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Oil on canvas; 99 x 90 cm.
Felice Casorati was an Italian painter, sculptor, and printmaker. The paintings for which he is most noted include figure compositions, portraits and still lifes, which are often distinguished by unusual perspective effects. Born in Novara he showed an early interest in music and art. To please his parents he studied law at the University of Padua until 1906, but his ambition to be a painter was confirmed in 1907 when a painting of his was shown in the Venice Biennale. The works he produced in the early years of his career are naturalistic in style, but after 1910 the influence of the symbolists and particularly of Gustav Klimt turned him toward a more visionary approach. In 1915 he had a solo exhibition at the Rome Secession III, where he showed several paintings and the first of his sculptures. His military service in World War I began that year and lasted until his discharge in 1917.
In 1918, "intrigued by the decadent atmosphere of Turin with its sinister views", he settled there with his mother and two sisters. His works of the next decade typify, in their emphasis on geometry and formal clarity, the "return to order" then prevalent in the arts as a reaction to the war. Although many critics found his work cold, cerebral, and academic, Casorati achieved international recognition as a leading figure in this movement. Often working in tempera, Casorati drew inspiration from his study of Renaissance masters, especially Piero della Francesca, as in his 1922 portrait entitled Silvana Cenni. This symmetrical composition of a seated woman in a white dress is perhaps the best-known of the artist's works. In it, the careful rendering of volumes results paradoxically in a sense of unreality which is characteristic of Casorati's art.
In 1925, Rafaello Giolli summarized the disconcerting aspects of Casorati's art—"The volumes have no weight in them, and the colors no body. Everything is fictitious: even the living lack all nervous vitality. The sun seems to be the moon ... nothing is fixed or definite"—and argued that these very qualities give his work its originality, and connect him to the metaphysical painters. Casorati himself wrote, in 1931: "In taking up, against me, the old polemic of classicism and romanticism, people rail against intellectualized and scholastic order, accuse my art of being insincere, and willfully academic—in a word, of being neoclassical. ... since my art is born, so to speak, from within, and never has its source in changing "impressions", it is quite natural that ... static forms, and not the fluid images of passion, should be reflected in my works".
Briefly arrested in 1923 for his involvement with an anti-Fascist group, Casorati subsequently avoided antagonizing the regime. Beginning in 1923, he opened his studio to the young art students of Turin. One of his famous students was the Italian painter Enrico Accatino. After 1930 the severity of Casorati's earlier style softened somewhat and his palette brightened. He continued to exhibit widely, winning many awards, including the First Prize at the Venice Biennale of 1938. He was also involved in stage design. He died in Turin in 1963.
Back Row: Lee Ka Sim (Bintulu), AbgGap Lat, Chai Omen, Chan HuaChiang, Pharo Abdul Hakim, Naising Bega, Md Saiful Sakim, Rose Ragai, Apak Bella, Damien Pino (Mukah), Veronica Sonia
Front Row:
Cabinet card.
Studio unknown. Plain back.
Surprise gift from a work colleague. He thinks he bought it in Belgium or the Netherlands.
Oil on canvas; 66.5 x 56 cm.
Jean-Baptiste Greuze was a French genre and portrait painter who initiated a mid-18th-century vogue for sentimental and moralizing anecdotes in paintings.
Greuze studied first at Lyon and afterward at the Royal Academy in Paris. He first exhibited at the Salon of 1755 and won an immediate success with his moralizing genre painting of Father Reading the Bible to His Children (1755). Although Greuze’s attention at this time was fixed on a less-pretentious type of genre painting in which the influence of 17th-century Dutch masters is apparent, the favorable attention he received turned his head and established the lines of his future career.
In 1755 Greuze left for Italy but remained impervious to the influence of Italian painting. In 1759 he became acquainted with Denis Diderot, who encouraged his inclination toward melodramatic genre, and throughout the 1760s Greuze reached new heights of popular acclaim with such works as The Village Betrothal (1761) and The Father’s Curse and The Prodigal Son (both c. 1765).
Greuze submitted to the Salon in 1769 a large, rather dreary historical painting, Septimius Severus Reproaching Caracalla, which he hoped would gain him admission to the academy as a history painter. But the academy would admit him to membership only as a genre painter, and so the resentful artist exhibited his works to the public only in his own studio for the next 30 years. In addition to moralizing genre, he painted young girls in poses of feigned innocence and calculated disarray.
