came to see him and painted his portrait. Marc Chagall and George Grosz also adapted certain elements from Ensor. All the artists of the Cobra group saw him as a master.
Print: Edition size: 12.
Mr.Wen Mujiang was born in 1970 in Longhui city of Hunan province, China. In 1993, he began his studies in printmaking department of Hubei Art Institute. After his graduation, he became teacher in Art department of Xiangtan Normal University. Now he is lecturer of Art department of Hunan Science and Technology Institute, member of Hunan Printmakers' Association and member of Hunan Flok Art Committee.
Artist was growing up in a mountainous area where many minorities lives, he was entranced with their stockaded wooden village, embroidered skirt, folk songs. But when he finished his art studies, and want to show the folk charm by his pencil, he found that all things of his childhood changed: the wooden house became modern villas, the embroidered shirt was also replaced by jeans, and local people sang popular songs instead of folk songs. He want to let people to think about the strike that the modern civilization brought to the traditional culture, and hope that one day, the sparrow sound would also appear even among the high buildings and large mansions, and let people to pay more attention to the traditional culture.
Real photo postcard. Postally unused.
Bought from an eBay seller in Church Minshull, Cheshire, United Kingdom.
Belgian painter, printmaker and draughtsman. No single label adequately describes the visionary work produced by Ensor between 1880 and 1900, his most productive period. His pictures from that time have both Symbolist and Realist aspects, and in spite of his dismissal of the Impressionists as ‘superficial daubers’ he was profoundly concerned with the effects of light. His imagery and technical procedures anticipated the coloristic brilliance and violent impact of Fauvism and German Expressionism and the psychological fantasies of Surrealism. He was largely unrecognized before the 1920s in his own country. His work was highly influential in Germany, however: Emil Nolde visited him in 1911, and was influenced by his use of masks; Paul Klee mentions him admiringly in his diaries; Erich Heckel came to see him and painted his portrait. Marc Chagall and George Grosz also adapted certain elements from Ensor. All the artists of the Cobra group saw him as a master.
Oil on wood; 42 x 50 cm.
Cândido Portinari (December 29, 1903 - February 6, 1962) was one of the most important Brazilian painters and also a prominent and influential practitioner of the neo-realism style in painting.
Born to Giovan Battista Portinari and Domenica Torquato, Italian immigrants from Veneto, in a coffee plantation near Brodowski, in São Paulo, Portinari studied at the Escola Nacional de Belas Artes (ENBA) in Rio de Janeiro. In 1928 he won a gold medal at the ENBA and a trip to Paris where he stayed until 1930, when he returned to Brazil.
He joined the Brazilian Communist Party and stood for senator in 1947 but had to flee Brazil for Uruguay due to the persecution of Communists during the government of Eurico Gaspar Dutra (1946 to 1951)cn. He returned to Brazil in 1951 but suffered ill health during the last decade of his life and died in Rio de Janeiro in 1962 of lead poisoning from his paints.
His career coincided with and included collaboration with Oscar Niemeyer amongst others. Portinari's works can be found in galleries and settings in Brazil and abroad, ranging from the family chapel in his childhood home in Brodowski to his panels Guerra e Paz (War and Peace) in the United Nations building in New York and four murals in the Hispanic Reading Room of the Library of Congress in Washington, DC.[1] The range and sweep of his output is quite remarkable. It includes images of childhood, paintings depicting rural and urban labour, refugees fleeing the hardships of Brazil's rural north-east, treatments of the key events in the history of Brazil since the arrival of the Portuguese in 1500, portraits of members of his family and leading Brazilian intellectuals, illustrations for books, tiles decorating the Church of São Francisco at Pampulha, Belo Horizonte. There were a number of commemorative events in the centenary of his birth in 2003, including an exhibition of his work in London.
