View allAll Photos Tagged groupportraits
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Studio portrait of two young boys, full-length, facing front; boy on left stands holding handles of wheelbarrow; boy on right is seated in wheelbarrow; both boys wear dark jackets, knickers and caps, black stockings and boots; Sallows imprint in bottom right corner of matte
Object ID : 0509-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
André Derain, (b. June 10, 1880, Chatou, France—d. September 8, 1954, Garches), French painter, sculptor, printmaker, and designer who was one of the principal Fauvists.
Derain studied painting in Paris at the Académie Carriere from 1898 to 1899. He developed his early style in association with Maurice de Vlaminck, whom he met in 1900, and with Henri Matisse, who had been Derain’s fellow student at the Académie Carriere. Together with these two painters, Derain was one of the major exponents of Fauvism from 1905 to 1908. Like the other artists who worked in this style, he painted landscapes and figure studies in brilliant, sometimes pure colours and used broken brushstrokes and impulsive lines to define his spontaneous compositions.
Derain broke with Fauvism in 1908, when he was temporarily influenced by the works of the Post-Impressionist painter Paul Cézanne. Derain worked for a few years in a stylized form of Cubism, but by the 1920s his paintings of nudes, still lifes, and portraits had become increasingly Neoclassical, and the spontaneity and impulsiveness that had distinguished his earlier work gradually disappeared. His art underwent virtually no change after the 1920s, though his more conservative style brought him financial success.
Derain had considerable ability as a decorator and created theatrical designs, notably for the Ballets Russes. He also produced numerous book illustrations, often in woodcut, for works by authors such as François Rabelais, Antonin Artaud, and André Breton.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Studio portrait of man and woman, full-length, facing front; woman standing on left wears long black dress, trimmed with black velvet, white collar; man seated on right wears black jacket, buttoned at top, black pants, boots and glove on right hand, holds book in lap; painted backdrop; floral carpet in foreground; Sallows imprint on back of photocard
Object ID : 0539-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Number:
179349
Date created:
1996
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row: 1) Hom; 2) Torjesen; 3) McMillan; 4) Barone; 5) Dover; 6) Domenech; 7) Ahn; 8) Curet; 9) O'Grady; 10) Gerald; 11) Misra.
Second row: 1) Chiello; 2) Siberry; 3) Sills; 4) Cabana; 5) Neuhaus; 6) Slote; 7) Naiman; 8) Wong.
Third row: 1) Kruse; 2) Bardwell; 3) Kadan; 4) LaRosa; 5) Lee; 6) O'Brien; 7) Levey; 8) Metcalf.
Fourth row: 1) Sharkey; 2) Gould; 3) Nguyen; 4) Cuervo; 5) Ferran; 6) Nunez; 7) Crocetti.
Fifth row: 1) Macauley; 2) Jacobs; 3) Meshinchi; 4) Rockcress; 5) Rice; 6) Loeb; 7) Johnson; 8) Leary; 9) Chaitovitz; 10) Ganunis.
Back row: 1) Lovejoy; 2) Barbe; 3) Rosenthal; 4) Mailander; 5) Dudas; 6) Snead; 7) Kumar; 8) Krugman; 9) Barker; 10) Saha.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital. Department of Pediatrics--People
Hom, Xenia B.
Torjesen, Kristine A.
McMillan, Julia
Barone, Michael A.
Dover, George
Domenech, Laura
Ahn, Sook Hee
Curet-Salim, Maria Theresa
O'Grady, Denise Maryann
Gerald, Laura Iris Nadine
Misra, Vinod Kumar
Chiello, Christine
Siberry, George Kelly
Sills, Marion Ruth
Cabana, Michael D.
Neuhaus, Ellen M.
Slote, Adam Y.
Naiman, Beverly
Wong, Hui-Hsing
Kruse, Debra Lynne
Bardwell, Susan A.
Kadan, Nina Singh
LaRosa, Angela Rose
Lee, Lucia H.
O'Brien, Colleen Hope
Levey, Eric B.
Metcalf, Teri S.
Sharkey, Martha Ann
Gould, Rebecca B.
Nguyen, Theresa T. H.
Cuervo, Elizabeth Halstead
Ferran, Diane A.
Nunez, Jeanne Sabine
Crocetti, Michael T.
Macauley, Robert C. Jr.
Jacobs, Rebecca F.
Meshinchi, Soheil
Rockcress, Beth R.
Rice, James W.
Loeb, David Mark
Johnson, Mary Heather
Leary, Margaret Chaitovitz, Susan Joan
Ganunis, Travis F.
Lovejoy, John Cooper
Barbe, John David
Rosenthal, Marjorie Sue
Mailander, Mary Catherine
Dudas, Robert Arthur
Snead, Katie L.
Kumar, Gaurav
Krugman, Scott Daniel
Barker, Piers Christopher
Saha, Prantik
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Telemaco Signorini was an Italian artist who belonged to the group known as the Macchiaioli. He was born in Florence, and with the encouragement of his father, a court painter for the Grand Duke of Tuscany, he decided to study painting. In 1852 he enrolled at the Florentine Academy, and by 1854 he was painting landscapes en plein air. The following year he exhibited for the first time. In 1855, he began frequenting the Caffè Michelangiolo in Florence, where he met Giovanni Fattori, Silvestro Lega, and several other Tuscan artists who would soon be dubbed the Macchiaioli. The Macchiaioli, dissatisfied with the antiquated conventions taught by the Italian academies of art, started painting outdoors in order to capture natural light, shade, and color. They were forerunners of the French Impressionists.
Signorini was a volunteer in the Second Italian War of Independence in 1859, and afterwards painted military scenes which he exhibited in 1860 and 1861. He made his first trip outside Italy in 1861 when he visited Paris, to which he would often return . There he met Degas and a group of expatriate Italian artists, including Giovanni Boldini. He became not only one of the leading painters of the Macchiaioli, but also their leading polemicist. Art historian Giuliano Matteucci has written: "If we acknowledge Fattori and Lega as the major creative figures of the macchiaioli, then Signorini must surely be recognized as their 'deus ex machina'", describing his role as "that of catalyst and energetic doctrinarian. In transforming attention away from history painting and the academic portrait towards a new poetical interpretation of natural landscape, the part of Signorini was of fundamental consequence to macchiaioli painting.
Easter Vigil Mass
Baptism RCIA 2020/2021 Mandarin
Celebrant: Father Martin Then, CDD and Father Andrew Wong, CDD
Outdoor group portrait of children and adults in Hungary, 1940s, dressed for a formal or community event.
Vasily Ivanovich Surikov was the foremost Russian painter of large-scale historical subjects. His major pieces are among the best-known paintings in Russia. He was born in Krasnoyarsk, Siberia, where a monument to him was recently opened by his great-grandsons. In 1869-1871 he studied under Pavel Chistyakov at the Imperial Academy of Arts.
In 1877, Surikov settled in Moscow, where he contributed some imposing frescoes to the Cathedral of Christ the Savior. In 1881 he joined the Peredvizhniki movement. From 1893 he was a full member of the St.Petersburg Academy of Arts. Surikov painted images from Russia's past that focused on the lives of ordinary people. His works are remarkable for the original way in which they represent space and movements of people. In some cases he seems to have painted the same image in more than one size, probably as a prototype to a bigger image which he has in his mind, or he may have liked the smaller version so much that he decided it would look nicer when enlarged.
Photographer: ?
Date: ? 1909 -1912
Location: Bucharest, Romania
The portrayed: Group of professors at the Bucharest's Faculty of Medicine; the second from left, in the sitting row, seems to be Thoma Ionescu (1860-1926), the great surgeon and anatomist (at that time dean of the medical school ( ro.wikipedia.org/wiki/Thoma_Ionescu) (; the first from left (half of face, only), in the standing row, probably is Nicolae Paulescu(http://en.wikipedia.org/wiki/Nicolae_Paulescu ) (1869-1931;one of the discoverers of Insulin) (he became professor of medicine in 1900)(; the little bald gentleman, with black moustache, fourth from left, in the standing row, is, for sure, Alexandru Obregia, the psychiatrist; he became professor of medicne in 1909; the photo was from his album.
