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This group came looking for me and booked an 'appointment' when they would all be available. So, I decided to glamorise them on the main stairway in the Hollywood style. :-)
Hasselblad 503Cx, Ilford HP5, ID11 1:3,
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Oil on canvas; 225 x 325 cm.
The son of Moorish indentured servants (in other words, slaves), Juan de Pareja's was apparently left to Diego Velázquez in a will, as property. He acted as a personal assistant to Velázquez, and in the studio he ground pigments and stretched canvases.
Velázquez would never let the slave even pick up a paintbrush, but the Moor watched and learned in the master's studio, and practiced drawing in secret.
According to legend, on an occasion when Velázquez's patron, the king of Spain, was due to visit, Pareja placed one of his own paintings where it would be seen by him. When the king came across it, Pareja threw himself at the king's feet, told him how he had learned to paint without his master's knowledge, and begged him to intercede on his behalf. The king voiced the opinion that "any man who has this skill cannot be a slave," at which point Velázquez had little option but to grant Pareja his freedom.
Another version of events has Pareja being given the gift of his freedom in return for his friendship and support following the death of Velázquez's wife.
In any case, Juan de Pareja was granted his freedom in 1654 and stayed on in Velázquez's studio, painting openly and quickly becoming an artist of considerable talent.
www.flickr.com/photos/32357038@N08/7980445022/
en.wikipedia.org/wiki/Juan_de_Pareja
From my great-aunt Anna's photo album. She really wanted to be a roaring '20s kind of girl. I've studied her albums and diaries. I never knew her. She died in a mental institution in the 1950s. In her young days, she was active, educated, socially engaged. I wish I had more details of her life and her story but I grew up in a time and within a family matrix that felt that secrets were shameful and certainly mental illness came within the parameters of a shameful secret. Here are her photo on the internet. Where did her life go if not here?
* *
"He did not know how wide a country, arid and precipitous, must be crossed before the traveller through life comes to an acceptance of reality. It is an illusion that youth is happy, an illusion of those who have lost it; but the young know they are wretched, for they are full of the truthless ideals which have been instilled into them, and each time they come in contact with the real they are bruised and wounded."
~William Somerset Maugham, Of Human Bondage"
**
Offshore
Ah love. With its taste of candy and wood, smoke in the
afternoon; its Caribbean moods and yellow dresses -- still
it knows so little of who we really are. The time has passed
for kisses and courtship, for the innocence of the shoreline:
kicking the little waves, laughing in a swimsuit with the
little skirt. That was a mid-century movie. That was a
summer carousel. A dream.
Hold a shell to your ear and a ghost will whisper to you,
a ghost of the ocean, of the horizon. The time has passed
for drinks on the patio, for the easy life. Love has taken
all the money and flown off to an island; love is sleeping
with a girl. And love has left us here, in this empty place,
with our empty refrigerators, empty history, forced to
build the same country over and over again. I'm tired
of it. Aren't you ?
Remember when we lived offshore and had every
hope of paradise? Now love doesn't even write to
us with its soft, buttery hand. We wouldn't want to
hear its old lies anyway. Time is short and we -- the
ones who can bear to go on living -- still have our
own work to do.
--Eleanor Lerman
from "Our Post-Soviet History Unfolds"
*
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.
Lucas Cranach the Younger was a German Renaissance artist, known for his woodcuts and paintings. He was a son of Lucas Cranach the Elder. He began his career as an apprentice in his father's workshop. Henceforth, his own reputation and fame grew. After his father's death, he assumed control over the workshop. The style of their paintings can be so similar that there have been some difficulties in attribution of their works. He is known for portraits and simple versions of allegorical and mythical scenes.