Throughout the 1770s Greuze was kept busy painting moralizing pictures, but by the 1780s his work had gone out of fashion and his income was precarious. By 1785 his once-considerable talent was exhausted. The reaction against his sentimental genre paintings resulted in critical neglect of his drawings and portraits, in which Greuze’s superb technical gifts are displayed with great integrity.
Oil on canvas; 153.4 x 127 cm.
Rufino Tamayo (1899-1991) was born in Oaxaca, Mexico. The paintings and graphics of Rufino Tamayo have acquired a decisive importance in contemporary art in terms both of its high quality, maintained throughout a long, intense life, and its special significance. He was very clearly one of the greatest of American creators and, at the same time, one of the artists who managed to penetrate deepest into the reality of today's Man, going beyond his historical dimension. His knowledge of the great pre-Columbian cultures allowed him to make an extraordinary synthesis which forms part of a universalist conception of art. Tamayo sought the essential, which he expressed through a deliberately limited range of colours in order to give the freest possible rein to tonal interplay. His subject matter tends to be simple - figures of men and women, animals -, almost sketchy, although charged with content.
Tamayo occupied a privileged situation. He was a modern man, one who had a complete knowledge of a cultural environment - our cultural environment - which he had helped to shape, and at the same time he had a past which in him was present. In that other world of his there were none of the usual clear-cut distinctions between time left behind, present and future. In all the ancient cultures the community was composed of the living and the dead. Nor was there the modern categorical break between men, animals and trees or plants.
One might say, writes Jacques Lassaigne, that, in the same way as pre-Columbian art, Tamayo's painting is at the same time metaphor, geometry and transfiguration. Octavio Paz comments: This is painting as a double of the universe: not its symbol but its projection on the canvas. The picture is not a representation or an ensemble of signs: it is a constellation of forces. Through this double approach, that of the prestigious French critic and that of the great Mexican poet and essayist, the viewer is better able to unravel the mysteries of one of the great artistic creations of our era.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Studio portrait of five middle-aged men seated, facing front. All wear light trousers, white shirts, laced bowling shoes. Man in centre, seated in high-backed carved chair, wears dark bow tie, white cap, moustache, wire framed glasses. Man to right of centre wears light striped suit, with jacket, dark tie, belt and fedora, has moustache and monocle. Two bowling balls in foreground. Writing on bottom of matte identify subjects: Goderich Bowling Club, Officers for 1903. From left to right, JNO. Galt, Member Committee; J.D. O'Connell, Secretary-Treasurer; R.G. Reynolds, President; W.L. Eliot, Member Committee; Wm. Lane, Vice-President.
Object ID : 0470-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Oil on canvas; 30.2 x 28.9 cm.
Born in Montevideo and active in the city's bohemian circles in his youth, Barradas left for Europe in 1914, making his way through Milan, Paris, and Leuven before settling in Spain. Working between Barcelona and Madrid, he immersed himself in the bustling avant-garde scene over the following decade, gaining renown for his work in set and costume design as well as for his contributions to modernist aesthetics. During these years, he mingled within a transatlantic avant-garde milieu that included, among many others, Salvador Dalí and Luis Buñuel, Norah and Jorge Luis Borges, and Federico García Lorca. In 1917, Barradas and fellow Uruguayan Joaquín Torres-García exhibited the first "vibrationist" paintings, coining a new "ism" to describe works that integrated Cubism and Italian Futurism. The thrust of vibrationism was to capture the vitality of the modern city, and Barradas imaged Catalonia through the visual dynamics of simultaneous color, graphically deployed to describe its street life and urban culture.
In the early 1920s, Barradas began to seek new directions in realism, retreating from the avant-garde and turning his attention to working-class subjects. He embarked on the "Magníficos" ("The Magnificent Ones"), a series of portraits of men and women-- fishermen, innkeepers, mechanics--made monumental through a subtle architecture of colors, now reduced to a warm palette of browns, ochres, and grays. Archetypal images of the Castilian people, the Magníficos are steeped in the rustic gentility and humanity of their subjects, whose sturdy figures suggest a deep-rooted and enduring permanence in the face of the modern world. The Magníficos rank among Barradas's most compelling and important works, and without question they belong within a lineage of modern portraiture stretching from Paul Cézanne to Juan Gris.
