View allAll Photos Tagged groupportraits
Writtten on back: Min farfars tre syskon, Toni är inte med
/ My grandfather's three siblings, Toni is not here
The game of draughts is thought to have originated in around 1100 AD, probably in southern France. It is thought the inventor created this board game by using a Chessboard. The kids of Mali in the picture have done the same thing with this self-made draughts. Creativity, necessity, ability... and they proudly play (and pose..)
Teitl Cymraeg/Welsh title: Tair merch mewn gardd
Dyddiad/Date: 185-
Cyfeiriad/Reference: crj00113 (PG2064/52)
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
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."
Oil on canvas .
Albert Gustaf Aristides Edelfelt was a Swedish-speaking Finnish painter.
Albert Edelfelt was born in Porvoo, Finland. His father Carl Albert was an architect. Edelfelt admired the poet Johan Ludvig Runeberg, who was a friend of the family. The company of Runeberg had a lasting impact on Edelfelt, who from time to time turned to scenes from Finnish history in his paintings. Edelfelt went on to illustrate Runeberg's epic poem The Tales of Ensign Stål. He studied art in Antwerp (1873–1874), Paris (1874–1878) and Saint Petersburg (1881–1882).
He married Baroness (friherinnan) Ellan de la Chapelle in 1888 and they had one child.
Edelfelt was one of the first Finnish artists to achieve international fame. He enjoyed considerable success in Paris and was one of the founders of the Realist art movement in Finland. He influenced several younger Finnish painters and helped fellow Finnish artists such as Akseli Gallen-Kallela to make their breakthrough in Paris. Among his students was Leon Bakst.
Albert Edelfelt was selected as the main motif in a recent Finnish commemorative coin celebrating the 150th anniversary of his birth, the €100 Albert Edelfelt and painting commemorative coin, minted in 2004. The reverse shows an embossed face of the artist.
Cabinet card. Plain back.
Studio of Jean Preim, Damengraben 20, Aachen.
Bought from an eBay seller in Hamburg, Germany.
The photography studio founded by Jean Preim in 1882, today known as Fotohaus Preim GmbH, is one of the oldest photographic establishments in Germany - de.wikipedia.org/wiki/Fotohaus_Preim
Hugo Birger (1854-1887) - Scandinavian artists' lunch at Café Ledoyen, Paris (1886). In the collection of the Gothenburg Museum of Art, Sweden.
This monumental painting shows the festive lunch usually held by the Scandinavian colony of artists in Paris at Café Ledoyen, near the Champs Elysées on the day of the opening of the Salon. Birger, who suffered from rheumatism, took 4 months to complete it and it was literally his last ditch attempt at winning the Salon's prize. He did not get it, but the painting was subsequently well received in Sweden, which may have been a consolation. Birger died the following year of acute tuberculosis at age 33.
Curiously, the Swedish title is "Skandinaviska konstnärers frukost...", which would normally be understood by Swedish (and Norwegian) speakers as "breakfast" rather than "lunch". But what we see on the tables and the general atmosphere of the event does point more towards lunch (of the three-martini variety) rather than breakfast. Could it be that in the 1800's Swedes used "frukost" in the Danish sense, meaning "lunch"?
From 9:00 position, moving clockwise: we have G.I., Laura Utley, M.S., H.R., M.I., H.F., and JLB at 7:00. "Waiting For the Truck Home"
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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.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group portrait of five men, some of whom are dressed women's bathing attire posed climbing clay bluffs; men located in background; View of Goderich and vicinity imprint on left of card; Photographed by R.R. Sallows imprint on right of card; (title On the bluffs written across the bottom)
Object ID : 0326-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Three "Spruce Girls" wearing wood veneer bathing suits sitting under an umbrella and holding wooden boards shaped like feet, Hoquiam, Washington, ca. 1929
Photographer:
Gorst, Vern C.
Subjects (LCSH):
Women--Washington (State)
Bathing suits
Spruces--Washington (State)
Advertising--Washington (State)
Umbrellas
Digital Collection:
Society and Culture Collection
http://content.lib.washington.edu/socialweb/index.html
Item Number: SOC1380
Persistent URL:
http://content.lib.washington.edu/u?/social,1382
Visit Special Collections reproductions and rights page for information on ordering a copy.