Pavel Korin was a Russian painter and art restorer. He is famous for his preparational work for the unimplemented painting Farewell to Rus. Korin was born in the village of Palekh to a family of a professional icon-painter Dmitry Nikolaevich Korin on July 8 [O.S. June 25] 1892. In 1897, when Pavel was only five years old, his father died. In 1903-1907 he studied at the School for Icon Painting at Palekh getting a formal certificate as a professional icon-painter. In 1908 he moved to Moscow and until 1911 worked there at the Icon Shop of Don Monastery.
In 1911 he worked as an apprentice to Mikhail Nesterov on frescoes of The Intercession Church at Marfo-Mariinsky Convent on Bolshaya Ordynka street in Moscow. Nesterov insisted that Korin gain a formal education in easel painting and arranged his admission to the Moscow Art School in 1912. Pavel graduated from that school in 1916, having been a student of Konstantin Korovin and Leonid Pasternak.
In 1916 he worked on frescoes for the mausoleum of Grand Duchess Elizabeth Fyodorovna at The Intercession Church at Marfo-Mariinsky Convent. According to the wish of the Grand Duchess he travelled to Yaroslavl and Rostov to study traditional frescoes of antique Russian churches.
In February 1917 he started to work in his attic studio on Arbat Street in Moscow and worked there until 1934. In 1918-1919 he taught at the 2nd State Art Studios. In 1919-1920 he worked at the Anatomic theatre of Moscow State University, as he thought he as a painter needed deeper knowledge of the human anatomy. In the evenings he copied paintings and sculptures of the Museum of Fine Arts.
In 1923 he travelled over Northern Russia, visiting Vologda, Staraya Ladoga, Ferapontov Monastery, Novgorod. In 1926-1931 he worked as an instructor of painting classes for beginners at the Museum of Fine Arts. In 1926 the Marfo-Mariinsky Convent was closed and all the art there was to be destroyed. Pavel and his brother Alexander managed to smuggle out and save the iconostasis and some of the frescoes. On March 7 of that year he married Praskovya Tikhonovna Petrova, a disciple of the Marfo-Mariinsky Convent.
In 1927 Korin's aquarelle Artist's studio and his oil landscape My Motherland were bought by the Tretyakov gallery, showing some recognition from the Soviets. In 1931 Korin's studio was visited by Maxim Gorky, who supported Korin since. In 1932 Korin followed Gorky to Sorrento, painted Gorky's portrait and visited Italy and Germany.
In 1931 Korin started to work as the Head of the Restoration Shop of Museum of the Foreign Art (former Museum of Fine Arts later Pushkin Museum). He held this position for until 1959. After this he held the position of the Director of the State Central Art Restoration Works until his death. As one of the most senior Russian restorers of the time he contributed enormously to the saving and restoration of famous paintings.
In 1933 Korin moved to the studio on Malaya Pirogovka Street in Moscow where he worked until his death. Now the building is Korin's museum. In the 1940s he painted many portraits of members of the Soviet Intelligentsia (including Leonid Leonidov, Mikhail Nesterov, Alexey Tolstoy, Kachalov and Nadezhda Peshkova (Gorky's daughter in law)). He painted the fresco Match to the Future for the Palace of Soviets in the Moscow Kremlin and a Triptych devoted to Alexander Nevsky.
In the 1950s Korin worked on mosaics for the Moscow Metro. His mosaics decorate the stations Komsomolskaya-Koltsevaya, Arbatskaya (Arbatsko-Pokrovskaya Line) and Novoslobodskaya, and also the Main Hall of Moscow State University. He also won an impressive list of Soviet awards in the 1950s and 1960s.
Oil on canvas; 180.5 x 80 cm.
Fang Lijun (born 1963, Handan, Hebei province, China) is an artist based in Beijing [1]. He was born into a wealthy family with a high social status. In the 1990s, there was a cultural movement[1] in China referred to as Cynical Realism of which Fang Lijun was a membe. Living in China during this critical time [2] shaped his worldview in terms of his views on art, human values and morality.
