View allAll Photos Tagged groupportraits
Number:
180020
Date created:
1938
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row, from left to right: 1) Jean E. Rose; 2) Robert B. Lawson; 3) William C. Stifler Jr; 4) Robert Ward; 5) Lawrence Pray; 6) Anne P. Forbes.
Second row, from left to right: 1) Henry S. Christian; 2) Sidney A. Kauffman; 3) James W. Haviland; 4) Jules C. Welch Jr; 5) Robert F. Korns; 6) Weston M. Kelsey; 7) Maclyn McCarty.
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
Christian, Henry S.
Rose, Jean E.
Kauffman, Sidney A.
Lawson, Robert B.
Haviland, James W.
Stifler, William C. Jr.
Welch, Jules C. Jr.
Ward, Robert F.
Korns, Robert F.
Pray, Lawrence
Kelsey, Weston M.
Forbes, Anne P.
McCarty, Maclyn
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Local Accession Number: 06_11_002893
Title: Checkmated
Genre: Stereographs; Photographic prints; Portrait photographs; Group portraits; Humorous pictures
Date issued: 1850-1920 (approximate)
Physical description: 1 photographic print on stereo card : stereograph ; 9 x 18 cm.
General notes: Title from item.; Part of series: Groups from life. The 'best' series.
Date notes: Date supplied by cataloger.
Subjects: Couples; Chess
Collection: Stereographs
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
Levitzsky was born in Kiev, Ukraine, in a family of clergyman and engraver Grigory Levitzky. His father was his first art teacher. Later be became a pupil of Aleksey Antropov. In 1770, he became famous as a portrait painter after the exhibition of six of his portraits in the Imperial Academy of Arts in St. Petersburg. For the portrait of Alexander Kokorinov (1769) he was elected an academician and appointed the Professor of the portrait painting class at the Academy of Arts. In 1772-1776 Levitzky worked on a series of portraits of the pupils of the privileged women establishment Smolny Institute for Young Ladies in St. Petersburg commissioned by Catherine II. The girls are depicted performing dances, music, plays.Though Levitzky had many commissions, they were, in most cases, poorly paid, and the painter died in poverty in 1822.
Levitzky is, without doubt, the leading Russian painter of the latter half of the 18th Century, as well as the first Russian painter to paint at the level of contemporary Western European masters. Levitzky specialized in portraiture, which was in great demand in Russian high society at the time, as it sought to emulate its counterparts in the rest of Europe. He is the most universal of his contemporaries, both in terms of subjects -- ranging from the serf Nikifor Sezemov to the Empress Catherine II, the Great -- and in terms of composition. His works are characterized by a unique style that set him apart from other Russian painters of the period. The manner in which he imbued his portraits with finely expressed emotions is, in some ways, far ahead of his time. Levitzky is sometimes known in the West as "the Russian Gainsborough."
Number:
175315
Creator: Segall-Majestic (Baltimore, MD)
Date created:
1948
Extent:
1 photographic print : gelatin silver ; 11 x 13.5 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
Baxter, Mrs. Dora Kinlaw
Benson, Frances
Leuchs, G. Marie Bidwell
Stockbridge, Miriam Buchaca
Calnan, Margaret M.
Camiolo, Mary T.
Harvie, Peggy Case
Lanier, Sallie Cook
Turk, Jacqueline (Jackie) Dole
Baker, Elizabeth Gahagan
Smith, Elsbeth Graf
Bettencourt, Harriet Hammond
Haugh, R. Miriam
Krause, Lizzie Mae Young
Jennison, Mary Lowe
Gugerty, Helen Merrill
Parker, Natalie
Pitotti, Rena
Presbrey, Eleanor E.
Price, Margery
Reuss, Sarah M.
Rosenfeld, Ethel H. Beall
Harper, Dorothy Samuel
Shea, Virginia T.
Sheriff, Mary E.
Sullivan, Mary Frances
Townsend, Alice H.
Thomas, Louise G.
Vernon, Amelia Wallace
Watkins, Margie Gilliam
Cadden, Mary Florence Williams
Wilson, Maude Elizabeth
Ruben, Ruth Wilson
Wyckoff, Elizabeth (Betty)
Nursing students--Maryland--Baltimore--1940-1950
Nurses--Maryland--Baltimore--1940-1950
Portrait photographs
Group portraits
Oil on canvas; 99.7 x 80.8 cm.
Konstantin Yegorovich Makovsky was an influential Russian painter, affiliated with the "Peredvizhniki (Wanderers)". Many of his historical paintings, such as The Russian Bride's Attire (1889), showed an idealized view of Russian life of prior centuries. He is often considered a representative of a Salon art.
Konstantin was born in Moscow as the older son of a Russian art figure and amateur painter, Yegor Ivanovich Makovsky. His mother was a music composer, and hoped his son would one day follow up.