University of Washington Libraries. Digital Collections http://content.lib.washington.edu/
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Fifteen men and women seated on porch; many wearing hats or holding instruments; bicycles in foreground; banner suspended from pillars; View of Goderich and vicinity imprint on left of card; Photographed by R.R. Sallows imprint on right of card; (title At Home written across bottom)
Object ID : 0323-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
SFFf-1988007.0055
Members of the Jakob family in front of their home. In front Aagate Samsondatter (1881-1910) and her husband Lars Jacobsen (1872-1934) with their children Olina (1906-?) and Jakob (1904-?). Standing behind them is Jakob Arneson (1848-1936).
Photographer: Anders Folkestadås
Date: 1906
Medium: Glassplate negative
Extent: 8 x 11 cm
www.fylkesarkiv.no/foto/detalj?http://www.sffarkiv.no/sff...
An iPhone SE photo of my grandkids and their relatives on the occasion of Nina’s Bat Mitzvah. Nina is holding the infant. To the right is her sister, Tori and at the far right is their cousin, Laney. I don’t know the names of the other kids.
Nicolae Tonitza was a Romanian painter, engraver, lithographer, journalist and art critic. Drawing inspiration from Post-impressionism and Expressionism, he had a major role in introducing modernist guidelines to local art.
In 1902 he joins the National School of Fine Arts in Iaşi. In 1908 he left for Munich, where he attended the Royal Academy of Fine Arts; he began publishing political cartoons in Furnica (The Ant), and contributing art criticism articles to Arta Română. Tonitza spent the following three years in Paris, where he visited artists' studios, and studied famous paintings. After his return, Tonitza finished his studies. He then painted the churches of Grozeşti, Scorţeni, Silişte, Poeni, Văleni in Moldavia and worked as an art teacher, and then, together with Cezar Petrescu, as editor of Iaşul newspaper. He married Ecaterina Climescu in 1913. In 1916, after Romania entered the WWI, Tonitza was drafted into the Army and fell prisoner to the Bulgarians. He was set free and returned in 1918. During the 1920s, he was a member of the Arta Română group.
His commitment to social commentary is best perceivable in his graphic work, malicious and sometimes dramatic — he sketched for many contemporary, usually political and leftist, magazines. In 1921 he moved to Vălenii de Munte, and decided to cease contributing to the press. It was at the time that he developed his characteristic style and themes. In 1926, Tonitza, Oscar Han, Francisc Şirato, and Ştefan Dimitrescu, organized themselves as "The Group of Four". He met success in 1925, after opening a large exhibit in Bucharest, while raising controversy (including criticism from Ressu) over his "poster-like" style.
He became well known around that time and exhibited internationally. Despite his fame, he continued to live an impoverished and hectic existence, which probably contributed to the decline of his health. Upon Dimitrescu's death in 1933, Tonitza held his chair at the Fine Arts Academy in Iaşi. He participated in several national exhibitions and World Fairs.
His aesthetic options were built around the problems of Impressionism, the achievements of the Post-Impressionists, the decorative trends of Modern Style. His equilibrium, his hedonism, his tempered sensitiveness are turned into the brilliancy of light and color in the harmony between color and line. Beyond the everyday torments, his painting remained serene, expressing a classicist artistic ideal. Highly influential and admired, he inspired several generations of artists with his works, which were at the same time original, strong and vivid.
Boris Grigoriev was a Russian painter and graphic artist. He was born in Rybinsk and studied at the Stroganov Art School from 1903 to 1907. Grigoriev went on to study at the Imperial Academy of Arts in Saint Petersburg under Aleksandr Kiselyov, Dmitry Kardovsky and Abram Arkhipov from 1907 to 1912. He began exhibiting his work in 1909 as a member of Union of Impressionists group, and became a member of the World of Art movement in 1913. At that time he also was interesting in literature, writing novel Young Rays. Grigoriev lived for a time in Paris, where he attended the Académie de la Grande Chaumière. In Paris he was strongly influenced by Paul Cézanne.