Angel Kalenberg has drawn parallels between the thematized treatment of hands in the Magníficos, the similarly mannered hands of Vincent Van Gogh's Potato-Eaters (1885) and, more distantly, those of Michelangelo's David (1501-4). Acknowledging the monumentality of Barradas's subjects, Kalenberg finds in their hands "a sense of life not without its tenderness" and suggests that they embody the artist's feelings of "solidarity and sympathy" with his subjects.[1] A sense of nostalgia permeates much of Barradas's late work, perhaps in anticipation of his return to Uruguay shortly before his death in 1929, and the Magníficos convey a deeply held respect for the working classes and their rituals of everyday life.
Abby McEwen, Assistant Professor, University of Maryland, College Park
1) Angel Kalenberg, "Rafael Barradas: el tránsito," in Barradas Torres-García (Buenos Aires: Museo Nacional de Bellas Artes de Buenos Aires, 1995), 27.
Oil on canvas; Overall: 129.8 x 188 cm.
John William Waterhouse was an English Pre-Raphaelite painter who is most famous for his paintings of female characters from Greek and Arthurian mythology. He was one of the final Pre-Raphaelite artists, being most productive in the latter decades of the 19th century and early decades of the 20th, long after the era of the Pre-Raphaelite Brotherhood. Because of this, he has been referred to as "the modern Pre-Raphaelite", and incorporated techniques borrowed from the French Impressionists into his work.
He was born in Rome to William and Isabela Waterhouse, both painters themselves. When he was 5 the family moved to South Kensington. During his early years he studied under his father before entering the Royal Academy schools in 1870. His early works were of classical themes in the spirit of Alma-Tadema and Frederic Leighton, and were exhibited at the Royal Academy.
In 1874, at the age of 25, Waterhouse submitted the classical allegory Sleep and His Half-Brother Death to the Royal Academy's Summer Exhibition. The painting was very well received, leading him to exhibit at the RA almost every year thereafter until his death in 1917. Waterhouse's most famous painting is "The Lady of Shalott", a maiden who dies of grief when Lancelot will not love her. He actually painted three different versions of this character, the first in 1888. In 1883 he married Esther Kenworthy, who herself exhibited her own flower paintings at the Royal Academy and elsewhere. In 1895 Waterhouse was elected to the status of full Academician. He taught at the St. John's Wood Art School, joined the St John's Wood Arts Club, and served on the Royal Academy Council.
This is a photograph of the nurses and patients at Longshaw Lodge Convalescent Home for Wounded Soldiers, Grindleford, near Sheffield. This photograph was taken in June 1917.
Reference: DF.BGS-4-9-2
The photograph is part of a larger collection that offers a rare and intimate glimpse in to the Life of a Wounded Soldier recovering from the horrors of World War One.
This particular set of photographs is taken from a collection held at Tyne & Wear Archives capturing the every day lives of the nurses and patients at the 3rd Northern General Hospital, Sheffield and Longshaw Lodge Convalescent Home for Wounded Soldiers, Grindleford, near Sheffield. The photographs were taken between August 1916 and June 1917.
A blog about this fascinating collection can been viewed here on the Tyne & Wear Archives & Museums website.
(Copyright) We're happy for you to share these digital images within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk
Hågadalen is a nature reserve, just west of the city Uppsala.
This magnificent oak is an excellent climbing tree, growing just beside the Håga creek (Hågaån)
On Instagram
Martin Parr (born 23 May 1952) is a British documentary photographer,[1] photojournalist and photobook collector. He is known for his photographic projects that take a critical look at aspects of modern life, in particular provincial and suburban life in England. He is a member of Magnum Photos.
Born in Epsom, Surrey, Parr wanted to become a documentary photographer from the age of fourteen, and cites his grandfather, an amateur photographer, as an early influence.[2] From 1970 to 1973, he studied photography at Manchester Polytechnic. He married Susan Mitchell in 1980, and they have one child, Ellen Parr (born 1986). He has lived in Bristol since 1987.