During his time at school, he met LiXianting (who would later be a famous critic) and was introduced to watercolors, oil paints and ink. Fang Lijun decided to leave high school to pursue his artistic dream. He made a decision to go to Hebei Light Industry Technology school to study ceramics for three years. However, Fang Lijun did not want to stop his studies there. Instead of having an intellectual job in ceramics department, he prepared himself to take the entrance exam to enroll at the Central Academy of Fine Arts in Beijing.
At the beginning of 1992, Fang Lijun moved to Yuanmingyuan village in north-west Beijing.[5] Due to the economy and other difficult cultural issues, painters wanted to create a utopia where they could freely paint and express themselves. That was when Yuanmingyuan village drew artists' attention. At the time, painters like Fang Lijun had to face many obstacles and challenges, particular financial issues. Fang Lijun and other artists like him had paint for a living due to the economic pressure.
Fang Lijun made a large number of works featuring the subject "bald heads".[7] Under the influence of his family and friends, his art expresses the freedom, the integrity in two different settings: traditional and modern era, and the will of making a change.[8] He explained in an interview that he wished to send a message about the lives of painters through bald-head figures. The bald headed traditional Chinese men are viewed as dumb or stupid.[9] Through these figures, he is sending a message about morality and how people define what is normal based on physical appearance, rather than internal moral character. Fang Lijun values the individual stories of each person. He is asking the society to look at painters as normal people, as people who are making a change, rather than as eccentric outcasts.
In his paintings, he also uses elements of water and flower a lot. Water plays a big role in Fang Lijun's paintings. On an interview, he explained that water is helping him convey a message about his feeling and his voice about the truth and what is going in Chinese society.[10] His famous work with water is the guy being drowned in the water. Part of the reason for this paining relates to his childhood experience when he was almost drown.[11] The second and most important part relation about this painting is he is expressing his feelings about the Chinese society. When the guy is drown in the water, that guy is representing for painter like Fang Lijun.[12] He feels like he does not have a voice, that he is powerless in this societal structure and that he cannot even make his own decision or speak the right truth. Also, his hope is to freely go and move in the water metaphorically. He is hoping to be able to speak for himself, for other artists and to inspire everybody.
He is one of the artists who is standing in the middle line between traditional and modern practice. For example, he still follows the process of the carving wood with the negative image, coats it with ink and then impresses the image on the paper.[13] Because one art projects requires different color immersion, Fang uses different plates and a set order of printing on different adjoined scrolls. Each scroll represents for one individual against the mass which leads to "personal probity" in facing adversity.[14]
The earliest exhibition about the Cynical Realism was done by Fang Lijun and Liu Wei.[15] "Wanshi"-Cynical Realism which is translated into English is "cynical'. However, this English term cannot fully cover the whole meaning of the attachment of reality and life. The figures in Cynical Realism's paintings were cynical, distorted and accidental. In each of these painting, there is a sense of "self - mockery and ridiculous snippets of the surrounding circumstances".[16] Different metaphysical questions and searches were discarded by this Cynical Realism. Fang Lijun said: "The bastard can be duped a hundred times but he still falls for the same old trick. We'd rather be called losers , bores, basket cases, scoundrels, or airheads, than ever be cheated again".[17] Leading the Cyncial Realist movement after 1989, "Fang Lijan is considered one of the most important figures in Chinese contemporary art".
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Studio portrait of family of two adults and six children; parents seated in back with elder girl standing between; mother wearing dress with high lace collar holds infant; father wears dark suit, vest, white shirt, pocket watch chain, trimmed beard hides tie; two small boys in dark suits sit in foreground; painted backdrop; Sallows imprint on back; writing on back provides date taken in 1884 in the fall, Mother born October 1847, Father born 1842, Mother 37 years, Father 42, me about 3
Object ID : 0443-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Hanging scroll; colors on silk.