After his return to Saint Petersburg in 1913 he became part of the Bohemian scene in St. Petersburg and was close to many artists and writers of the time, such as Sergey Sudeykin, Velimir Khlebnikov and the poet Anna Akhmatova, often painting their portraits. He was also interested in the Russian countryside, its peasants and village life. From 1916 to 1918 he created a series of paintings and graphic works, Russia, depicting the poverty and strength of the Russian peasantry and village life. According to Benois Grigoriev had shown the very essence of Russia in the period before the revolutionary upheaval.
From 1919, Grigoriev traveled and lived abroad in many countries including Finland, Germany, France,USA, Central and South Americas. In 1934 he published his poem Russia (Расея) in American Russian-language newspaper Novoye Russkoye Slovo. The poem was a poetic reflection of his famous Russia series of paintings. He also wrote poem America published only in 2003.
Grigoriev died in Cagnes-sur-Mer in 1939.
Vintage African American photography courtesy of Black History Album, The Way We Were.
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Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group photo of seventeen men and women in park setting; lake bank in background; musical instruments in foreground or in hands of people; single chair on extreme right; y-shaped tree frames image on left; View of Goderich and vicinity imprint on left of card; Photographed by R.R. Sallows imprint on right of card; (title In the park written across bottom)
Object ID : 0319-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Ink, sepia, aquatint.
Nicolae Grigorescu was one of the founders of modern Romanian painting. He was born in Pitaru, Dâmboviţa County, Wallachia. In 1843 the family moved to Bucharest. At a young age (between 1846 and 1850), he became an apprentice at the workshop of the painter Anton Chladek and created icons for the church of Băicoi and the monastery of Căldăruşani. In 1856 he created the historical composition Mihai scăpând stindardul (Michael the Brave dropping the flag), which he presented to the Wallachian Prince Barbu Ştirbei, together with a petition asking for financial aid for his studies.
Between 1856 and 1857, he painted the church of the Zamfira monastery, Prahova County, and in 1861 the church of the Agapia monastery. With the help of Mihail Kogălniceanu, he received a scholarship to study in France. In the autumn of 1861, young Grigorescu left for Paris, where he studied at the École des Beaux-Arts. He also attended the workshop of Sébastien Cornu, where he had as a colleague Pierre-Auguste Renoir. Knowing his weaknesses, he concentrated drawing and composition. However, he soon left this workshop and, attracted by the artistic concepts of the Barbizon school, he left Paris for that village, where he became the associate of artists such as Jean-François Millet, Jean-Baptiste Camille Corot, Gustave Courbet and Théodore Rousseau. Under the influence of the movement, Grigorescu looked for new means of expression and followed the trend of en plein air painting, which was also important in Impressionism. As part of the Universal Exposition of Paris (1867), he contributed seven works. Then he exhibited at the Paris Salon of 1868 the painting Tânără ţigancă (Young Gypsy girl). He returned to Romania a few times and starting in 1870 he participated in the exhibits of living artists and those organized by the Society of the Friends of the Belle-Arts. Between 1873 and 1874 he traveled to Italy, Greece and Vienna. In 1877 he was called to accompany the Romanian Army as a "frontline painter" in the Romanian War of Independence. During the battles at the Grivitsa Strongpoint and Oryahovo, he made drawings and sketches which later used in creating larger-scale works.
In 1889 his work was featured in the Universal Exhibition in Paris and at the Romanian Atheneum. Centerpiece exhibits took place at the Romanian Atheneum would follow in 1891, 1895, 1897, 1902, and 1905. From 1879 to 1890 he worked in France, especially in Vitré, Brittany, and in his workshop in Paris. In 1890 he settled in Câmpina and started depicting pastoral themes, especially portraits of peasant girls, pictures of ox carts on dusty country roads and other landscapes. He was named honorary member of the Romanian Academy in 1899.