Parr began work as a professional photographer and has subsequently taught photography intermittently from the mid-1970s. He was first recognised for his black-and-white photography in the north of England, Bad Weather (1982) and A Fair Day (1984), but switched to colour photography in 1984. The resulting work, The Last Resort: Photographs of New Brighton, was published in 1986.
Parr's approach to documentary photography is intimate, anthropological and satirical. Macro lenses, ring flash, high-saturation colour film, and since it became an easier format to work in, digital photography, all allow him to put his subjects "under the microscope" in their own environment, giving them space to expose their lives and values in ways that often involve inadvertent humour.[2] For example, to create his book Signs of the Times: A Portrait of the Nation's Tastes. (1992), Parr entered ordinary people's homes and took pictures of the mundane aspects of his hosts' lives, combining the images with quotes from his subjects to bring viewers uncomfortably close to them. The result of Parr's technique has been said to leave viewers with ambiguous emotional reactions, unsure whether to laugh or cry.
In 2008 Parr was awarded the Centenary Medal of The Royal Photographic Society 'in recognition of a sustained, significant contribution to the art of photography' which also carried with it an Honorary Fellowship (HonFRPS) of The Society.
Black-and-white class photo of young schoolgirls and female teacher in Budapest, Hungary, 1930s. The picture was taken by photographer Antal Kvassay in Budapest, Hungary, in the 1930s.
School Class Portrait. RPPC.
Unposted.
AZO Triangles Up Stamp Box.
Addressed to:
Bessie Winholtz
Valley View, Pennsylvania
Written on reverse:
9 years old
[06605]
Belfasteko kaleetan topatu nituen ume hauek...
I found this funny kids while walking down the street in Belfast (North Ireland)
Rembrandt Harmenszoon van Rijn was a Dutch painter and etcher. He is generally considered one of the greatest painters and print makers in European art history and the most important in Dutch history. His contributions came in a period that historians call the Dutch Golden Age.
Having achieved youthful success as a portrait painter his drawings and paintings were popular throughout his lifetime. His reputation as an artist remained high and for twenty years he taught nearly every important Dutch painter. Rembrandt's greatest creative triumphs are exemplified especially in his portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible.
In both painting and printmaking he exhibited a complete knowledge of classical iconography, which he molded to fit the requirements of his own experience; thus, the depiction of a biblical scene was informed by Rembrandt's knowledge of the specific text, his assimilation of classical composition, and his observations of the Jewish population of Amsterdam. Because of his empathy for the human condition, he has been called "one of the great prophets of civilization."
Well this is so - so -- well, Olivia Newton John. I hate to say it, but Bob's legs look better than either Julie's or mine. Sistahs.
* ** * *
“If you'll excuse a brief history lesson: most people didn't experience 'the sixties' until the seventies. Which meant, logically, that most people in the sixties were still experiencing the fifties--or, in my case, bits of both decades side by side. Which made things rather confusing.”
― Julian Barnes, The Sense of an Ending
Who are the Alaba?
To be quite honest, it was almost impossible to determine who these people are. My guide told me they are the Adama people and one of my flickr contacts also refers to them by this name, but I could not find a single reference, including online, on the Adama. There is, however, scant information on the Alaba people, which, based on their distinctive dwellings and other features, are clearly one and the same.
The Alaba constitute 1.35% of the tribal peoples of the Southern Nations, Nationalities and People's Region (SNNPR) with a population of approximately 125k. Their home is in the Great Rift Valley, in a part of the SNNRP that is considerably north of the Omo Valley. Their language belongs to the Eastern Highland branch of Cushitic languages and they are mostly Muslim.
Somewhere on the road between Shashemene and Sodo, Ethiopia
Hågadalen är ett naturreservat strax väster om staden Uppsala. Denna magnifika ek är ett utmärkt klätterträd och växer precis bredvid Hågaån
Hågadalen is a nature reserve, just west of the city Uppsala.
This magnificent oak is an excellent climbing tree, growing just beside the Håga creek (Hågaån)
www.instagram.com/p/C2cTg02CSxk/?utm_source=ig_web_copy_l...
With Ailiroy (instagram.com/Ailiroy), "The Fullhouse Team" and Yvaine Dazzling (www.instagram.com/yvaine_dazzling/)!