Help from Romanian historians of medicine, would be very welcome.
Format: remains of a bigger photo, on cardboard; although in a deplorable state, I feel it to be too interesting, not to be known.
(By courtesy of Mrs. Lilian Theil)
Lovely Family from Swampscott, MA with Relatives from California on Commonwealth Avenue Mall, Boston, MA
Dario Ortiz is a Colombian neo-realistic artist known for his contemporary compositions based on classic subjects. He is a leading figure of the Renaissance of the contemporary narrative art in Latin America. He is a self taught artist. Between 1990 and 1991 he studied History and Art Appreciation in the Jorge Tadeo Lozano University; Contemporary art with the Art Critic Juan Carlos Conto. He won an award in the II Artistic World Art-Vie in Paris (1990) and another in the XI Italy prize for the visual arts in Florence (1996). “His paintings are complex interplays of forms in space that document an emotional as well as a physical process and are as disturbing as they are convincing in their reality.” said art critic Carol Damian Director of The Frost Art Museum of Miami.
Mayday 1919
*
"At every moment, behind the most efficient seeming adult exterior, the whole world of the person's childhood is being carefully held like a glass of water bulging above the brim. And in fact, that child is the only real thing in them. It's their humanity, their real individuality, the one that can't understand why it was born and that knows it will have to die, in no matter how crowded a place, quite on its own. That's the carrier of all the living qualities. It's the center of all the possible magic and revelation."
- Ted Hughes
"And that's how we measure out our real respect for people - by the degree of feeling they can register, the voltage of life they can carry and tolerate - and enjoy. End of sermon. As Buddha says: live like a mighty river. And as the old Greeks said: live as though all your ancestors were living again through you."
- Ted Hughes
Henri Cartier-Bresson (August 22, 1908 – August 3, 2004) was a French photographer considered to be the father of modern photojournalism. He was an early adopter of 35 mm format, and the master of candid photography. He helped develop the "street photography" or "life reportage" style that has influenced generations of photographers who followed.
Cartier-Bresson was born in Chanteloup-en-Brie, Seine-et-Marne, France, the oldest of five children. His father was a wealthy textile manufacturer, whose Cartier-Bresson thread was a staple of French sewing kits. His mother's family were cotton merchants and landowners from Normandy, where he spent part of his childhood. The Cartier-Bresson family lived in a bourgeois neighborhood in Paris, near Le Pont de l Europe (the Europe Bridge), the point where six major avenues crossed, leading out in all directions: the Rue de Berne, the Rue de St. Petersbourg, the Rue de Constantinople, the Rue de Madrid, the Rue de Vienne (Vienna), the Rue de Londres (London), and the Rue de Berlin.[1] His parents were able to provide him with financial support to develop his interests in photography in a more independent manner than many of his contemporaries. Cartier-Bresson also sketched in his spare time.
As a young boy, Cartier-Bresson owned a Box Brownie, using it for taking holiday snapshots; he later experimented with a 3×4 inch view camera. He was raised in a traditional French bourgeois fashion, required to address his parents using the formal vous rather than the familiar tu. His father assumed that his son would take up the family business, but the youth was strong-willed and upset by this prospect.
He attended École Fénelon, a Catholic school that prepared students to attend Lycée Condorcet. The proctor caught him reading a book by Rimbaud or Mallarmé, and reprimanded him: "Let's have no disorder in your studies!" Cartier-Bresson said, "He used the informal 'tu'-which usually meant you were about to get a good thrashing. But he went on: 'You're going to read in my office.' Well, that wasn't an offer he had to repeat."[2]
In 1952, Cartier-Bresson published his book Images à la sauvette, whose English edition was titled The Decisive Moment. It included a portfolio of 126 of his photos from the East and the West. The book's cover was drawn by Henri Matisse. For his 4,500-word philosophical preface, Cartier-Bresson took his keynote text from the 17th century Cardinal de Retz: "Il n'y a rien dans ce monde qui n'ait un moment decisif" ("There is nothing in this world that does not have a decisive moment"). Cartier-Bresson applied this to his photographic style. He said: "Photographier: c'est dans un même instant et en une fraction de seconde reconnaître un fait et l'organisation rigoureuse de formes perçues visuellement qui expriment et signifient ce fait" ("To me, photography is the simultaneous recognition, in a fraction of a second, of the significance of an event as well as of a precise organization of forms which give that event its proper expression.").[8]
Both titles came from publishers. Tériade, the Greek-born French publisher whom Cartier-Bresson idolized,[peacock term] gave the book its French title, Images à la Sauvette, which can loosely be translated as "images on the run" or "stolen images." Dick Simon of Simon & Schuster came up with the English title The Decisive Moment. Margot Shore, Magnum's Paris bureau chief, did the English translation of Cartier-Bresson's French preface.
"Photography is not like painting," Cartier-Bresson told the Washington Post in 1957. "There is a creative fraction of a second when you are taking a picture. Your eye must see a composition or an expression that life itself offers you, and you must know with intuition when to click the camera. That is the moment the photographer is creative," he said. "Oop! The Moment! Once you miss it, it is gone forever."[9]
Cartier-Bresson held his first exhibition in France at the Pavillon de Marsan in the Louvre in 1955.
Cartier-Bresson died in Montjustin (Alpes-de-Haute-Provence, France) on August 3, 2004, aged 95. No cause of death was announced. He was buried in the local cemetery and was survived by his wife, Martine Franck, and daughter, Mélanie.
Cartier-Bresson spent more than three decades on assignment for Life and other journals. He traveled without bounds, documenting some of the great upheavals of the 20th century — the Spanish civil war, the liberation of Paris in 1944, the 1968 student rebellion in Paris, the fall of the Kuomintang in China to the communists, the assassination of Mahatma Gandhi, the Berlin Wall, and the deserts of Egypt. And along the way he paused to document portraits of Camus, Picasso, Colette, Matisse, Pound and Giacometti. But many of his most renowned photographs, such as Behind the Gare St. Lazare, are of ordinary daily life, seemingly unimportant moments captured and then gone.
Cartier-Bresson was a photographer who hated to be photographed and treasured his privacy above all. Photographs of Cartier-Bresson do exist, but they are scant. When he accepted an honorary degree from Oxford University in 1975, he held a paper in front of his face to avoid being photographed.[2] In a Charlie Rose interview in 2000, Cartier-Bresson noted that it wasn't necessarily that he hated to be photographed, but it was that he was embarrassed by the notion of being photographed for being famous.[12]
Cartier-Bresson believed that what went on beneath the surface was nobody's business but his own. He did recall that he once confided his innermost secrets to a Paris taxi driver, certain that he would never meet the man again.
In 2003, he created the Henri Cartier-Bresson Foundation with his wife and daughter to preserve and share his legacy.
Number:
179346
Date created:
1995
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row: 1) Loomes; 2) Shim; 3) Price; 4) Girman; 5) Gajary; 6) Reis; 7) Fragetta; 8) Dover; 9) McMillan; 10) Brubaker; 11) Wright; 12) Bucchieri; 13) Vienna.
Second row: 1) Kwiatowski; 2) Rheingold; 3) Goodman; 4) Bogen; 4) Ginsberg; 5) Beck; 6) Koch; 7) Phillips; 8) Sibinga; 9) Hom.
Third row: 1) Cabana; 2) Cuervo; 3) Gould; 4) Bardwell; 5) Shoves; 6) Goodstein; 7) Johns; 8) Brinkmann; 9) Sills; 10) Ratanawongsa.
Fourth row: 1) LaBella; 2) Snead; 3) Kruse; 4) Chaitovitz; 5) Nguyen; 6) Leary. Fifth row: 1) Torjesen; 2) Crocetti; 3) Marino; 4) Meshinchi; 5) Rice; 6) Loeb; 7) Chen.
Back row: 1) Brown; 2) Dudas; 3) Levey; 4) Slote; 5) Gilbert; 6) Lee; 7) Saha; 8) Hearns; 9) Clemens.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital. Department of Pediatrics--People
Loomes, Kathleen M.
Shim, Hyunbo H.