On December 20, 2007, his painting O Lavrador de Café (pt)[2] was stolen from the São Paulo Museum of Art along with Pablo Picasso's Portrait of Suzanne Bloch.[3] The paintings remained missing until January 8, 2008, when they were recovered in Ferraz de Vasconcelos by the Police of São Paulo. The paintings were returned, undamaged, to the São Paulo Museum of Art.[4]
PsP gallery (buy PsP pictures on SmugMug)
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Shot in the late afternoon at Laredo’s Mexican Restaurant here in Marietta. Amanda and Matt are my step-kids. Jackson is Matt’s son and my grandson. Hard to believe that image is almost fourteen years old.
Actress Nandita Swetha & other Invitees at inauguration of Asia Wedding & Jewellery Show 24 in Bengaluru.
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.
Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times.
Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town.[1] It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle. Murillo married Beatriz Cabrera in 1645; their first child, named María, was born shortly after their marriage. The mother and daughter became the subjects of two of his paintings: The Virgin of the Rosary[2] and Madonna and Child.
Murillo began his art studies under Juan del Castillo in Seville. Murillo became familiar with Flemish painting; the great commercial importance of Seville at the time ensured that he was also subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works.
In 1642, at the age of 26, he moved to Madrid, where he most likely became familiar with the work of Velázquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences.[2] He returned to Seville in 1645. In that year, he painted thirteen canvases for the monastery of St. Francisco el Grande in Seville which improved his reputation. Following the completion of a pair of pictures for the Seville Cathedral, he began to specialize in the themes that brought him his greatest successes: the Virgin and Child and the Immaculate Conception.[3]
After another period in Madrid, from 1658 to 1660, he returned to Seville. Here he was one of the founders of the Academia de Bellas Artes (Academy of Art), sharing its direction, in 1660, with the architect Francisco Herrera the Younger. This was his period of greatest activity, and he received numerous important commissions, among them the altarpieces for the Augustinian monastery, the paintings for Santa María la Blanca (completed in 1665), and others. He died in Seville in 1682 at the age of 64.
Murillo had many pupils and followers. The prolific imitation of his paintings ensured his reputation in Spain and fame throughout Europe, and prior to the 19th century his work was more widely known than that of any other Spanish artist.[2]
Belgian painter, printmaker and draughtsman. No single label adequately describes the visionary work produced by Ensor between 1880 and 1900, his most productive period. His pictures from that time have both Symbolist and Realist aspects, and in spite of his dismissal of the Impressionists as ‘superficial daubers’ he was profoundly concerned with the effects of light. His imagery and technical procedures anticipated the coloristic brilliance and violent impact of Fauvism and German Expressionism and the psychological fantasies of Surrealism. He was largely unrecognized before the 1920s in his own country. His work was highly influential in Germany, however: Emil Nolde visited him in 1911, and was influenced by his use of masks; Paul Klee mentions him admiringly in his diaries; Erich Heckel came to see him and painted his portrait. Marc Chagall and George Grosz also adapted certain elements from Ensor. All the artists of the Cobra group saw him as a master.
Oil on canvas; 108.5 x 102 cm.
I INTRODUCTION
Diego Velázquez (artist) (1599-1660), Spanish baroque artist (see Baroque Art and Architecture), who, with Francisco de Goya and El Greco, forms the great triumvirate of Spanish painting.
Diego Rodríguez de Silva y Velázquez was born in Seville, the oldest of six children. Both his parents were from the lesser nobility. Between 1611 and 1617 Velázquez worked as an apprentice to Francisco Pacheco, a Sevillian mannerist painter (see Mannerism) who was also the author of an important treatise, El arte de la pintura (The Art of Painting, 1649), and who became Velázquez's father-in-law. During his student years Velázquez absorbed the most popular contemporary styles of painting, derived, in part, from both Flemish and Italian realism.