In 1851 Konstantin entered the Moscow School of Painting, Sculpture and Architecture where he became the top student, easily getting all the available awards. His teachers were МM.I. Skotty, pupils of Karl Brullov. Makovsky's inclinations to Romanticism and decorative effects can be explained by the influence of Briullov.
As though art was his passion, he also considered what his mother had wanted him to do. He set off to look for composers he could refer to, and first went to France. Before, he had always been a classical music lover, and listened to many pieces. Some times he often wished he could change the tune, or style of some of them to make them more enjoyable. Later in his life, it came true.
After talking to various musicians, conductors, and composers of his day, he enjoyed France very much and set off to "fix" the pieces. He tried and succeeded in Cannon in D, Fur Elise, Cadimendia, Rhapsody in Blue, and many other famous pieces. He was a hit! Everyone liked his new style, and decided to make more. But then realized how much into art he was. He wanted to impress his father, so went back to art.
In 1858 Makovsky entered the Imperial Academy of Arts in Saint Petersburg. From 1860 he participated in the exhibitions of Academia with paintings such as Curing of the Blind (1860) and Agents of the False Dmitry kill the son of Boris Godunov (1862). In 1863 Makovsky, together with the other 13 students eligible to participate in the competition for the Large Gold Medal of Academia, refused to paint on the set topic in Scandinavian mythology and instead left Academia without a formal diploma.
Makovsky became a member of a co-operative (artel) of artists led by Ivan Kramskoi, typically producing Wanderers paintings on everyday life (Widow 1865, Herring-seller 1867, etc.). From 1870 he was a founding member of the Society for Traveling Art Exhibitions and continued to work on paintings devoted to everyday life. He exhibited his works on both the Academia exhibitions and the Traveling Art Exhibitions of the Wanderers.
A significant change in his style occurred after traveling to Egypt and Serbia in the mid-1870s. His interests changed from social and psychological problems to the artistic problems of colors and shape.
In the 1880s he became a fashioned author of portraits and historical paintings. At the World's Fair of 1889 in Paris he received the Large Gold Medal for his paintings Death of Ivan the Terrible, The Judgement of Paris, and Demon and Tamara. He was one of the most highly appreciated and highly paid Russian artists of the time. Many democratic critics considered him as a renegade of the Wanderers' ideals, producing (like Henryk Siemiradzki) striking but shallow works, while others see him as a forerunner of Russian Impressionism. Makovsky became a victim of a road accident (his horse-driven carriage was hit by an electric tram) and died in 1915 in Saint Petersburg.
Small boy in the front row is William Gibson, listed as coal miner in the 1881 UK Census at the age of 13. By 1891 he was married with a young child and had taken in his wife's three young sisters to look after. William worked in the mines all his life.
Group portrait photograph depicting members of an African American basketball team with their coach, probably in Philadelphia. Posters for good health and African American participation in athletics hang on the walls, possibly of a Boys' Club or YMCA. P.9273.6
Link to record on ImPAC, the Library Company’s digital collections catalog: lcpdams.librarycompany.org:8881/R/-?func=dbin-jump-full&a...
Number:
175169
Date created:
1899
Extent:
1 photographic print : gelatin silver ; 13 x 16 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
Johns Hopkins Hospital. School of Nursing--Rites & ceremonies
Randall, Frances Ames
Bent, Edith
Coffin, Josephine
Colburn, Florence P.
Griffith, Edith Corwin
Trowbridge, Grace Derickson
Dick, Christina
Fitch, Katharine
Hernsheim, Alice Frankel
Kempter, Grace Guyton
Henderson, Adele F.
Holman, Nora Kathleen
Steele, Elsie Hughes
Hunt, Florence A.
Lawler, Elsie M.
McCallum, Jessie
Ellis, Margaret McKinnon
Birdseye, Alice Merwin
O'Grady, Margaret
Poe, Mrs. Thomas Jefferson
Rice, Virginia
Suggett, Louise Steffens
Sullivan, Mary V.
Van den Berg, Henrietta
Adams, Helen Wadsworth
Washington, Hallie Lee
Watts, Marion
Nursing students--Maryland--Baltimore--1890-1900
Nurses--Maryland--Baltimore--1890-1900
Graduation ceremonies--Maryland--Baltimore--1890-1900
Portrait photographs
Group portraits
Notes: Photographer unknown.
Number:
160823
Date created:
1906
Extent:
1 photographic print : gelatin silver ; 8 x 10 in.
Back row, from left to right: 1) Adeline Rowland; 2) A. Maye Hershner; 3) Elmina Wilson; 4) Bertha Stark; 5) Viola MacLellan; 6) Vashti Bartlett; 7) Katherine Ruse; 8) Adelaide Nutting; 9) Mary Woolfolk; Sallie Leonard; 10) Adele MacDonald; 11) Esther Black; 12) M. Lasine Lassen; 13) Martha Fortune; 14) Elza White; 15) Lucy Izard; Grace Frisbee; Mary Shipley.