Price, Laura
Girman-Ratan, Andrea Marie
Gajary, Zia L.
Reis, Brijit Meehan-Bert
Fragetta, James E.
Dover, George
McMillan, Julia
Brubaker, Gillian L.
Wright, Gail Elizabeth
Viennas, Zaharoula A.
Kwiatkowski, Janet L.
Rheingold, Susan Robbins
Goodman, Stanton C.
Bogen, Debra L.
Ginsberg, Jill Phillips
Beck, Valerie Anne
Phillips, Susan A.
Sibinga, Erica M.
Hom, Xenia B.
Cabana, Michael D.
Cuervo, Elizabeth Halstead
Gould, Rebecca B.
Bardwell, Susan A.
Shores, Jennifer Clare
Goodstein, Miriam R.
Johns-Femino, Christina
Brinkmann, Kirsten M.
Sills, Marion Ruth
Ratanawongsa, Boosara
LaBella, Cynthia Rose
Snead, Katie L.
Kruse, Debra Lynne
Chaitovitz, Susan Joan
Nguyen, Theresa T. H.
Torjesen, Kristine A.
Crocetti, Michael T.
Marino, Bradley S.
Meshinchi, Soheil
Rice, James W.
Loeb, David Mark
Chen, Kathleen J.
Brown, Robert Clark
Dudas, Robert Arthur
Levey, Eric B.
Slote, Adam Y.
Gilbert, Donald L.
Lee, Lucia H.
Saha, Prantik
Hearns, Michelle L.
Clemens, Christopher T.
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Oil on Canvas; 85 × 69 cm (33.46 × 27.17 in)
One of the leading Austrian painters of the Biedermeier period. He studied at the Vienna Academy. He lived in Bratislava, then worked as a teacher of art in the house of Count Gyulay. After his return to Vienna, he copied pictures of old masters, and painted portraits, genre subjects, and still-life, but is perhaps best known for his landscapes, which in their loving attention to detail illustrate his belief that the close study of nature should be the basis of painting. He became the most significant representative of Biedermeier: he was second to none in depicting nature in delicate colours. His many genre-pictures are also significant. He became a teacher of the Vienna Academy. However, his views were in opposition to the official doctrines of ideal art promulgated by the Vienna Academy, and after he had published his works on art education, he was forced to retire in 1857. He was rehabilitated in 1863.
Keith, John Frank, 1883-1947, photographer.
ca. 1910-1940
1 photographic print : gelatin silver; 14 x 9 cm. (5.5 x 3.5 in.)
Image provided for reference purposes. Please visit our rights and reproductions website for information about obtaining publication-quality reproductions: www.librarycompany.org/collections/rightsrepro/index.htm.
Oil on burlap; 190 x 285 cm.
Anselm Kiefer is a German painter who became one of the most prominent figures in the Neo-Expressionist art movement of the late 20th century.
Kiefer abandoned his law studies at the University of Freiburg in 1966 to pursue art. He subsequently studied at art academies in Freiburg, Karlsruhe, and Dusseldorf. In the latter city in 1970 he became a student of the conceptual artist Joseph Beuys, who encouraged Kiefer’s early use of symbolic photographic images to deal ironically with 20th-century German history. Beuys also encouraged Kiefer to paint, and in such huge paintings as “Germany’s Spiritual Heroes” (1973) and “Operation Sea Lion” (1975) Kiefer was able to develop an array of visual symbols by which he could comment with irony and sarcasm on certain tragic aspects of German history and culture, in particular the Nazi period. These paintings used garish, somber colors and coarse, naive drawing, but they did achieve powerful effects owing to their imaginative allusions to Nazism. In the 1970s he also painted a series of landscape vistas that capture the rutted and somber look of the German countryside and that use linear perspective with great dramatic effect.
Kiefer’s landscapes and interiors done in the 1980s acquired an intense physical presence by means of perspectival devices and the incorporation of unusual textures on the surface of the painted canvas. Though Kiefer continued to treat Germany’s Nazi past in such paintings as “Interiors” (1981), the range of his themes broadened to include references to ancient Hebrew and Egyptian history, as in the large painting “Osiris and Isis” (1985–87).
Taken near Pisaq, Peru. © 2013 All Rights Reserved.
My images are not to be used, copied, edited, or blogged without my explicit permission.
Please!! NO Glittery Awards or Large Graphics...Buddy Icons are OK. Thank You!
I'm posting some more photos from a two-week trip to Peru November 24 to December 7, 2001.
This was a year and a half before my first digital camera and so have been scanned from prints.
Monday we flew into Cusco and bussed to Wilka Ti'ka, near Urubamba, where we slept all week, Tuesday we explored Ollantaytambo, Wednesday three of us taxied to Chinchero, and now it's Thursday, market day at Pisaq. But first our group hiked up to the archeological site high above the town. There our group of tourists from Montana met a group of touring schoolchildren from Cusco.
We had to have a group portrait!
Have a bright and cheerful day, my Flickr friends! Thanks so much for your visits and sharing my experience in Peru with me. I'll be posting all the photos I wish to scan from this trip in the next week or two. I hope it's not an overdose for you!
ODT - group of people
Albumen print. 6.9 x 10.7 cm.
Bought from an eBay seller in Old Kilpatrick, Dunbartonshire, Scotland.
Number:
179495
Date created:
1988
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row, from left to right: 1) DeAngelis; 2) Barnes; 3) Oski.
Second row, from left to right: 1) Lewis; 2) Zuckerberg; 3) McColley; 4) Resar; 5) Fasano; 6) Atton; 7) May; 8) McGrath-Morrow.
Third row, form left to right: 1) Reardon; 2) Keller; 3) Solow; 4) Wong; 5) Kapphahn; 6) Markel; 7) Scharfstein; 8) Ballaban; 9) Livingston.
Fourth row, from left to right: 1) Greene; 2) Cortese; 3) Cooke; 4) Christenson; 5) Daft; 6) Morrison; 7) Bazell; 8) Bernstein; 9) Pao; 10) Scheel; 11) Hart.
Fifth row, from left to right: 1) Orel; 2) Besser; 3) Broadbent; 4) Ragheb; 5) Baldwin; 6) Egan; 7) Thomas; 8) Elder; 9) Wittpenn; 10) Pearson; 11) Shenker.
Back row, from left to right: 1) Duggan; 2) Wechsler; 3) Molrine; 4) Orzech; 5) Funkhouser; 6) Burns; 7) Flotte; 8) Shearer; 9) Johnson.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital. Department of Pediatrics--People
DeAngelis, Catherine D.
Barnes, Steven D.
Oski, Frank A
Lewis, Lisa S.
Zuckerberg, Aaron L.
McColley, Susanna A.
Resar, Linda Smith
Fasano, Mary B.
Atton, Andrew Vincent
May, Michael W.
McGrath-Morrow, Sharon Ann
Reardon, David A.
Keller, Bradley B.
Solow, Linda A.
Wong, Jackson
Kapphahn, Cynthia Joyce
Markel, Howard
Scharfstein, Suzanne King
Ballaban, Karen R.
Livingston, Robert Alan
Greene, Mary G.
Cortese, Margaret Mary
Cooke, David William
Christenson, Marie J.
Daft, Paula A.
Morrison, Leslie Anne
Bazell, Carol Martin
Bernstein, Elizabeth F.
Pao, Maryland
Scheel, Janet Nagle
Hart, Carolyn Elizabeth
Orel, Howard N.
Besser, Richard E.
Broadbent, Kenneth R.
Ragheb, Jack A.
Baldwin, Robert M.
Egan, Marie E.
Thomas, Pamela M.
Elder, Melissa A.
Wittpenn, Ann Saylor
Pearson, Ellyn B.
Shenker, Andrew
Duggan, Christopher Paul
Wechsler, Daniel S. G.
Molrine, Deborah Claire
Orzech, Bonnie L.
Funkhouser, Ann Ward
Burns, Stephanie Ann
Flotte, Terrence R.
Shearer, Patricia D.
Johnson, Kevin Brian
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Number:
179758
Date created:
1969
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row, from left to right: 1) Headings; 2) Brayton; 3) Swick; 4) Jones; 5) Michra; 6) Cooke; 7) Debuskey; 8) Asnes.