II YOUTHFUL WORKS
Many of the earliest paintings by Velázquez show a strong naturalist bias, as does The Meal (1617?, Hermitage, Saint Petersburg), which may have been his first work as an independent master after passing the examination for the Guild of Saint Luke. This painting belongs to the first of three categories—the bodegón (kitchen piece), along with portraits and religious scenes—into which his youthful works, executed between about 1617 and 1623, may be placed. In his kitchen pieces, a few figures are combined with studied still-life objects (see Still Life), as in Water Seller of Seville (1619?-1620?, Wellington Museum, London). In these works, Velázquez's direct representation of nature and masterly effects of light and shadow make inevitable a comparison with the work of Italian painter Caravaggio. Velázquez's religious paintings, images of simple piety, portray models drawn from the streets of Seville, as Pacheco states in his biography of the artist. In Adoration of the Magi (1619, Prado, Madrid), for example, Velázquez painted his own family in the guise of biblical figures, including a self-portrait as well.
Velázquez was well acquainted with members of the intellectual circles of Seville. Pacheco was the director of an informal humanist academy, at the meetings of which the young artist was introduced to such luminaries as poet Luis de Góngora y Argote, whose portrait he executed in 1622 (Museum of Fine Arts, Boston). Such contact was important for Velázquez's later work on mythological and classical subjects.
III APPOINTMENT AS COURT PAINTER
In 1622 Velázquez made his first trip to Madrid, ostensibly, according to Pacheco's biography, to see the royal painting collections, but more likely in an unsuccessful search for a position as court painter. In 1623, however, he returned to the capital and, after executing a portrait (1623, Prado) of the king, was named official painter to Philip IV. The portrait was the first among many such sober, direct renditions of the king, the royal family, and members of the court. Indeed, throughout the later 1620s, most of Velázquez's efforts were dedicated to portraiture. Mythological subjects would at times occupy his attention, as in Bacchus, also called The Drinkers (1628-1629, Prado). This scene of revelry in an open field, picturing the god of wine drinking with a group of tough-looking men, testifies to the artist's continued interest in realism.
IV TRIP TO ITALY
In 1628 Flemish master Peter Paul Rubens came to the court at Madrid on a diplomatic mission, and Velázquez was one of the few painters with whom he associated. Although Rubens did not have a direct impact on the style of the younger painter, their conversations almost certainly inspired Velázquez to visit the art collections in Italy that were so much admired by his fellow artist. In August 1629 Velázquez departed from Barcelona for Genoa and spent most of the next two years traveling in Italy. From Genoa he proceeded to Milan, Venice, Florence, and Rome, returning to Spain from Naples in January 1631. In the course of his journey he closely studied both the art of the Renaissance and contemporary painting. Several of the works he executed during his travels attest to his assimilation of these styles. A notable example is Joseph and His Brothers (1630, El Escorial, near Madrid), which combines a Michelangelesque sculptural quality (see Michelangelo) with the chiaroscuro (light-and-shadow techniques) of such Italian masters as Guercino and Giovanni Lanfranco.
V RETURN TO SPAIN
On his return to Madrid, Velázquez resumed his duties as court portraitist with the rendition Prince Baltasar Carlos with a Dwarf (1631, Museum of Fine Arts), an image made poignant by the young prince's death before reaching adulthood. In 1634 Velázquez oversaw the decoration of the throne room in the new royal palace of Buen Retiro. His scheme was based on 12 scenes of battles in which Spanish troops had been victorious—painted by the most prestigious artists of the day, including Velázquez himself—and royal equestrian portraits. Velázquez's contribution to the cycle of battle pictures included the Surrender of Breda (1634, Prado), which portrays a magnanimous Spanish general receiving the leader of defeated Flemish troops after the siege of the town of Breda in 1624. The delicacy of its style and the astonishing range of emotions it captures make this the most celebrated historical composition of the Spanish baroque.