Ambrose McCarthy Patterson was a painter and printmaker born in Daylesford, Australia. He studied the Melbourne Art School under E Phillips Fox and Tudor St George Tucker, at the National Gallery Art School in Melbourne and continued his studies in Paris at the Académie Colarossi and the Académie Julian under Lucien Simon, André Lhote and Maxime Maufra. In Paris he became a friend of compatriot, Nellie Melba, the famous soprano. Through her influence, he was able to continue his studies with John Singer Sargent. He became part of the Paris arts scene and exhibited at the first Salon d'Automne exhibitions. He had five paintings at the 1905 Paris Salon at which Henri Matisse and the fauves stunned the art world.
After a visit to his homeland in 1909 or 1910, he spent the following seven years in Hawaii. Following a year in San Francisco, he moved to Seattle to work as a freelance artist, perhaps being the first modern artist in that city. In 1919 he established the University of Washington School of Painting and Design. Patterson married painter and former student Viola Hansen in 1922, and the two became major figures in northwest arts. Patterson's paintings can be found in the Art Gallery of New South Wales (Sydney, Australia), the National Portrait Gallery (Australia), the Philadelphia Museum of Art, the Seattle Art Museum and the Tacoma Art Museum.
Acrylic on canvas.
Tage Åsén (born 1943) is a Swedish graphic artist and painter.
He works in a technique which has been described by art critics as super-realistic or hyper-realistic. The motif in his paintings is a critical "social surrealism" that is predicated on a dark and wry humour. His paintings have been used as covers for a number of books and music albums since his first exhibition (1968).
Most notable among these is perhaps the covers for the Swedish rock group Samla Mammas Manna, ranging from "Måltid" (1972) to "Dear Mamma" (2002).
He also made the book cover paintings of "De heliga geograferna" (1973) and "Guddöttrarna" (1975), the first two books about Sunne by the Swedish writer Göran Tunström
SFFf-1988007.0050
The girls at Kråkeneset photographed by the new lighthouse in 1906. They're all in their best clothes. Front row, from the left: Simiana Jakobsdatter (b. 1882), Marie Jakobsdatter (b. 1890), Ana Jakobsdatter (b. 1892), Inger Arneseth (b. 1890) and Kristine Andersdatter (b. 1890). Back row, from the left: Samuline Haldorsdatter (b. 1887), Anne Olefine Andersdatter (b. 1880), ? (perhaps the cook at the lighthouse), Samuline Andersdatter (1883-1962) and ?.
Photographer: Anders Folkestadås
Date: 1906
Medium: Glassplate negative
Extent: 8 x 11 cm
www.fylkesarkiv.no/foto/detalj?http://www.sffarkiv.no/sff...
Out of the Archives: In June 1923, before licenses were even required for all drivers, Board of Water Supply employees operating City-owned vehicles had these ID photos taken for their chauffeur’s license applications. Photographing 3 or 4 people at a time must have economized on time, film, and printing supplies while leaving us some interesting portraits.
Licenses for all drivers were not required in New York State until 1924.
Left to right: Automobile Engineman James W. Gordon, Division Engineer James A. Guttridge, Assistant Engineer John D. Groves, and Laborer Harvey Marshall. (Image ID:
p011051)
Primavera icon of the springtime renewal of the Florentine Renaissance, is at the summer palazzo of Pierfrancesco de' Medici, as a companion piece to the Birth of Venus and Pallas and the Centaur. Left to right: Mercury, the Three Graces, Venus, Flora, Chloris, Zephyrus.
Renoir was born in Limoges France. When he was four years old, the family moved to Paris. The Renoirs lived near the Louvre, which then was partly a royal palace and partly the museum we know today. The Louvre was the first encounter of the young Renoir with art. At the age of only thirteen he started an apprenticeship at a workshop painting decorations on porcelain. During these years Renoir learned about colors and drawing. He became a skilled craftsman at the porcelain factory. Unfortunately the company went bankrupt and left the young Renoir rethinking about his future.
At the age of twenty, Renoir joined the classical painting school of a Swiss artist in Paris. There he learned how to paint in the style of the old masters. The art scene at that time was rather stiff and dominated by what we would call today The Establishment. Dark colors and photo-realistic artwork was dominant. The Salon, an annual exhibition event, exercised a kind of factual censorship. Artwork that was refused by the Salon had no chance to find a buyer on the market.