Second row, from left to right: 1) Scheidt; 2) Magee; 3) Alter; 4) McCloskey; 5) Finkel; 6) Rachelefsky; 7) Bernstein; 8) Kallen; 9) Camitta; 10) Bland; 11) Suskind.
Third row, form left to right: 1) Polmar; 2) Mellies; 3) Kesler; 4) Schwarz; 5) Parks; 6) Sheff; 7) Sheff; 8) Smith; 9) Maxwell; 10) Kolsky; 11) Chesney.
Fourth row, from left to right: 1) Elliott; 2) Nissley; 3) Robinson; 4) English; 5) Simon; 6) Force; 7) Adams; 8) Brown; 9) Reider; 10) Stevenson.
Fifth row, from left to right: 1) Bucknall; 2) Lipmann; 3) Joffrion; 4) DeVoe; 5) Paige; 6) Waller; 7) Tori; 8) Myers; 9) Bowyer; 10) Thoene; 11) Kelly; 12) Holden; 13) Kerr; 14) Austin.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital. Department of Pediatrics--People
Headings, Dennis L.
Brayton, James B.
Swick, Herbert M.
Jones, Kenneth B.
Mishra, Baruni
Cooke, Robert E.
Debuskey, Buster Matthew
Asnes, Russell S.
Scheidt, Peter C.
Magee, Kenneth G.
Alter, Blanche P.
McCloskey, Keith R.
Finkel, Annette
Rachelefsky, Gary S.
Bernstein, Michael T.
Kallen, Lowell H.
Camitta, Bruce M.
Bland, Richard Suskind, Robert Polmar, Stephen H.
Mellies, Margot J.
Kesler, Richard W.
Schwarz, Milton D.
Parks, Gary A.
Sheff, Robert N.
Arnold, Bonnie Smith
Maxwell, Margaret E.
Kolsky, Neil H.
Chesney, Russell W.
Elliott, Jan A.
Nissley, Peter S.
Robinson, Lawrence D.
English, Joseph M. III
Simon, Frank A.
Force, Judson F.
Adams, Myron J.
Brown, James R.
Reider, Ronald O.
Stevenson, Roger E.
Bucknall, William E.
Lipmann, Ellen E. M.
Joffrion, Van C.
DeVoe, William F.
Paige, David M.
Waller, David A.
Tori, Carlos A.
Myers, Martin G.
Bowyer, Frank P.
Thoene, Jess G.
Kelly, P. Colin
Holden, Kenton R.
Kerr, Douglas S.
Austin, Tom L.
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
1870-1910
George & George's Federal Studio.
Group portrait of seven young women, seated, two holding tennis rackets.
Visit our catalogue to download a hi-res copy or find out more about this image: handle.slv.vic.gov.au/10381/18545
Want to find more pictures from the State Library of Victoria's collections? guides.slv.vic.gov.au/pictures
Photograph. 5.4 x 8.2 cm [not including mount]. Plain back.
Bought from an eBay seller in Winsen, Germany.
Could that be a box camera sitting on the bench at right of frame?
81 x 65 cm
Anker was a painter and illustrator who has been called the "national painter" of Switzerland because of his enduringly popular depictions of 19th-century Swiss village life. He took early drawing lessons with Louis Wallinger in 1845–48. In 1849–51, he attended the Gymnasium in Berne. Afterwards, he studied theology, in Berne and continuing in Germany. In Germany he was inspired by the great art collections, and in 1854 he convinced his father to agree to an artistic career. He moved to Paris, where he studied with Charles Gleyre and attended the Ecole Impériale et Spéciale des Beaux-Arts in 1855–60. In 1866, he was awarded a gold medal at the Paris Salon for Schlafendes Mädchen im Walde (1865) und Schreibunterricht (1865); in 1878 he was made a knight of the Légion d'honneur.
During his studies, Anker produced a series of works with historical and biblical themes. Soon after returning to Switzerland, though, he turned the everyday life of people in rural communities. His paintings depict his fellow citizens in an unpretentious and plain manner, without idealizing country life, but also without the critical examination of social conditions that can be found in the works of contemporaries such as Daumier, Courbet or Millet. Although Anker painted occasional scenes with a social significance, such as visits by usurers or charlatans to the village, his affirmative and idealistic Christian world-view did not include an inclination to issue any sort of overt challenge.
Anker was quick to reach his artistic objectives and never strayed from his chosen path. His works, though, exude a sense of conciliation and understanding as well as a calm trust in Swiss democracy; they are executed with great skill, providing brilliance to everyday scenes through subtle choices in coloring and lighting. His work made him Switzerland's most popular genre painter of the 19th century, and his paintings have continued to enjoy a great popularity due to their general accessibility. Indeed, as a student, Anker summed up his approach to art as follows: "One has to shape an ideal in one's imagination, and then one has to make that ideal accessible to the people."
Depicts the family of five women, a man, and a boy posed in front of their two-story house with a porch, trellis, and picket fence. The boy stands next to a dog, the man sits astride a horse, and the women stand behind the fence. (The United States View Company, was established by Newton Graybill and Lewis Garman of Richfield, Pennsylvania in the 1890s. It was one of several view companies which employed operators and salesmen to photograph and sell the prints of small town residents posed in front of their homes and community buildings.) P.9253.74
Link to record on ImPAC, the Library Company’s digital collections catalog: lcpdams.librarycompany.org:8881/R/-?func=dbin-jump-full&a...
Number:
174332
Creator: Brinley of Baltimore
Date created:
1965
Extent:
1 photographic print : gelatin silver ; 11 x 14 in.
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
Acheson, Sarah Jennie
Adams, Mrs. Mary Harris
Arnsberger, Patricia L.
Austin, Mary Redburn
Benton, Denise Webster
Bernard, Elizabeth (Beth) R.
Bauman, Rae Blevins
Boldman, Alana
Boyd, Judith L.
Bruening, Susan Ellen
Burris, Judith
Caruso, Teresa
Chapman, Brenda E.
DiBagio, Julie (Julia) Clark
Davies, Linda Joan
Barber, Sherry Dence
Duford, Dorothy
Dunn, Elizabeth L.
Hood, Nancy Eddleman
Egbert, Anne Coleman
McLaughlin, Cynthia Enyedy
Fable, Mrs. Donna Stine
Ford, Claire S.
Spalla, Rebecca Furbay
Galinat, Margaret Joy
Segre, Margaret Gerber
Goyert, Linda
Greene, Leslie F.
Haldeman, Georgiann
Denny, Ann Louise Harkness
Harvey, Ann Regina
Heim, Stephanie
Hess, Kathleen L.
Leiendecker, Margaret Huff
Hultberg, Vicki E.
Hyatt, Susan
Jacobs, Nancy Ann
Solberg, Leslie James
Kistler, Anne E.
Koones, Kathleen Adams
Lesher, Marilyn Kutz
LaCroix, Donna Mexger
Landis, Carol A.
LaReau, Karen
Wilverding, Susan MacLean
McMillan, Joan
Matherly, Sandra Cummins
Hohnstein, Doris Mathis
Snyder, Marguerite Tod Motley
Ryan, Anne Mullady
Newberry, Karen
Stamoolis, Evelyn Nilsson
Norman, Barbara
Ochs, Gail Geiger
Wallace, Paula Patterson
Paul, Charlene
Perley, Judith Gail
Dempsey, Ellen Posey
Pritchard, L. Jane Greenamyre
Purnell, Jane Evans
Rees, Mary R.
Jones, Kathleen Rene Robbins
Zecha, Carol Robinson
Sands, Dorothy L.
Schmidt, Nancy E.
Jordan, Carol Schmidt
Schneider, Karen
Hermann, Stacy Schneir
Rees, Bonita Shattuck
Simmons, Valerie
Maddrey, Elizabeth (Beth) Snow
Soper, Joan R.
Staley, Barbara Hahn
Tank, Helen C.
Trump, Patricia A.
Drewer, Nancy E. (Betsy) Tyler
Voseipka, Virginia R.
Kelly, Daphne, Ware
Warmington, Mary F.