Velázquez's second major series of paintings from the 1630s is a group of hunting portraits of the royal family for the Torre de la Parada, a hunting lodge near Madrid. His famous depictions of court dwarfs, in which, unlike court-jester portraits by earlier artists, the subjects are treated with respect and sympathy, date from the late 1630s and early 1640s. Velázquez painted few religious pictures after entering the king's employ; Saints Anthony and Paul (late 1630s, Prado) and Immaculate Conception (1644?, Prado) are notable exceptions.
VI LATE WORKS
During the last 20 years of Velázquez's life, as his rise to prominence in court circles continued, his work as court official and architect assumed prime importance, limiting his artistic output. In 1649 he made a second trip to Italy, this time to buy works of art for the king's collection. During his year's stay in Rome from 1649 to 1650 he painted the magnificent portraits Juan de Pareja (Metropolitan Museum of Art, New York City) and Pope Innocent X (Palazzo Doria-Pamphili, Rome). At this time he was also admitted into Rome's Academy of Saint Luke. The so-called Rokeby Venus (National Gallery, London) probably dates from this period as well.
The key works of the painter's last two decades are Las Hilanderas (The Spinners, about 1656, Prado), also known as The Fable of Arachne (see Arachne), an image of sophisticated mythological symbolism, and his masterwork, Las meninas (The Maids of Honor, 1656, Prado), a stunning group portrait of the royal family and Velázquez himself in the act of painting.
Contributed By:
Edward J. Sullivan
Microsoft ® Encarta ® 2006. © 1993-2005 Microsoft Corporation. All rights reserved.
Keith, John Frank, 1883-1947, photographer.
ca. 1910-1940
1 photographic print : gelatin silver; 14 x 9 cm. (5.5 x 3.5 in.)
Image provided for reference purposes. Please visit our rights and reproductions website for information about obtaining publication-quality reproductions: www.librarycompany.org/collections/rightsrepro/index.htm.
Oil on canvas; 92 x 127 cm.
Painter, one of the greatest Hungarian representatives of 19th century naturalism and realism. Hollósy, who came from an Armenian family in Máramarossziget, learnt to paint in Budapest and Munich where he painted "Corn Husking" in 1885, which brought him success in Hungary and abroad.
He criticized training at the Academy and founded a private school in 1886 where he gathered young talents around him who were interested in realistic protrayal. He opened the way to new styles by relying on his personality and by pointing out the merits of French pictures (Courbet) exhibited in Munich. He abandoned the academic style in order to follow new trends in French painting.
Encouraged by István Réti and János Thorma, his pupils and friends, he spent the summer of 1896 in Nagybánya with his school, which played an important role in Hungarian painting as the cradle of the Nagybánya school. He soon settled down in Nagybánya. With its style (sunny landscapes), his school determined Hungarian painting for decades. Leaving the Nagybánya colony in 1901, he spent the summers in Técső with his students from 1902. During winters he was in Munich to run his school there.
He was not productive as an artist: he was in search of atmospheres and his productivity was confined to teaching. His large scale plan of "Rákóczi March" with a lot of figures got as far sketches because he kept on changing his mind. The landscapes painted in Técső include "Landscape in Técső", "Landscape with Stacks and Sunset with Stacks", where he applied elements of plein air and impressionism. His self-portrait (1918) is one of his most harrowing pictures.
"Spruce Girls" on beach wearing spruce wood veneer bathing suits during "Wood Week" to promote products of the Gray Harbor lumber industry, Hoquiam, Washington, ca. 1929
Photographer:
Gorst, Vern C.