Tang Yin (Chinese: 唐寅; pinyin: Táng Yín; Cantonese Yale: Tong Yan; 1470–1524), courtesy name Tang Bohu (唐伯虎), was a Chinese scholar, painter, calligrapher, and poet of the Ming Dynasty period whose life story has become a part of popular lore. Even though he was born during Ming Dynasty, many of his paintings (especially paintings of people) were illustrated with elements from Pre-Tang to Song Dynasty (12th century).[1][2]
Tang Yin is one of the most notable painters in Chinese art history. He is one of the "Four Masters of Ming Dynasty” (Ming Si Jia), which also includes Shen Zhou (1427–1509), Wen Zhengming (1470–1559) and Qiu Ying (ca. 1495-1552). Tang was also a talented poet. Together with his contemporaries Wen Zhengming (1470–1559), Zhu Yunming (1460–1526), and Xu Zhenqing, he was one of the “Four Literary Masters of the Wuzhong Region.”
Tang's eccentric lifestyle has prompted storytellers to immortalize him as a trickster character in Chinese folklore. In one such story, he falls in love with a slave girl whom he glimpses on the boat of a high official passing through Suzhou. He has himself sold as a slave to the official's household so that he may approach her. With the help of his friends, he eventually succeeds in bringing her home.[3] This story prompted the playwright Three Words by Feng Menglong and the opera The Three Smiles.
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Carte de visite.
Studio of J. Cole, Photographer, Ponders End, Nr. Electric Light Works.
Bought from an eBay seller in Kettering, Northamptonshire, United Kingdom.
A special post for Father's Day, Sunday 3 September, 2017.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Studio portrait of forty-four men and women, full-length, facing front; women in foreground, sitting on the floor, wear long-sleeved, high-necked black dresses; woman standing in back row, right of centre, wears corsage of daisies and wildflowers on chest; painted backdrop; Sallows imprint on back of matte
Object ID : 0510-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Watercolor.
Carl Olaf Larsson was born on May, 28th 1853 at Stockholm. His parents were farmers at Gamla Stan, he had an unhappy infancy because his family was poor. After a school for poor people he lived in Paris and worked as an illustrator for books or newspapers. In 1882 in a community of artist at Grez sur Loing he met his model and wife, a swedish painter, Karin Bergöö. He became a Professor of "Beau arts" school on 1889 at Gôteborg. He was a very indepedent painter with social ideas and didn't belong to a precise movement. He painted a lot of paintings for 20 years like : Fille d'Ève, Devant la glace, La route du village or Petite fille dans une chambre d'enfant . He used a lot of differents technics in his works : Watercolor, Charcoal, Chalk and ink. Furthemore he became famous in all Europe. He died on January 22 nd 1919 at Sundborn at 65 years old.
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Format: Glass plate negative.
Rights Info: No known restrictions on publication.
Repository: Phillips Glass Plate Negative Collection, Powerhouse Museum www.powerhousemuseum.com/collection/database/collection=Phillips_Glass_Plate_Negative
Part Of: Powerhouse Museum Collection
General information about the Powerhouse Museum Collection is available at www.powerhousemuseum.com/collection/database
Persistent URL: http://www.powerhousemuseum.com/collection/database/?irn=386792
Acquisition credit line: Gift of the Estate of Raymond W Phillips, 2008
Oil on panel; 61 x 50.2 cm.
Rudolf Ernst, born in Vienna in 1854, was the son of the architectural painter Leopold Ernst. After attending the Vienna Academy in 1869 and exhibiting in Munich he traveled to Italy in 1874. As early as 1876 Ernst decided to settle in Paris where he would exhibit at the Salon for the following six decades. Like his close friend Ludwig Deutsch, who also took French nationality, Ernst belongs to the second generation of Orientalist painters. The first generation, such as Delacroix, Vernet, Collin and Chassèriau were inspired by political events such as the liberation of Greece and Napoleon's conquest of Algiers. Artists from the second half of the century such as Gérôme, Bauernfeind, Deutsch and Ernst were more interested in depicting scenes from the daily life of the East such as Bedouins gathering in sun bathed deserts, Bashi-Bazouks resting, Nubians guarding palaces or odalisques smoking narghiles in opulent harems.