Willard, Cathy Jo
Williams, Mary C. (Mrs. George H.)
Daughtry, Elvadean Wilson
Wilson, Joan Benigna
Wiseman, Elizabeth Ann
MacRae, Jean Ann Wright
Heller, Martha Wright
Conrad, Jayne Wurstner
Price, Mary Sanders
Weibel, Sally
Nursing students--Maryland--Baltimore--1960-1970
Nurses--Maryland--Baltimore--1960-1970
Portrait photographs
Group portraits
My mother, Lillian, is at the top right. Directly below him is Irv Rutman and to the right Is Anita Rutman. Don’t know they had been married before was made. I can”t identify the others.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Studio portrait of six men, facing front, in winter dress, all wearing hats, coats and gloves; background is painted winter scene; man seated cross-legged in foreground; three men seated in centre; two men standing in background; (sticker across bottom identify men as Eric Malcomson, Jim Gordon; A. Gooding; George Porter; M. Gordon; Charlie Davis); Sallows imprint across bottom; (written date on back January 18th 1883)
Object ID : 0318-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Number:
179504
Date created:
1994
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row, from left to right: 1) Barone; 2) Hom; 3) Flowers; 4) Oski; 5) Hays; 6) Oski; 7) Hardart; 8) McMillan; 9) Reis; 10) Deacon; 11) Dudas; 12) Shimamura.
Second row, from left to right: 1) Clemens; 2) Levey; 3) Goodman; 4) Kadan; 5) Ratanawongsa; 6) Fertsch; 7) Hirshon; 8) Gropman; 9) Lee; 10) O'Grady; 11) Shores.
Third row, form left to right: 1) Zorc; 2) Crocetti; 3) Miller; 4) Hopkins; 5) Gilbert; 6) Cummings; 7) Saha; 8) Hearns; 9) Slote; 10) Gould.
Fourth row, from left to right: 1) S. Beck; 2) Mehta; 3) Nichols; 4) Santoli; 5) Foster; 6) Hanawalt; 7) Girman; 8) Gajary; 9) Loomes; 10) Karamanos; 11) Sills; 12) Moses.
Fifth row, from left to right: 1) Nigrin; 2) Lundquist; 3) Huang; 4) Junkins; 5) Peitavino; 6) Adler; 7) Koch; 8) Rheingold; 9) Kwiatkowski; 10) Sibinga.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital. Department of Pediatrics--People
Barone, Michael A.
Hom, Xenia B.
Flowers, Margaret D.
Oski, Jane Anoush
Hardart, George E.
McMillan, Julia
Reis, Brijit Meehan-Bert
Deacon, Beth R.
Dudas, Robert Arthur
Shimamura, Akiko
Clemens, Christopher T.
Levey, Eric B.
Goodman, Rachel G.
Kadan, Nina Singh
Ratanawongsa, Boosara
Ruggio, Diana Fertsch
Hirshon, Cecilia
Gropman, Andrea L.
Lee, Lucia H.
O'Grady, Denise Maryann
Shores, Jennifer Clare
Zorc, Joseph J.
Crocetti, Michael T.
Miller, Marlene R.
Hopkins, Katherine Lee S.
Gilbert, Donald L.
Cummings, Susan Dona
Saha, Prantik
Hearns, Michelle L.
Slote, Adam Y.
Gould, Rebecca B.
Beck, Suzanne E.
Mehta, Alka
Nichols, Jill E.
Santoli, Jeanne Marie
Foster, Charles A.
Hanawalt, Martin E.
Girman-Ratan, Andrea Marie
Gajary, Zia L.
Loomes, Kathleen M.
Karamanos, Zaharoula A.
Sills, Marion Ruth
Moses, C. Jill
Nigrin, Daniel Joseph
Lundquist, Thomas George
Huang, James
Junkins, Edward Paul Jr.
Peitavano, Nancy
Adler, Mark D.
Koch, Katherine Sanford
Rheingold, Susan Robbins
Kwiatkowski, Janet L.
Sibinga, Erica M.
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Number:
179493
Date created:
1987
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row, from left to right: 1) Rosenstein; 2) DeAngelis; 3) Rowe; 4) Oski.
Second row, from left to right: 1) Solow; 2) Greenberg; 3) Resar; 4) McColley; 5) Atton; 6) Markel; 7) Counts; 8) Kavanaugh-McHugh; 9) Thomas; 10) Germaine-Lee; 11) Fasano.
Third row, form left to right: 1) Tifft; 2) Orel; 3) Livingston; 4) Elder; 5) Zuckerberg; 6) Ballaban; 7) Nagel; 8) Kang; 9) Cadwalader; 10) Ault.
Fourth row, from left to right: 1) Pearson; 2) Glauser; 3) Lewis; 4) Flotte; 5) Egan; 6) Oliva; 7) Cortese; 8) Rasmusson; 9) Greene; 10) Shearer.
Fifth row, from left to right: 1) Hamosh; 2) Gallo; 3) Plautz; 4) Reardon; 5) Thompson; 6) Byrne; 7) Barnes; 8) Shenker.
Back row, from left to right: 1) Goldstein; 2) Besser; 3) Chez; 4) Small; 5) McCloskey; 6) Christenson; 7) Keller; 8) McGrath-Marrow; 9) Dietz; 10) Hunger.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital. Department of Pediatrics--People
Rosenstein, Beryl J.
DeAngelis, Catherine D.
Rowe, Peter C.
Oski, Frank A
Solow, Linda A.
Greenberg, Robert S.
Resar, Jon R.
McColley, Susanna A.
Atton, Andrew Vincent
Markel, Howard
Counts, Debra R.
Kavanaugh-McHugh, Ann
Thomas, Pamela M.
Germain-Lee, Emily L.
Fasano, Mary B.
Tifft, Cynthia J.
Orel, Howard N.
Livingston, Robert Alan
Elder, Melissa A.
Zuckerberg, Aaron L.
Ballaban, Karen R.
Nagel, Janet
Kang, Jungjoo
Cadwalader, Ann M.
Ault, Bettina H.
Pearson, Ellyn B.
Glauser, Tracy A.
Lewis, Lisa S.
Flotte, Terrence R.
Egan, Marie E.
Oliva, Maria Magdalena
Cortese, Margaret Mary
Rasmusson, Ann M.
Greene, Mary G.
Shearer, Patricia D.
Hamosh, Ada
Gallo, Richard L.
Plautz, Gregory E.
Reardon, David A.
Thompson, William R. III
Byrne, Barry
Barnes, Steven A.
Shenker, Andrew
Goldstein, Edward Morris
Besser, Richard E.
Chez, Michael G.
Small, Donald
McCloskey, John J.
Christenson, Marie J.
Keller, Bradley B.
McGrath-Morrow, Sharon Ann
Dietz, Harry C.
Hunger, Stephen Patrick
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Number:
174331
Creator: Hutzler Brothers Co. (Baltimore, MD)
Date created:
1963
Extent:
1 photographic print : gelatin silver ; 10 x 12.5 in.
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
Hooper, Martha Laney
Sullivan, Carol Beattie
Grieve, Donna Wilkinson
White, Betsy Ann
Thornton, Elizabeth Ann
Umthun, Jodell
Ringwald, Barbara D.
Pennington, Martha Leigh
Bray, Susan Moore
Arnold, Bonnie Smith
Thompson, Roberta Hudson
Guinane, Linda Goss
Concato, Suzanne
Collins, Vicki Bingham
Putt, Sylvia Stunkard
Boyd, Sandra Street
Beck, Janice (Jan) M.
Schoeck, Joan Ann
Cable, Gloria Treadwell
Kimmel, Wendy Ann
Hickey, Nancy Silva
Small, Doty Jane
Smith, Ellen Ann
Chandler, Karen Schmidt
Rudick, Donna C. Abramson
Walton, Emily Dorsch
Bramlette, Kathleen Kateley
Ramins, Velga
Tuthill, Linda Maurer
Mumma, Sally J.
Nugent, Caron
Garner, Diane E.