The Nun graffiti was AI produced.
The Sky was Stock photo.
The cosplayers are real :)
Oil on canvas; 190 x 340 cm.
Vilhelm Hammershøi was a Danish painter. He is known for his poetic, low-key portraits and interiors. In 1997, Denmark issued a postage stamp in his honor.
Vilhelm Hammershøi was born in 1864 in Copenhagen, Denmark. The son of a well-to-do merchant, Christian Hammershøi, and his wife, Frederikke (née Rentzmann), Hammershøi studied drawing from the age of eight with Niels Christian Kierkegaard and Holger Grønvold, as well as painting with Vilhelm Kyhn, before embarking on studies with Frederik Vermehren and others at the Royal Danish Academy of Fine Arts. From 1883 to 1885, he studied with Peder Severin Krøyer at the Independent Study Schools, then debuted in the Charlottenborg Spring Exhibition in 1885 with Portrait of a Young Girl (his sister, Anna; Pierre Auguste Renoir is reported to have admired this painting). Hammershøi married Ida Ilsted in 1891.
Hammershøi worked mainly in his native city, painting portraits, architecture, and interiors. He also journeyed to the surrounding countryside and locations beyond, where he painted rolling hills, stands of trees, farm houses, and other landscapes. He is most celebrated for his interiors, many of which he painted in Copenhagen at Strandgade 30 (where he lived with his wife from 1898 to 1909, and Strandgade 25 (where they lived from 1913 to 1916). He travelled widely in Europe, finding London especially atmospheric in providing locations for his highly understated work, suffused as it was at the time with a foggy, coal smoke polluted atmosphere. His work in consequence has been described as "Monet meets the Camden School".
Hammershøi's wife figures in many of his interiors, often depicted from behind. Ida is also the model in many similar works by her brother, Peter Ilsted. Peter and Vilhelm were lifelong friends, business partners, and colleagues. The Metropolitan Museum of Art held an exhibition of their collective works in 2001, and there was an exhibition of his works in 2008 at the Royal Academy of London.
Hammershøi's paintings are best described as muted in tone. He refrained from employing bright colors (except in his very early academic works), opting always for a limited palette consisting of greys, as well as desaturated yellows, greens, and other dark hues. His tableaux of figures turned away from the viewer project an air of slight tension and mystery, while his exteriors of grand buildings in Copenhagen and in London (he painted two exteriors of the British Museum between 1905 and 1906) are devoid of people, a quality they share with his landscapes.
Hammershøi's early works, with their simplicity and recording of the "banality of everyday life", enjoyed critical acclaim. He was sought out by artists and literary figures of the time, among them Emil Nolde and Rainer Maria Rilke, who both remarked on his retiring manner and reluctance to talk. After a trip to Paris, his work became overly detailed. According to art critic Souren Melikian, his "painterly skill remained but the magic was lost."
Hammershøi’s melancholic vision has now regained its place in the public consciousness. He is now one of the best-known artists in Scandinavia, and comprehensive retrospectives of his work have been organized by the Musée d'Orsay in Paris and the Guggenheim Museum in New York. In 2008, the Royal Academy of London hosted the first major exhibition in Britain of Hammershøi’s work, Vilhelm Hammershøi: The Poetry of Silence. Hammershøi’s only painting on constant display in Britain is 'Interior' in the National Gallery.
In June 2012, Hammershøi's Ida læser et brev (Ida Reading a Letter) was auctioned by Sotheby's in London for £ 1,721,250 or DKK 15,747,499, a record for any Danish work of art. Two other paintings by Hammershøi were also sold the same day at Sotheby's for unusually high prices: Interiør med to lys (Interior with Two Candles) was auctioned for DKK 10,110,000 and Ida i interiør (Ida in Interior) for DKK 6,120,000
Elävänmallin maalausta. Opiskelijaryhmäkuva Académie Julianista Pariisista 1880-luvulta. Axel Gallén istuu mallin polven tienoilla.