Claude Monet, Alfred Sisley, Frederic Bazille and Renoir began to revolt against the traditional art style. They started painting outdoors, which itself was considered to be quite revolutionary. The first Impressionist paintings were created in the forest of Fontainebleau and a nearby lake. The four friends wanted to catch the impression of the moment and to show the effects of light. The Impressionists used quick brush strokes and bright colors. In the eyes of their critics these paintings looked unfinished and sloppily made. It was clear that the Impressionist works would be refused by the Salon. So the Impressionists established their own "Salon des Refuses". This exhibition had no judges. Every artist who paid a small fee, was allowed to show his art works.
When Renoir grew older, his style changed again. It become softer and the outlines more sketchy. He used very strong colors - often reds and oranges - and thick brush strokes. His favorite subjects were young, buxom, nude girls. Stricken with severe arthritis, he was hardly able to hold the brush any more. So he had the brush tied to his wrists. The change in style that lasted from about 1903 to the end of his life, was certainly imposed by his disease.
Photograph [7.9 x 10.9 cm] mounted on card.
Bought from an eBay seller in Winsen, Germany.
The caption reads: "Zur Erinnerung an Sylvester 1903/4. Ernst Wesser." [In memory of New Year’s Eve 1903/4. Ersnt Wesser.]
Portrait of Adeline and friend during the 25th Year SIC Anniversary Family Fiesta 2013
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Two Stagecoach drivers were given the task some years ago of passing round chocolates on Nuneaton Bus Station on Valentine's Day. It was an interesting piece of free advertising and sadly has never been repeated since.
Dapper group of workers posing on boiler, Lovett, Alberta, 1916. From the Godby Family fonds, PR2009.0441/11.
Local accession number: 13_05_000221
Title: Longfellow's children [front]
Statement of responsibility: From the original and beautiful painting by T. Buchanan Reed Esq.
Creator/Contributor: Read, Thomas Buchanan, 1822-1872 (Photographer)
Genre: Photographs; Cartes de visite; Group portraits
Publisher: J. E. Tilton & Co.
Physical description: 1 photograph : print on card mount ; mount 11 x 7 cm (carte de visite format)
General notes: Title from item or from accompanying material.
Date notes: Date from item or from accompanying material.
Subjects: ; Thorp, Annie Longfellow; Dana, Edith Longfellow, 1853-1915; Longfellow, Alice M. (Alice Mary), 1850-1928
Collection: Cartes de Visite Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
Photograph. 14.5 x 19.5 cm (not including mount). Note: full mount not shown, this is all that would fit on the scanner. Top edge has been ommitted to ensure the inclusion of the studio logo.
Poulsen Studios, Brisbane.
Found at work (jammed between some books!).
This is the final ensemble that played at last Saturday's pre-concert. Actually they were the first of the three to play, and because we arrived after they had started, I didn't have much time to photograph them. I ended up only getting a few shots, but this one isn't too bad. They played well, and it's always a pleasure to hear the younger, up and coming groups.
Fuji X-E1; Fujinon XF60mm f/2.4 Macro; Adobe Lightroom 5.7 and Nik Silver Efex Pro 2
E. Bunyan Canton Penna. circa 1910. Looks like a recognition of the 'new' teachers.
Alternative caption: "Dude, you so don't belong here."
Another: "We will make your life hell"
Another: "Space aliens star in Reality Series"
Another: "It's LADIES LOUNGE. Can't you read?"
Another: "Another day of Teacher's Lounge skullduggery."
Or: "YOU tell him that he's adopted."
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Tiny necks, chests and waists
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quidnunc \KWID-nuhngk\, noun: One who is curious to know everything that passes; one who knows or pretends to know all that is going on; a gossip; a busybody.
"What a treasure-trove to these venerable quidnuncs, could they have guessed the secret which Hepzibah and Clifford were carrying along with them!"
--Nathaniel Hawthorne, The House of the Seven Gables
"Some wretched intrigue which had puzzled two generations of quidnuncs."
--L. Stephen, Hours in Library
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“What is sought is the divine Light; the seeker is himself a particle of the light.”