Ernst's first taste of the East was sparked by journeys to Moorish Spain, Morocco and Tunis during the 1880s followed by a visit to Constantinople and Egypt in 1890. On these travels he became very interested in Eastern styles of decoration, in particular tile-making, and by 1900 he left Paris to live in Fontenay-aux-Roses, where he decorated his home in an Ottoman style and lived among the oriental objects which figured so largely in his paintings. He even painted wearing the tasseled cap known as a tarboosh.
Paul Sérusier was a French painter who was a pioneer of abstract art and an inspiration for the avant-garde Nabi movement. He studied at the Académie Julian and was a monitor there in the mid 1880s. In the summer of 1888 he traveled to Pont-Aven and joined the small group of artists centered there around Paul Gauguin. While at the Pont-Aven artist's colony he painted a picture that became known as The Talisman, under the close supervision of Gauguin. The picture was an extreme exercise in Cloisonnism that approximated to pure abstraction. He was a Post-Impressionist painter, a part of the group of painters called Les Nabis. Sérusier along with Paul Gauguin named the group. Pierre Bonnard, Edouard Vuillard and Maurice Denis became the best known of the group, but at the time they were somewhat peripheral to the core group.
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.
Oil on canvas; 480 x 360 cm.
El Greco, born Doménikos Theotokópoulos, was a painter, sculptor and architect of the Spanish Renaissance. "El Greco" (The Greek) was a nickname, a reference to his national Greek origin, and the artist normally signed his paintings with his full birth name in Greek letters, Δομήνικος Θεοτοκόπουλος (Doménikos Theotokópoulos), often adding the word Κρής (Krēs, "Cretan").
El Greco was born on Crete, which was at that time part of the Republic of Venice, and the centre of Post-Byzantine art. He trained and became a master within that tradition before travelling at age 26 to Venice, as other Greek artists had done. In 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style with elements of Mannerism and of the Venetian Renaissance. In 1577, he moved to Toledo, Spain, where he lived and worked until his death. In Toledo, El Greco received several major commissions and produced his best-known paintings.
El Greco's dramatic and expressionistic style was met with puzzlement by his contemporaries but found appreciation in the 20th century. El Greco is regarded as a precursor of both Expressionism and Cubism, while his personality and works were a source of inspiration for poets and writers such as Rainer Maria Rilke and Nikos Kazantzakis. El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, marrying Byzantine traditions with those of Western painting.
en.wikipedia.org/wiki/El_Greco
Oil on canvas; 95.3 x 172.7 cm.
Lodovico Carracci was an Italian painter and printmaker noted for his religious compositions and for the art academy he helped found in Bologna about 1585, which helped renew Italian art in the wake of Mannerism. The son of a butcher, Lodovico was the older cousin of the painters Annibale and Agostino Carracci. After working under the painter Prospero Fontana in Bologna, Lodovico visited Florence, Parma, and Venice before returning to his native Bologna. There, about 1585, he and his cousins founded the Accademia degli Incamminati, an art school that became the most progressive and influential institution of its kind in Italy. Lodovico led this school for the next 20 years, during which time he and his cousins trained some of the leading Italian artists of the younger generation, notably Guido Reni and Domenichino. The teaching techniques of the Carraccis’ academy were based on frequent observation of nature, the study and revision of poses from life, and boldness of scale in drawing figures with chalk.
In his own paintings of religious subjects, Lodovico gave his figures strong gestures amid flickering plays of light in order to communicate a sense of mystery and passionate spiritual emotion. The Madonna and Child with St. Francis, St. Joseph, and Donors (1591) is typical of his early work. Lodovico’s imaginative approach to religious sentiment and his emphasis on mood would influence various Italian Baroque painters. Lodovico collaborated with his cousins on various fresco commissions, and, after the death of Annibale in 1609, he remained active in Bologna, where he painted a succession of altarpieces in an increasingly grandiose and heavily mannered style until his own death in 1619.