Digital Collection:
Society and Culture Collection
content.lib.washington.edu/socialweb/index.html
Item Number: SOC1348
Persistent URL:
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Teitl Cymraeg/Welsh title: Calvert Richard Jones a dynes (Portia Smith o bosib, ei ail wraig) o flaen adeilad colofnog
Nodyn/Note: Rev. Calvert Richard Jones took the earliest known Welsh photograph - a daguerreotype of Margam Castle, in 1841, more information can be found at: www.llgc.org.uk/fga/fga_s04.htm
Dyddiad/Date: c. 1855-1860
Cyfeiriad/Reference: crj00011 (PG2064/4)
Rhif cofnod / Record no.: 3590900
Rhagor o wybodaeth am Ffotograffiaeth Gynnar Abertawe yn Llyfrgell Genedlaethol Cymru
More information about Early Swansea Photography at the National Library of Wales
William Klein (born in New York, New York, USA, on April 19, 1928) is a photographer and filmmaker noted to for his ironic approach[1][2] to both media and his extensive use of unusual photographic techniques in the context of photojournalism and fashion photography.[1] He was ranked 25th on Professional Photographer's Top 100 Most influential photographers.[3]
Trained as a painter, Klein studied under Fernand Léger and found early success with exhibitions of his work. However, he soon moved on to photography and achieved widespread fame as a fashion photographer for Vogue and for his photo essays on various cities. Despite having no training as a photographer, Klein won the Prix Nadar in 1957 for New York, a book of photographs taken during a brief return to his hometown in 1954. Klein's work was considered revolutionary for its "ambivalent and ironic approach to the world of fashion",[1] its "uncompromising rejection of the then prevailing rules of photography"[1] and for his extensive use of wide-angle and telephoto lenses, natural lighting and motion blur.[1] Klein tends to be cited in photography books along with Robert Frank as among the fathers of street photography, one of those mixed compliments that classifies a man who is hard to classify.[4] The world of fashion would become the subject for Klein's first feature film, Who Are You, Polly Maggoo?, which, like his other two fiction features, Mr. Freedom and The Model Couple, is a satire.
Klein has directed numerous short and feature-length documentaries and has produced over 250 television commercials.[5]
Though American by birth, Klein has lived and worked in France since his late teens. His work has sometimes been openly critical of American society and foreign policy; the film critic Jonathan Rosenbaum once wrote that Klein's 1968 satire Mr. Freedom was "conceivably the most anti-American movie ever made."
Carl Dan and Bob. This would have been the 1920s, before mom was born. C.T. loved to pose his kids like this and then write captions in his photo albums. I'd like to have known him.
Raphael Sanzio usually known by his first name alone, was an Italian painter and architect of the High Renaissance, celebrated for the perfection and grace of his work. Together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period.
Raphael was enormously productive, and despite his death at thirty-seven, a large body of his work remains. Many of his works are found in the Apostolic Palace of The Vatican.
He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. After his death, the influence of his great rival Michelangelo was more widespread until the 18th and 19th centuries, when Raphael's more serene and harmonious qualities were again regarded as the highest models.
Who are the Hamer?
The Hamer are one of the larger tribal groups of the Lower Omo Valley, numbering approximately 40,000. Their language, Hamer, belongs to the Southern Omotic branch of the Afro-Asiatic family of languages. Like other tribes of the region, they are semi-nomadic pastoralists that closely tend their cattle, goats and sheep, but also do some farming, mostly of sorghum. They are reported to be mostly Sunni Muslim, but in all reality they are fully animist, although missionaries have converted a few to Christianity. The Hamer believe that natural objects such as rocks and trees have spirits and that certain spirits can inhabit human form and exercise supernatural influence over people. They believer in prophesy and predict future events by slaughtering a goat and "reading" its intestines. Oral poetry, such as marriage and battle songs, is an important cultural component of Hamer society.
The Hamer are easily recognized by their elaborate hair styles and dress (more on this later) and are perhaps best known for their cattle jumping ceremony. In order to marry, a young man must jump over a defined number of cattle. His sisters take part in the ceremony by asking to be beaten and adult Hamer women carry the resulting scars on their back with great pride. The scars show that they are able to bear pain and acts as a reminder to their brothers of the sacrifices they have made on their behalf.
On the road in the lower Omo Valley, Ethiopia