Frederick, Linda
Himes, Donna Lee Keener
Ma'luf, Jan McGehee
LeFevre, Pamela (Pam)
Wessel, Genevieve Lipa
Hodge, Joanne Jensen
Johnson, Denine Ann
Jackson, Mary Louise Isaacs
Goldschmidt, Ellen
Wilson, Mary Bier
Fitzgerald, Ann V.
Biddle, Shirley L.
Baird, Susan Barker
Hefferon, Lynne Pendorf
Villard, Toni Jones
Mowrer, Naomi Gerber
Feeser, Maureen
Sutton, Joan D. Masek
Diver, Norma Kozlowski
Hufert, Susan
Gunther, Elizabeth A.
Millard, Sandra
Monty, Elizabeth Mary
Howell, Linda Carol Moore
Martell, Elizabeth (Liz)
Bradley, Kathleen
Elligson, Kathleen McGowan
Shockley, Judith Salmon
Powell, Patricia
Parker, Cynthia
Harper, Sara A. Nolt
Custer, Joan E.
Hunnicutt, Patricia
Peterson, Susan Bartlett
Fry, Sara Thomson
Crane, Sandra Hines
Robert, Marjorie
Brooks, Anne Elizabeth
Allen, Lorraine
Robbins, Mary Jo Andrews
Duncan, Deanna
Clarke, Susan Davis
Schlender, Shirley Bonser
Sterling, Anne MacKay
Wells, Barbara Atwood
Achenbach, Georganne
Ives, Sandra (Sandy) E.
Bair, Brenda V.
Horst, Sandra Ann
Bonstelle, Sandra Fritch
Fitzpatrick, Louise
Vitskey, Barbara Fralic
Elwell, Ronnie M.
Searing, Mary Louise Kerr
Moltman, Nancy Williamson
Wheeler, Barbara J.
Sefton, Blanche A.
Piercy, Judith Roth
Magee, Sheila T.
Kramer, Janice (Jan) Lloyd
Lallman, Alyce Ann
Hall, Anne Klassen
Anschuetz, Gertrude
Chamberlain, Judith Thomas
Crooks, Eileen M. (Peg) Collingwood
Link, Marilyn A.
Kostopoulos, Margaret Royer
Mary S. Price
Klotz, Francine L.
Nursing students--Maryland--Baltimore--1960-1970
Nurses--Maryland--Baltimore--1960-1970
Portrait photographs
Group portraits
Oil on canvas; 60 x 49 cm.
Jean Dubuffet was a French painter, sculptor, and printmaker, best known for his development of art brut (“raw art”). As an art student in Paris, Dubuffet demonstrated a facility for academic painting. In 1924, however, he gave up his painting, and by 1930 was making a living as a wine merchant. He did not return to a full-time art career until the early 1940s.
After World War II, as one of the leading artists of the School of Paris, he developed the techniques and philosophy of art brut. Derived from Dubuffet’s studies of the art of children and of the mentally ill, art brut is intended to achieve immediacy and vitality of expression not found in self-conscious, academic art. To reflect these qualities, Dubuffet often used crude ideographic images incised into a rough impasto surface made up of such materials as tar, gravel, cinders, ashes, and sand bound with varnish and glue. His drawings and paintings are by turns childlike and obsessive, and their unfinished appearance excited much controversy.
During the 1960s Dubuffet experimented with musical composition and the creation of architectural environments. In various graphic and sculptural mediums he continued to explore the potentials of art brut. In his later years he also created several large sculptures of black-and-white painted fiberglass for various public spaces.
Number:
179577
Date created:
1980
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row, from left to right: 1) Smith; 2) Murphy; 3) Fivush; 4) Strauss; 5) Kurlinski; 6) Littlefield; 7) Biller; 8) Barnett; 9) Bender; 10) Schwartz.
Second row, from left to right: 1) Karlowicz; 2) Taylor; 3) Brennan; 4) Siegel; 5) Bender; 6) Waber; 7) Milvenan; 8) Cohn; 9) Shalhoub.
Third row, form left to right: 1) Glazier; 2) Trautman; 3) Wissou; 4) Farmer; 5) Fitzpatrick; 6) Shinnar; 7) Hutton; 8) Nolan; 9) McDonald; 10) Dietrich.
Fourth row, from left to right: 1) Hudak; 2) Kessler; 3) Vallone; 4) Krilov; 5) Wallach; 6) Cohen; 7) Tellerman; 8) Cole; 9) Thuma.
Fifth row, from left to right: 1) LeBlanc; 2) Fahey; 3) Santana; 4) Harper; 5) Barbosa.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Johns Hopkins Hospital. Department of Pediatrics--People
Smith, Ann T.
Murphy, Mary J.
Fivush, Barbara A.
Strauss, Lewis C.
Kurlinski, John P.
Littlefield, John W.
Biller, Jeffrey Allan
Barnett, Nancy K.
Bender, Joan G.C.
Schwartz, Cindy L.
Karlowicz, Mitchell Gerard
Taylor, George A.
Brennan, Teresa Lynch
Siegel, David B.
Bender, John W.
Waber, Lewis J.
Milvenan, Eileen S.
Cohen, Bernard A.
Shalhoub, Eugenie
Glazier, Arnold
Trautman, Michael S.
Wissow, Lawrence S.
Farmer, Mychelle Y.
Fitzpatrick, Kathleen M.
Shinnar, Shlomo
Hutton, Nancy
Nolan, Robert J.
McDonald, Ruth I.
Dietrich, Richard Laroy
Hudak, Mark Lawrence
Kessler, David A.
Vallone, Ambrose Martin
Krilov, Leonard R.
Wallach, Daniel E.
Cohen, Mitchell B.
Tellerman, Kenneth H.
Cole, Cynthia H.
Thuma, Philip E.
LeBlanc, Ralph E.
Fahey, John T.
Santana, Victor M.
Harper, Thomas Edwin
Barbosa, Ernest
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
It's not difficult to find members of a kitten litter together, but it's something else to get them to more-or-less look at you at the same time. Romeo, Juliet and Zeke finally got tired out from their wild romping and let me take their picture together at the shelter. They are now 2 1/2 months old
Felix Nussbaum was a German surrealist painter. He was born in Osnabrück the son of Rahel and Philipp Nussbaum. Philipp was a World War I veteran and German patriot before the rise of the Nazis. He was an amateur painter when he was younger, but was forced to pursue other means of work for financial reasons. He therefore encouraged his son’s artwork passionately.
Nussbaum was a lifelong student, beginning his formal studies in 1920 in Hamburg and Berlin and continuing as long as the current political situation allowed him In his earlier works, Felix was heavily influenced by Vincent Van Gogh and Henri Rousseau and he eventually pays homage to Giorgio de Chirico and Carlo Carrà as well. Carl Hofer’s expressionist painting influenced Felix’s careful approach to color.
In 1933, Nussbaum was studying on scholarship in Rome at the Berlin Academy of the Arts when the Nazis gained control of Germany. Adolf Hitler sent his Minister of Propaganda in April to Rome to explain to the artist elites how "a Nazi artist is to develop", which entailed promoting heroism and the Aryan race. Nussbaum began to understand that a Jewish artist like himself could no longer remain at the academy. Felix and and his wife Felka would spend the next ten years in exile, mostly in Belgium. Thus began Felix's emotional and artistic isolation.
1944 marked the fruition of the deadly Nazi machine’s plans for the Nussbaum family. Philipp and Rahel Nussbaum were killed at Auschwitz in February. In July, Felix and his wife were found hiding in an attic by German armed forces. They were arrested and given the numbers XXVI/284 and XXVI/285. On August 2, they arrived in Auschwitz and a week later, Felix’s fears came to reality. He was murdered at the age of 39. On September 3, Nussbaum’s brother was sent to Auschwitz. On September 6, his sister-in-law and niece were murdered in Auschwitz. In December, his brother – the last of the family – died from exhaustion in the camp at Stutthof. With one fell swoop, the Nussbaum family was officially and completely exterminated.
Giovanni Battista Tiepolo was a Venetian painter and printmaker. He was prolific, and worked not only in the region of Venice but also in Germany and Spain. He was initially a pupil of Gregorio Lazzarini, but the influences from elder contemporaries such as Sebastiano Ricci and Giovanni Battista Piazzetta are stronger in his work. At 19 years of age, Tiepolo completed his first major commission, the Sacrifice of Isaac (now in the Accademia). He left Lazzarini studio in 1717, and was received into the Fraglia or guild of painters.