Date: [between 1890 and 1910]
Reference code: 2006006-53P
Photograph is part of the Fern Levis fonds (PF223).
Local call number: N045538
Title: Family portrait: Key West, Florida
Date: ca. 1900
Physical descrip: 1 photonegative - b&w - 4 x 5 in.
Series Title: General collection
Repository: State Library and Archives of Florida, 500 S. Bronough St., Tallahassee, FL 32399-0250 USA. Contact: 850.245.6700. Archives@dos.state.fl.us
Persistent URL: www.floridamemory.com/items/show/153504
Visit Florida Memory to find resources for Black History Month and to learn about the contributions of African-Americans in Florida history.
Description: Group known as "The Ten", last active in 1919. Identification on front: "The Ten" - 1908 Wm. M. Chase*, Frank W. Benson, Edmund C. Tarbell, T.W. Dewing, Joseph R. De Camp, Edward Simmons, W.L. Metcalf, Childe Hassam, J. Alden Weir, Robert Reid. *Elected vice J.H. Twachtman. Published in: Archives of American Art Journal v. 19, no. 2, p. 2 Reid, Robert, 1862-1929
Weir, Julian Alden, 1852-1919
Hassam, Childe, 1859-1935
Metcalf, Willard Leroy, 1858-1925
Simmons, Edward, 1852-1931
DeCamp, Joseph, 1858-1923
Dewing, Thomas Wilmer, 1851-1938
Tarbell, Edmund Charles, 1862-1938
Benson, Frank Weston, 1862-1951
Chase, William Merritt, 1849-1916
Creator/Photographer: Unidentified photographer
Medium: Black and white photographic print
Dimensions: 20 cm x 22 cm
Date: 1908
Persistent URL: www.aaa.si.edu/collections/images/detail/carnegie-institu...
Repository: Archives of American Art
Collection: Macbeth Gallery Records, c. 1890-1964
Accession number: aaa_macbgall_4878
Local identifier: SFF 89203_0024_bakside
Caption: "Misjonær Malla Moe på besøk i Hafslo 1905. Til v. 3 av barna i Mo: Unni, Sina og Klaus. Til høgre 3 av barna i Tang: Lina, Anna og Karl".
This is the reverse side of the following image: www.flickr.com/gp/fylkesarkiv/gX2DCc
An Ethiopian man enjoys his afternoon khat and the company of his daughter.
This is how khat is consumed and enjoyed in the Afro-Arabian culture. Men retire after lunch to a comfortable room to chew on khat leaves, drink sweet drinks, relax and enjoy the company of family and friends. It is a custom that is thought to be thousands of years old and, locally, is considered no different that the western tradition of drinking coffee in the morning. Of note, coffee originates from Ethiopia but historically khat has been the more favored stimulant substance.
Personal note: I hope that my morning coffee does not give me such a dazed look!
Axel Gallén (keskellä) opiskelijaryhmäkuvassa Académie Julianissa Pariisissa 1880-luvulla.
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: 203x263mm
tekniikka:
merkintöjä:
inventointinumero: Kot.1.a/8
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!
Cabinet card.
Studio of Carl Schwingsmehl, Gratwein.
Bought from an eBay seller in Hamburg, Germany.
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Corneliu Baba was a Romanian painter, primarily a portraitist, but also known as a genre painter and an illustrator of books. Having first studied under his father, the academic painter Gheorghe Baba, Baba studied briefly at the Faculty of Fine Arts in Bucharest. His first public exhibition was in 1934 in the town of Băile Herculane; this led to his studying later that year under Nicolae Tonitza in Iaşi, finally receiving a diploma in Fine Arts in 1938, where he was named assistant to the Chair of Painting in 1939 and a Professor of Painting in 1946. Shortly after his 1948 official debut with a painting called The Chess Player at the Art Salon in Bucharest, he was arrested and briefly imprisoned in Galata Prison in Iaşi.