Gallén opiskeli maalausta Pariisissa vuosina 1884-1889, aluksi Académie Julianissa ja sitten muissakin oppilaitoksissa, ja maalasi eri ystäviensä ateljeissa. 1886-1887 hän palasi yli vuodeksi Suomeen, mutta jatkoi Pariisin-opintoja sen jälkeen.
kuvauspaikka: Ranska, Pariisi
ajoitus: 1884-1889
kuvaaja:
kuva-alan mitat: 203x?mm
tekniikka:
merkintöjä:
inventointinumero: Kot.1.a/9
kokoelma: Akseli Gallen-Kallelan valokuvakokoelma
tutki lisää / explore further:
Tiedätkö lisää tästä kuvasta? Kerro meille!
Do you have information on this photo? Let us know!
My Mom, Lillian, at the lower center and at the right, her friend, Anita. I don’t know the other women.
Fernand Cormon was a French painter born in Paris. He became a pupil of Alexandre Cabanel, Eugène Fromentin, and Jean-François Portaels, and one of the leading historical painters of modern France.
At an early age he attracted attention for the perceived sensationalism in his art, although for a time his powerful brush dwelled with particular delight on scenes of bloodshed, such as the Murder in the Seraglio (1868) and the Death of Ravara, Queen of Lanka at the Toulouse Museum. The Musée d'Orsay has his Cain flying before Jehovah's Curse. A Chiefs Funeral, and pictures having the Stone Age for their subject, occupied him for several years. He was appointed to the Legion of Honor in 1880. Subsequently he also devoted himself to portraiture.
Being well-accepted at the annual Salon, he also ran an art school in the 1880s where he tried to guide his students to create paintings which would be accepted by the Salon's jury. Among his students with whom he was unsuccessful on this point were Henri de Toulouse-Lautrec, Louis Anquetin, Eugène Boch, Paul Tampier, Émile Bernard and Vincent van Gogh.
Oil on canvas; Size 31.9 x 46.3 in. (81 x 117.5 cm.)
He belongs to a family of Dusseldorf artists, his father (1805 - 1867), after whom he is named and whose pupil he is, being a distinguished portrait and genre painter. "At the Masquerade" was one of the attractions of the Berlin Annual Exhibition of 1891.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group portrait of thirteen men and women, facing front; six lay in foreground with bicycles; six women stand holding banner in background; central character wears hat, holds guitar in front; tent in background; View of Goderich and vicinity imprint on left of card; Photographed by R.R. Sallows imprint on right of card; (title Tuquallah Hut written across bottom)
Object ID : 0322-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Oil on canvas; 114.5 x 145 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.
Oil on canvas; 41 1/4 in. x 37 1/2 in.
William Rothenstein was born into a Jewish family in Bradford and studied at the Slade School of Art (his teachers included Alphonse Legros) and in Paris, where he met and was encouraged by James McNeill Whistler and Edgar Degas. He was a friend of caricaturist and parodist Max Beerbohm. Rothenstein became known for his portrait drawings of famous individuals and was an official war artist in both World War I and World War II. He was a member of the International Society of Sculptors, Painters & Gravers. Rothenstein was Principal of the Royal College of Art from 1920 to 1935, where he encouraged figures including Jacob Epstein, Henry Moore and Paul Nash. He wrote several books. He was knighted in 1931. William Rothenstein was the father of art historian Sir John Rothenstein, who was the director of the Tate Gallery from 1938 to 1964, and the highly respected British printmaker Michael Rothenstein, whose divorce from Duffy Ayers caused a major controversy in British society. Rabindranath Tagore dedicated his Nobel Prize winner poetry collection Gitanjali to William Rothenstein
Otto Griebel was a German painter of the Neue Sachlichkeit (New Objectivity) and the proletarian-revolutionary art. In 1909 he began an apprenticeship as a decorative painter, and a short time later he met Otto Dix. Griebel served in World War I. After graduating in 1919, he was a master at the Dresden Academy. In 1919/1920, he worked with the Dadaists and formed friendships with George Grosz and John Heartfield. In 1933 Griebel was arrested by the Gestapo. His work was designated as degenerate art.
Oil on panel; 61 x 44.5 cm.