— Najm Kubra
“In the chequered area of human experience the seasons are all mingled as in the golden age: fruit and blossom hang together; in the same moment the sickle is reaping and the seed is sprinkled; one tends the green cluster and another treads the wine-press. Nay, in each of our lives harvest and spring-time are continually one, until Death himself gathers us and sows us anew in his invisible fields.”
— George Eliot, Daniel Deronda
“Not only our memories, but the things we have forgotten are ‘housed.’ Our soul is an abode. And by remembering ‘houses’ and ‘rooms,’ we learn to ‘abide’ within ourselves.”
— Gaston Bachelard
“The quest is to be liberated from the negative, which is really our own will to nothingness…To say yes to one instant is to say yes to all of existence.”
— Waking Life
Oil on canvas; 65 x 80 cm.
José Clemente Orozco was a Mexican social realist painter, who specialized in bold murals that established the Mexican Mural Renaissance together with murals by Diego Rivera, David Alfaro Siqueiros, and others. Orozco was the most complex of the Mexican muralists, fond of the theme of human suffering, but less realistic and more fascinated by machines than Rivera. Mostly influenced by Symbolism, he was also a genre painter and lithographer. Between 1922 and 1948, Orozco painted murals in Mexico City, Orizaba, Claremont, California, New York City, Hanover, New Hampshire, Guadalajara, Jalisco, and Jiquilpan, Michoacán. His drawings and paintings are exhibited by the Carrillo Gil Museum in Mexico City, and the Orozco Workshop-Museum in Guadalajara. Orozco was known for being a politically committed artist. He promoted the political causes of peasants and workers
"Raphael Soyer and his identical twin brother, Moses, were born Russia in 1899. Their father, a Hebrew scholar, writer and teacher, raised his five children in an intellectual environment in which much emphasis was placed on academic and artistic pursuits. Due to Russian oppression, the Soyer family was forced to emigrate in 1912 to the United States, where they ultimately settled in the Bronx.
Raphael pursued his art education at the free schools of the Cooper Union where he met Chaim Gross, who became a lifelong friend. He continued his studies at the National Academy of Design and the Art Students League in New York. While there, he studied with Guy Pene du Bois and Boardman Robinson, taking up the gritty urban subjects of the Ashcan school.
After his formal education ended, Soyer became associated with the Fourteenth Street School of painters Soyer persistently investigated a number of themes—female nudes, portraits of friends and family, New York and, especially, its people—in his paintings, drawings, watercolors and prints. He was adamant in his belief in representational art and strongly opposed the dominant force of abstract art during late 1940s and early 1950s. Defending his position, he stated: "I choose to be a realist and a humanist in art."
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group portrait of men standing in distance, facing front. Most dressed in dark suits, coats, wearing hats. Two small girls in pinafores & straw hats stand in front row. Steam shovel on right, iron rails scattered in foreground; Maitland River flats and town of Goderich in background. Sallows imprint on bottom right of matte. Title written across bottom: Turning First Sod, Goderich and Guelph Railway, September 12, 1904
Object ID : 0471-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
"After graduating from the Slobodsk Real School in 1912, he entered the Moscow School of Painting, Sculpture and Architecture where his teachers were N.Kasatkin, A.Vasnetsov, A.Arkhipov and K.Korovin and graduated from it in 1917 as a first category artist. In 1923 he moved to Moscow and worked as a teacher of graphic arts at the Military Academy. From then on, Luppov was a participant of all exhibitions of AKHRR (Association of Artists of Revolutionary Russia) and later of all exhibitions organized by the Union of Artists he joined in 1932."
PsP gallery (buy PsP pictures on SmugMug)
PsP (Wordpress)
500px
www.instagram.com/pspimages4u/
Shutterstock
As our boat touched shore at various villages, we were often greeted by children. At this particular village, the children seemed particularly excited at our arrival. We soon saw why - there was a new batch of puppies in the village and the children could not wait to show them to us. These poor puppies were dragged around by the children as we walked throughout the village with the mother dog following anxiously behind.
A Bozo Daga (unnamed village), Mali
For greater "puppy detail", please view in the light box (click L or the photo).
Explore #446 on Nov 19, 2011