Despite an initially uneasy relationship with communist authorities who denounced him as formalist, Baba soon established himself as an illustrator and artist. In 1955 he was allowed to travel to the Soviet Union, and won a Gold Medal in an international exhibition in Warsaw, Poland. In 1956, Baba accompanied The Chess Player and two other paintings showed at the Venice Biennale, after which the paintings traveled on to exhibits in Moscow, Leningrad, and Prague. In 1958 Baba was appointed Professor of Painting at the Nicolae Grigorescu Institute of Fine Arts, where Niculiţă Secrieriu and Ștefan Câlția were among his pupils. By this time, his earlier problems with the communist authorities appear to have been smoothed over. In the next decade, both he and his paintings were to travel the world, participating in exhibitions in places as diverse as Cairo, Helsinki, Vienna, and New Delhi. In 1962, the Romanian government gave him the title of People's Artist; in 1963 he was appointed a corresponding member of the Romanian Academy, and in 1964 was similarly honored by the East Berlin Academy of Fine Art. Honors and exhibitions continued to accumulate, ranging from a 1970 solo exhibition in New York City to the receipt of a Red Star decoration in 1971. While his name became a household word in Romania and, to a lesser extent, throughout the Eastern bloc, he never achieved comparable fame in the West.
Perhaps unfashionably for a 20th century painter, Baba consciously worked in the tradition of the Old Masters, although, from the outset of his studies with his father, he was also influenced by expressionism, art nouveau, academicism and "remnants" of impressionism. Baba himself cited El Greco, Rembrandt, and Goya as particularly strong influences. This did not put him in good stead either with the official Socialist realism of the Eastern bloc (where, especially in the early Communist years, he periodically received damning criticism—and sometimes punishment, such as being suspended from teaching—for his "formalism"). Nearly all of Corneliu Baba's work remains in Romania; hardly a major museum in that country is without some of his work.
Unveiling of my painting by the mayor of Rotterdam Ivo Opstelten and alderman van den Anker at the Rotterdam town hall.
Here is the completed painting: www.flickr.com/photos/ennodekroon/275208519/in/set-721576...
Oil on canvas; 165 x 225 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
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Karl Ferdinand Sohn was a German painter of the Düsseldorf school. He was born in Berlin and studied there under Wilhelm von Schadow, whom he followed to Düsseldorf. He treated principally mythical and poetic subjects of a highly romantic character, and painted in the mechanically idealistic manner of the Düsseldorf school. He visited Italy (1830–31) and adopted ideas from the works of the Venetians: Titian, Paolo Veronese, and Palma il Vecchio. In 1832, he was made professor in the Düsseldorf Academy, where he exercised an important influence. He had two sons (Richard Sohn, born in 1834, and Karl Sohn, born in 1845) who grew up to also be painters.
Peder Henrik Kristian Zahrtmann, known as Kristian Zahrtmann, (31 March 1843 - 22 June 1917) was a Danish painter. He was a part of the Danish artistic generation in the late 19th century, along with Peder Severin Krøyer and Theodor Esbern Philipsen, who broke away from both the strictures of traditional Academicism and the heritage of the Golden Age of Danish Painting, in favor of naturalism and realism.
He was known especially for his history paintings, and especially those depicting strong, tragic, legendary women in Danish history. He also produced works of many other genres including landscapes, street scenes, folk scenes and portraits.
He had a far-reaching effect on the development of Danish art through his effective support of individual style among his students during the many years he taught, and by his pioneering use of color.
Number:
163857
Date created:
1932
Extent:
1 photographic print : gelatin silver ; 5 x 8 in.