Austrian Painter. After studying at the Vienna Academy of Fine Arts from 1872 to 1875, Austrian-born Deutsch settled into the thriving art capital of Paris, where he joined his compatriot and fellow Orientalist painter Rudolf Ernst. Between 1879 and 1883, Deutsch exhibited portraits and genre scenes at the Salon. After 1883 he drew inspiration almost exclusively from his travels to Egypt. Deutsch was thought to have visited Egypt as many as five times between 1883 and 1904. These formative trips allowed him to gather subjects and motifs for his oeuvre.* In Paris he achieved great success in the 1890s with his highly detailed scenes of daily life in Egypt. The year 1900 marked the pinnacle of Deutsch's career, for he was awarded the gold medal at the Exposition Universelle for an Orientalist composition. Deutsch focused primarily on the depiction of Nubian figures, which became some of his most desired and popular images. Beginning in 1910, the artist painted scenes of everyday Egyptian life by the Nile in a free style and began to experiment with Post-Impressionism. Deutsch's late period typifies his shift away from academic tendencies in favor of a broader, more spontaneous manner. Ludwig Deutsch continued to paint until his death in Paris in 1935.
Elliott Erwitt (b. 26 July 1928 Paris, France) is an advertising and documentary photographer known for his black and white candid shots of ironic and absurd situations within everyday settings— a master of Henri Cartier-Bresson's "decisive moment". In 1939, at the age of ten, Erwitt's family, of Russian origin, immigrated to the United States. Erwitt studied photography and filmmaking at Los Angeles City College and the New School for Social Research, finishing his education in 1950.
Born in Paris of Jewish-Russian immigrant parents, Erwitt served as a photographer's assistant in the 1950s in the United States Army while stationed in France and Germany. Erwitt was influenced by his meeting the famous photographers, Edward Steichen, Robert Capa and Roy Stryker. Stryker, the former Director of the Farm Security Administration's photography department, hired Erwitt to work on a photography project for the Standard Oil Company. Erwitt then began a freelance photographer career and produced work for Collier's, Look, Life and Holiday. Joining the Magnum Photos agency in 1953 allowed Erwitt to shoot photography projects around the world.
One of the subjects Erwitt has frequently photographed in his career is dogs: they have been the subject of four of his books, Son of Bitch (1974), Dog Dogs (1998), Woof (2005) and Elliott Erwitt's Dogs (2008).[1]
More recently, Erwitt has created an alter ego, the beret-wearing and pretentious André S. Solidor (which abbreviates to "ass") — "a contemporary artist, from one of the French colonies in the Caribbean, I forget which one", in order to "satirise the kooky excesses of contemporary photography". The work of said alter-ego was published in a book, The Art of André S. Solidor (2009), and exhibited in 2011 at the Paul Smith Gallery in London.[1][2]
He was awarded The Royal Photographic Society's Centenary Medal and Honorary Fellowship (HonFRPS) in recognition of a sustained, significant contribution to the art of photography in 2002.[3]
Gustav Klimt was an Austrian Symbolist painter and one of the most prominent members of the Vienna Art Nouveau (Vienna Secession) movement. His major works include paintings, murals, sketches, and other art objects, many of which are on display in the Vienna Secession gallery. Klimt's primary subject was the female body,and his works are marked by a frank eroticism.
July 1916 Water-works Dam
Peggy Benscoter & Anna with Olive Truman --
Sunday School Class Picnic
**
“Believe in a love that is being stored up for you like an inheritance,
and have faith that in this love there is strength,
and a blessing so large that you can travel as far as you wish
without having to step outside it.”
— Rainer Maria Rilke
*
"Whatever way you put it, I am here only because my world is here. When I took my first breath, my world was born with me. When I die, my world dies with me. In other words, I wasn't born into a world that was already here before me, nor do I live simply as one individual among millions of other individuals, nor do I leave everything behind to live on after me. People live thinking of themselves as members of a group or society. However, this isn't really true. Actually, I bring my own world into existence, live it out, and take it with me when I die."
- Kosho Uchiyama
Opening the Hand of Thought
Oil on canvas; 32 x 61 cm.