Tiepolo's first masterpieces in Venice were a cycle of enormous canvases painted to decorate a large reception room of Ca' Dolfin on the Grand Canal of Venice (ca. 1726–1729), depicting ancient battles. By 1750, Tiepolo's reputation was firmly established throughout Europe. That year he traveled to Würzburg at the call of Prince Bishop Karl Philipp von Greiffenklau, where he resided for three years and executed ceiling paintings in the New Residenz palace (completed 1744). Tiepolo returned to Venice in 1753. He was now in demand locally, as well as abroad where he was elected President of the Academy of Padua. In 1761, Charles III commissioned him to create a ceiling fresco to decorate the throne room of the Royal Palace of Madrid. In Spain, he incurred the jealousy and the bitter opposition of the rising champion of Neoclassicism, Anton Raphael Mengs.
Tiepolo died in Madrid in 1770. After his death, the rise of stern Neoclassicism and the post-revolutionary decline of royal absolutism led to the slow decline of the Tiepolo style, but that didn't dent his reputation. By 1772, Tiepolo's son was sufficiently famous to be documented as painter to Doge Giovanni Cornaro, in charge of the decoration of Palazzo Mocenigo a San Polo.
Number:
171793
Date created:
1940
Extent:
1 photographic print : gelatin silver ; 7 x 9 in.
Front row: 1) R. Guthrie; 2) E. Goodwin; 3) J. Furnival; 4) R. Embree; 5) Miss Lawler; 6) D. Edwards; 7) E. Eckberg; 8) M. Deubler; 9) F. Daws. Second row: 1) E. McNamara; 2) S. McAllister; 3) J. Loree; 4) G. Jones; 5) B. Johnson; 6) M. Jenkins; 7) C. Janeway; 8) E. Husztek; 9) E. Hulse; 10) M. Huger; 11) K. Holswade; 12) E. Hoffman. Third row: 1) M. Shannon; 2) M. Serrick; 3) R. Seefred; 4) A Schmid; 5) F. Rothe; 6) E. Riggs; 7) M. Richards; 8) K. Plummer; 9) B. Phillips; 10) M. Patterson; 11) S. Neese; 12) D. Morris; 13) M. Martin. Fourth row: 1) N. Woodward; 2) K. Whipple; 3) H. Wenger; 4) M. Walker; 5) O. Turner; 6) M. Trumbell; 7) K. Todd; 8) V. Thuss; 9) V. Thompson; 10) M. Sutton; 11) N. Sutherland; 12) E. Stevenson; 13) L. Sharko. Fifth row: 1) B. Clayton; 2) B. Colt; 3) I. Conner; 4) H. Brugh; 5) H. Beeman; 6) B. Adams; 7) A. Burton; 8) M. Calhoun; 9) S. Allison; 10) A. Buchko; 11) M. Carlon; 12) H. Cunningham. Sixth row: 1) M. Hamrick; 2) L. Hart; 3) H. Brown; 4) W. Camery; 5) P. Bristol; 6) S. Buchanan; 7) L. Barkhouse; 8) K. Battye; 9) M. Beach; 10) M. Chambers; 11) F. Clark; 12) M. Courtney.
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
Povick, Bethel Adams
Stump, Sara Allison
Barkhouse, H. Elaine
Coulter, Katherine Battye
Johnston, Minerva Beach
Beaman, Harriet Jean
Noonan, Pauline Bristol
Brown, Harriett Althea
Chestnut, Helen Brugh
Buchanan, Sara E.
Flatley, Anna Buchko Dolan
Burton, Alice
Gilson, Mary Ellen Calhoun
McLean, Mary Lou Carlon
Schaub, Mary Chambers
Clark, Francile E.
Eaton, Beulah (Billy) Clayton
Colt, Beverly R.
Newell, Inez Connor
Courtney, Margaret
Cunningham, Helen
Crocker, Frances Daws
Belmont, Mary Louise Deubler
Eckberg, Evelyn Ann
Sloan, Doris Edwards
Osterberg, Ruth Embree
Pendleton, Julia Furnival
Armitage, Emily Goodwin
Guthrie, Doris Ruth
Hamrick, Mary D.
Hart, Lois E.
Hancock, Edith Hoffman
Holswade, Katherine
Huger, Margaret
Hulse, Evelyn M.
Dietrich, Elizabeth Helen Husztek
Anderson, Carol Janeway
Jenkins, Madeline
Bogart, Bertha Mae Johnson
Kuhlman, Gladys Jones
Hunt, Jeannette Loree
Coker, Mary Martin
Campbell, Sara E. McAllister
Greenlaw, Elizabeth McNamara
Reutter, Doris Morris
Neese, Sara Kaufman
Shipley, Mary
Ross, Bertha Philips
Hays, Kring Plummer
St. Pierre, Mildred Richards
Peters, Elise Riggs
Barron, Florence Rothe
Schmid, Alberta C.
Seefred, Donna Regina
McAllister, Miriam Serrick
Norgan, Annie May Shannon
Holthaus, Louise B. Sharko
Stevenson, Emily
Fleming, Nancy Sutherland (4 Mar 1917-)
Temple, Margaret Sutton
MacMillan, Virginia Thompson
Hamman, Virginia Thuss
Warfield, Kathryn Todd
Reed, Margaret Trumbull
Davis, Olivia Turner
Walker, Margaret M.
Senf, Harriet R. Wenger
Whipple, Kate E.
Scott, Nina Woodward
Lawler, Elsie M.
Nursing students--Maryland--Baltimore--1940-1950
Nurses--Maryland--Baltimore--1940-1950
Graduation ceremonies--Maryland--Baltimore--1940-1950
Portrait photographs
Group portraits
Notes: Photographer unknown.
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group portrait of 30 boys and two men; pipes from an organ in background; title printed on matte: Victoria Street, Goderich, Pocket Testament League, organized June 1915, photo taken April 1916; writing across bottom identifies subjects: Top row - Abe Smith; Clarence Johnston; Gordon Anderson; G.M. Elliott, President; Walter Ross; Will Sanderson; Austin Harris; Second row - George Howard; Earnie McVittie; Willie Andrews; Elliott McVittie; Howard Fowler; Clyde Carter; Richard Bowman; Kingsley Harris; Woodsey Randle; Third row - Reg. Pinder; Leon Adams; Fraser Newell, vice president; Bugler Ed. Lymburner; Rev. J.E. Ford, pastor Victoria St.; Corporal Benson Bell, Secretary; Irvin Spearan; Frank Adams; Fourth row - Harry Leach; Gordon Down, treasurer; Bert Sanderson; Albert Harris; Robert Howard; John Pinder; Jas. Anderson; Logan Murney. Sallow imprint in lower right corner of matte.
Object ID : 0478-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Number:
163515
Creator: Jean Sardou Studio (Baltimore, MD)
Date created:
1955
Extent:
1 photographic print : gelatin silver ; 10 x 13 in.
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
Dowell, Alice McDonald
Herr, Emily G. Vondersmith
Miller, Miriam (Mim) Greenawalt
Sloat, Helen Burdick
Wolf, Anna Dryden
Nolan, Maureen (Mo) Murphy
Budlong, Anne
McGeady. Mary E. Mumaw
Hooton, Joan Manian
Manderson, Nancy Elizabeth Maloy
Downs, Rose Mary Mach
Williams, Charlotte E. Lee (Char Lee)
Warlick, Margaret Anne Buchanan
Chutkow, Mary Lou Murdoch
Burggrabe, Mrs. Janice Lee
Peterson, Mary Ann
Goodwin, Nancy Pool
Hebble, Janice Powell
Pork, Barbara A.