Front row, seated, from left to right: 1) D. Barnwell; 2) G. Van Benschoten; 3) C. Loeffler; 4) E. Collins; 5) M. Harms; 6) R. Bohlman; 7) W. Wagner; 8) E. Nunn; 9) Elsie Lawler; 10) L. Clark 11) M. Sylvia; 12) M. Counselman; 13) F. Jones; 14) M. Greager; 15) M. Meister; 16) D. Cohen. Second row, from left to right: 1) M. Hodges; 2) D. Diller; 3) M. Carr; 4) R. Fee; 5) A. Templin; 6) A Pierson; 7) K. Dalton; 8) J. Long; 9) I. Way; 10) H. Thuss; 11) V. Roach; 12) E. Edlundh; 13) M Mullan; 14) C. O'Hara; 15) M. Jones; 16) E. Harris; 17) F. Strudell; 18) L. Hohn. Third row, from left to right: 1) E. Bumstead; 2) C. Leyko; 3) A. Arnvall; 4) K. Gallagher; 5) N. Brown; 6) D. Willson; 7) B. Herbst; 8) A. Kalb; 9) E. King; 10) M. Raezer; 11) C. Bethea; 12) M. Cordell; 13) E. Case; 14) K. Johnson; 15) M. Bearss; 16) F. Harkness. Fourth row, from left to right: 1) P. Graham; 2) M. Beamer; 3) J. Meade; 4) P. Strzepek; 5) L. Betz; 6) R. Ward; 7) L. Boutwell; 8) J. Algire; 9) W. McLanahan; 10) M. Michael; 11) A Stecher; 12) A. Finnigan. Back row: 1) H. Kirkwood; 2) G. Staub; 3) F. Lowell; 4) H. Lambert; 5) M. Finnigan.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital School of Nursing--People
Jones, Daisy Belle Barnwell
Van Benschoten, Gladys Mae
Loeffler, Catherine
Ward, Eleanor Collins
Harms, Mary Terwilliger
Miller, Ruby Paul
Bridges, Willie Louise Wagner
Cobb, Edith Nunn
Lawler, Elsie M.
Clark, Laura Reed
Willkinson, Mary Alberta Sylvia
Weed, Mae Counselman
Jones, Frances C.
Dries, Merle Greager
Watson, Margaret Meister
Cohen, Dorothy June
Beeson, Mary Leigh Hodges
Diller, Doris
Norman, Marry E. Carr
Fee, Rachel
Storey, Anna Rowe Templin
Pierson, Amelia Jane
Dalton, Kate Signora
Long, Margaret Jane
Cohen, Isabel Way
Thuss, Helen E.
Alexander, Virginia Roach
Petry, Evelyn Edlundh
Kobes, Mary Catherine Mullan
O'Hara, Catharine M.
Jones, Mary R.
Pool, Etta Harris
Strudell, Fritzie
Hohn, Louise V.
Dole, Evelyn Bumstead
Leyko, Carolyn A.
Arnvall, Alma V.
Gallagher, Kathleen F.
Johnston, Nellie Brown
Willson, Dorothy E.
Herbst, Beatrice L.
Sheats, A. Margaret Kalb
King, Esther V.
Barker, Mary Raezer
Dudley, Carolyn Bethea
Kupina, Mary B. Cordell
Chase, Eva Case
Johnson, Katherine Gilpin
Bearss, Mildred
Harkness, Frances Bradley
Jersin, Pearl Graham
Beamer, Mary E.
Stackhouse, Jeannette Meade
Strzepek, Pauline V.
Betz, Laura M.
Ward, Ruth E.
Bernstein, Lois Boutwell
Hall, Jane Algire
McLanahan, Winifred
Crewe, Mildred Michael
Butler, Anne Stecher
Gilbert, Anne R. Finnigan
Essers, Helen Kirkwood
Staub, Gladys M.
Stafford, Frances Lowell
Burkhardt, Hilda Lambert
Derbyshire, Mary Finnigan
Nursing students--Maryland--Baltimore--1930-1940
Nurses--Maryland--Baltimore--1930-1940
Graduation ceremonies--Maryland--Baltimore--1930-1940
Portrait photographs
Group portraits
Notes: Photographer unknown.