Anna Ancher was a Danish Painter. She was the only one of the Skagen Painters that was actually born in Skagen, Denmark. Anna Ancher was born and grew up in the northernmost area of Jutland, called Skagen (the Skaw). Her talent became obvious at an early age and she grew acquainted with pictorial art via the many artists who settled to paint in Skagen. Anna Ancher studied drawing for 3 years at the Vilhelm Kyhn College of Painting in Copenhagen. However, Anna Ancher developed her own style and was a pioneer in observing the interplay of different colours in natural light. She also studied drawing in Paris at the atelier of Pierre Puvis de Chavannes along with Marie Triepcke, who would marry Peder Severin Krøyer, another Skagen painter. In 1880 she married fellow painter Michael Ancher, whom she met in Skagen. They had one daughter, Helga Ancher. Despite pressure from society that married women should devote themselves to household duties, she continued painting after marriage. Anna Ancher is considered to be one of the great Danish pictorial artists by virtue of her abilities as a character painter and colorist. Anna Ancher's art found its expression in Nordic art's modern breakthrough towards a more truthful depiction of reality, e.g. in Blue Ane (1882) and The Girl in the Kitchen (1883-1886). Anna Ancher preferred to paint interiors and simple themes from the everyday lives of the Skagen people and fishermen.
Jean Fautrier was a French painter and sculptor. He was one of the most important practitioners of Tachisme. He was born in Paris and studied in London at the Royal Academy of Art and the Slade School. He first exhibited his paintings at the Salon d'Automne in 1922 and at the Fabre Gallery in 1923. In 1927, he painted a series of pictures (still lifes, nudes, landscapes) in which black dominates, and in 1928 he began work on a series of engravings. Until 1933 he divided his efforts between sculpture and painting; he then spent five years as a ski instructor in Savoy.
Fautrier resumed painting in 1937, and in 1943 made his twenty-second and last sculpture. The same year, stopped by the German gestapo, he fled Paris and found refuge in Châtenay-Malabry, where he began work on the project of the Otages. These paintings were exhibited in 1945 with the Drouin gallery. In the years that followed, Fautrier worked on the illustration of several works. His late work is abstract, generally small in scale, often combining mixed media on paper. He died in Châtenay-Malabry in 1964.
Lewis Hine, who was best known for his use of photography as a means to achieve social reform, was first a teacher of botany and nature studies at the Ethical Culture School in New York. It was while he was teaching that he was given a camera by the head of the school. In his hand, the camera became a powerful means of recording social injustice and labor abuses.
Hine's interest in social welfare and in reform movements led him in 1905 to begin his first documentary series; immigrants on Ellis Island. In 1908 he left teaching to become an investigator and photographer for the National Child Labor Committee (NCLC), and between 1908 and 1916 he traveled extensively photographing child-labor abuses. Hine would manage to gain access to the sweatshops and factories where children were employed, and then, if he could, photograph them at work. Hine inveigled his way into factories by posing as an insurance agent, bible salesman, postcard seller, or industrial photographer. Once inside, Hine quickly would go about his business of photographing the children working. Having been a teacher, Hine was comfortable talking with children and would attempt to get as much information as possible regarding their living conditions, the circumstances under which they were forced to work, and their name and age. If he was unable to determine a child’s age by speaking to him, Hine would surreptitiously measure the child’s height against the buttons on his vest and estimate the child’s age by his height. If Hine was not able to gain admittance to a factory, he would wait outside the gates and photograph the children as the came to work. He visited children and families who worked at home and he wrote with impassioned sarcasm of the "opportunities for the child and family to enlist in the service of Industry."
Hine's photographs were used to make lantern slides for lectures and to illustrate pamphlets, magazine articles, and exhibitions. Through his photographs, Hine was able to inspire social change. His photos documenting the horrid conditions under which children were employed, made real the plight of these children. This led to the passage of child labor laws. Not only did Hine document the horrors of work, he also depicted the dignity of labor. This is best seen in his photos of the construction of the Empire State Building. From 1930 to 1931 he took hundreds of pictures of the Empire State Building under construction. These photos, as well as photographs of factory workers and other laborers, were published in Men at Work. While Hine's early photographs were often published, by the 1930s, interest in his work had declined. In 1938 he was denied a grant to photograph American crafts people at work. The Photo League in New York publicized his work, but it was not until a number of years after his death that he again received wide recognition. A new monograph was recently printed entitled, Lewis W. Hine Children At Work by Vicki Goldberg.
Local identifier: SFF 89203_0151_l9_002_bakside
Caption: "Johane Myawo, Aaron Gameda, Malla Moe".
This is the reverse side of the following image: www.flickr.com/gp/fylkesarkiv/kT92wf