Ross, Hazel Diane
Smith, Jeanette Elaine
Guilbert, Carol Chester Straub
Harvey, Mary Geist
Lazaga, Lea
Fukuhara, Sachiko
DeVilbiss, Joan
Timanus, Ann Rae
Trever, Margaret Barber
Audsley, Mary Elizabeth Watson
Anderson, Katherine Redding
Marshall, Joann Rice
Wilkinson, Fran
Graver, Anne Keen Townsend
McCoy, Carolyn Ann Seibert
Makishima, Kazuko Tottori
Catterton, Shirley Repass
Sanborn, Allie M.
Smith, Jeanette Elaine
Lima, Barbara Thomas
True, Nancy Lee
Gillespie, Joan L. Georgiana
Gibbs, Patricia Gill
Harvey, Sandra (Sandy) Cardwell
Cohen, Renee Horowitz
Watts, Myra Kauka
Matsui, Teru Kamikawa
Kealey, Carol
Kemner, Margaret (Peggy)
Freeman, Dorothy
Knight, Bettye Ruth Easley
Donish, Josephine
Denny, Barbara Lawler
deGroot, Mary (Betsy) Adams
Potts, Sarah Cooley
Biger, Virginia L. Cleaves
Apollo, Claudia Ann
Bray, Martha H. Bardenhagen
Nicholson, Pat Bennett
Jenkins, Alice V. Bowers
Seehof, Esther L. Camp
Campbell, Neva Kathleen
Mortimer, Sarah Newcomer
Parker, Ann C.
Hartay, Mary Rahman
Adams, Margery Jane Funk
Altman, Anna Jean
Hadidian, Betty Ann Myers
McCormick, Kathleen Anne
Lyman, Laura
Lockner, Charlotte B.
Nursing students--Maryland--Baltimore--1950-1960
Nurses--Maryland--Baltimore--1950-1960
Portrait photographs
Group portraits
Oil on canvas; 30 x 40 cm.
Daniel Richter is a German artist based in Berlin and Hamburg. He attended Hochschule für bildendende Künste Hamburg from 1991-1995. Richter's work has appeared in many exhibitions such as Städtische Galerie Delmenhorst in Berlin, Contemporary Fine Arts in Berlin and David Zwirner in New York. He has also shown at the Irish Museum of Modern Art in Dublin, Museum Morsbroich in Germany, Victoria Miro Gallery in London and the Morris and Helen Belkin Art Gallery in Vancouver. He is represented by Contemporary Fine Arts[6] in Berlin and David Zwirner in New York. A collection of Richter's work is on display at the Denver Art Museum in Denver, Colorado, USA through January 11, 2009. Working for the Salzburg Festival, Richter created two stage designs: for Bluebeard's Castle (2008) and for Lulu (2010).
Awards
* 1998 Otto-Dix-Award, Gera
* 2001 Award for Young Art, Schleswig-Holstein
* 2009 Kunstpreis Finkenwerder, Hamburg
Photographer: Reuben R. Sallows (1855 - 1937)
Description:
Group portrait of three women and four men, full-length, facing front; man laying in front on floor wears dark jacket, pants, white shirt and collar, hands rest upon dog laying in foreground; woman stands in centre back; women seated on either side of man, with crossed arms, seated in centre; painted backdrop; Sallows imprint across bottom of photocard; writing across bottom identifies subjects: Back row - Jack Acheson, F. McLean, W.D. Cox; Middle row - Emma Cox, Hamilton Wigle, Annie Downing; Bottom row - Rev. T.B. Walwyn
Object ID : 0508-rrs-ogohc-ph
Order a higher-quality version of this item by contacting the Huron County Museum (fee applies).
Sunday afternoon. Morewood Dorm
Wilda Cooper - Esther Wible - Phoebie McCloskey, Isabel Earseman- Helene - Lilllian McCormack- Frances Roberts- Lena Hunsaker- Marian Batchellor- Nelle Brey- Emily Phelps-Esma Lewis - Wilma Kurtz.
*
From my Great Aunt Anna's photo albums. I always enjoyed this photo. Something abou the girls' faces and attitudes. This was at Carnegie Tech in the 1910s sometime when Anna was a student at Tech. I wish I knew more of her story. She seems to be a woman who never found her time and her place. She died in a mental institution. She suffered from Schizophrenia. It's beautiful to see this time in her life before any darkness had touched her.
“We have all known the long loneliness, and we have found that the answer is community.” —Dorothy Day
*
“Your religion of origin has such a bone-deep hold on you that, as with a native language, it’s your only hope for true religious fluency.” —George Lindbeck
Oil on gesso-primed hardboard; 46 x 54 cm.
Irish painter and decorative artist. His sister, Melanie le Brocquy (b 1919), was a distinguished sculptor. In 1934 he joined the family business and studied chemistry at Trinity College and teaching himself to paint. He first exhibited at the Royal Hibernian Academy in 1937 and from 1938 spent two years studying Old Master paintings at the National Gallery, London, the Louvre, the Prado, and in Venice and Geneva.
There's something reverant and poetic about the entire body of work, as is evidenced by le Brocquy's frequent portraits of fellow Irish greats such as Oscar Wilde, WB Yeats and Samuel Beckett. Yet le Brocquy's poetry is always rigorously painterly and visual. He never falls off into literary illustration or compositional melodrama. As Francis Bacon once remarked, le Brocquy continues to be "obsessed by figuration outside and on the other side of illustration". And there is certainly a thematic otherness haunting all of his painterly and graphic work, whether it be the psychologically incisive portraits, ritualized figure gatherings, lyrical still-lifes or the long series of mist-drenched watercolor landscapes.
Number:
171882
Creator: Hutzler Brothers Co. (Baltimore, MD)
Date created:
1962
Extent:
1 photographic print : gelatin silver ; 10 x 12.5 in.
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
Hopkins, Katherine A.
Wright, Susan Klein (Sue)
Barrett, Margaret L. Fletcher
Ehrhart, Ina Warner
Freund, Lillian M.
Fohringer, Fanny E.
Van Nest, Janet M.
Bostwick, Judith Lee
Eanes, Beverly E.
Daniher, Charlotte M.
Mohr, Emily Boyd
Milller, Barbara Ann
Redfield, Linda
Brinkman, Maxine Brand
Melson, Judith A. Smith
Luce, LaVeta E.
Noe, Dorothy Ann
Newton, Carol E.
Weltman, Ellen J.
Cannan, Barbara J.
Strickler, Brenda Winkelman
Sudderth, Amelia Poole
Gardner, Jeanne Elizabeth
Baird, Ann Dixon
Johnston, Valerie Springer
Payton, Beverly Lynne Stonaker
Blaney, Ann
Brower, Phyllis
Mcconnell, Patricia A.
Ross, Judith (Judy) Lee
Lambert, Judith (Judy) Taborell
Carlson, Judith Bush
Crane, Mary Elizabeth (Mimi)
Nicholson, Pat Bennett
Prince, Janet Sue Good
Hargest, Mary Patricia
Collazo, Elizabeth
Duncan, Sarah Jane
Smolinski, Janet Stivarius
Hamasaki, Karen Yoshiko
Weston, Barbara A.
Lee, Betsy B.
Middleton, Mary Balen
Thomas, Karen Purin
McWilliams, Beverly Priest
Murphy, Florence Webb
Todd, Emily
Calvert, Glenda Petersen
Chapman, Nancy F.
Wheelan, Suzanne
Morrison, Cherrie
Mahrenholz, Donna M.
Oeschger, Margaret M.
Roth, Linda
Hoffer, Lois Grayshan
Fratantoni, Pauline Jones
Kreachbaum, A. Kay
Fletcher, Joyce Fugitt
Schelz, Carol Anne Friedlein
Highsmith, Virginia Elise Buchanan
Glennon, Barbara
Ahmadi, Kate Scilipoti
Riggins, Virginia Romberg
Dorsey, Nellie-Polk
Kumpa, Anna
McArthur, Susan A.
Price, Mary Sanders
Farr, Mary
Klotz, Francine L.
O'Brien, Patricia
Espenschade, Marjorie Roy
Shindle, Catherine Smith
McGee, Lois Youngs
McCann, Gaynel B.
Rainear, Beverly Bogdany
Kessler, Brenda Warner
Nursing students--Maryland--Baltimore--1960-1970
Nurses--Maryland--Baltimore--1960-1970
Portrait photographs
Group portraits