Center row, from left to right: 1) Virginia Ward; 2) Elizabeth Scott; 3) Katherines de Long; 4) Josephine Kirby-Smith; 5) Miss Ross; 6) Mildred Telfer.
Front row, from left to right: 1) Dora Barnes; 2) Margaretta Turner; 3) Ellen Gillespie; 4) Annie McDonnell; 5) Mary Belches; 6) Lillian Crouse; 7) M. Gwendoline Colbourne; 8) Bernita Montgomery; 9) Elizabeh Keith.
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
Gourlay, Adeline Rowland
Cross, A. Maye Hershner
Callingham, Elmina Wilson
Stark, Bertha L.
Day, Viola MacLellan
Bartlett, Vashti Rebecca
Ruse, Katherine
Nutting, M. Adelaide (Mary Adelaide), 1858-1948
Woolfolk, Mary P.
Leonard, Sallie T.
MacDonald, Adele
Campbell, Esther Black
Browne, M. Lasine Lassen
Fortune, Martha Alice
White, Elza
Izard, Lucy
Frisbee, Grace
Shipley, Mary A.
Ward, Virginia
Scott, Elizabeth C.
De Long, Katherine C.
Fayerweather, Josephine Kirby-Smith
Ross, Georgina
Telfer, Mildred
Barnes, Dora
Turner, Margaretta F.
Gillespie, Ellen Warren
McDonell, Annie
Belches, Mary P.
Crouse, Lillian
Colborne, Muriel Gwendoline
Sions, Bernita Montgomery
Keith, Elizabeth
Nursing students--Maryland--Baltimore--1900-1910
Nurses--Maryland--Baltimore--1900-1910
Graduation ceremonies--Maryland--Baltimore--1900-1910
Portrait photographs
Group portraits
Notes: Photographer unknown.
Tempera and oil on cardboard; 115 x 75 cm.
Ismael Gonzålez de la Serna was born in 1898 in Granada, Spain. He began painting and drawing when he was nine years old. While in school, he became friends with Federico Garcia Lorca, later to become a famous poet. Indeed, it was de la serna who in 1918 illustrated Garcia Lorca's first book, Impresiones y Paisajes.
De la Serna pursued his studies at the Academy of Fine Arts in Granada, where he learned the traditional rules of composition, form, and color. A turning point came in his life in 1917, when he viewed an exhibition of French Impressionists in Madrid. By his own testimony, thereafter he was determined to be a “free” painter, devoted to new forms.
In 1915, at age seventeen, he exhibited for the first time in Granada. A few years later, upon his second exhibition, the art critic Manuel Robles wrote: “There is no doubt that de la Serna knows color and his spirit penetrates the essence and line of his work.” Nonetheless, Robles hoped that de la Serna would abandon the spirit of Modernism.”
The Spanish artistic community, unlike that in neighboring France, was resistant to the innovations of Post-impressionism. Granada in particular imposed intolerable limits on such an “extraordinary soul” as de la Serna's, as it was described by Lorca.
De la Serna, impassioned in his pursuit of his vocation and life's work, and yearning for a stimulating cultural environment, moved to Paris in 1921, where his compatriot, Picasso, had been an international figure in the cubist movement for more than a decade. He was introduced to Picasso by the writer, critic, and art collector known as Tériade. According to Tériade, Picasso, upon seeing de la Serna's work, exclaimed: “At last, a true painter! As grand as Juan Gris!”
The year 1927 was one of remarkable success for de la Serna. Tériade devoted an article on him in issues of the art review, Cahiers d'Art, which simultaneously covered the works of luminaries such as Renoir and Picasso. Tériade wrote that de la Serna was the painter “we had all been waiting for.” That is, his poetic sensibility lent in certain unity to his work and deftly combined a vigor of expression with a delicacy of form.
Paul Guillaume then organized an exhibition of fifty of de la Serna's works to wide acclaim. An individual exhibition at the Gallery Flechtheim in Berlin was equally successful, all of the works found buyers. The gallery even signed de la Serna to a contract, which remained in effect until 1933, when Hitler's rise to power forced its revocation.
The Nazi rise to power definitely had unfortunate consequences. It is thought that those works of de la Serna's still residing in Germany, including many of his most vulnerable paintings, were destroyed by the Nazi regime.
Luckily, de la Serna had been warmly received throughout Europe. In 1928, he signed contracts to exhibit his works at the Galerie Zak in Paris and at the Galerie Le Centaure in Brussels. Christian Zervos wrote enthusiastically in Cahiers d'Art that de la Serna's incredible skill at drawing allowed him to make abstractions of reality.
While a number of his works certainly echo the influence of Picasso and Braque, such influence was mirrored within a Cubism of his own making. In the instinctive equilibrium of his work, the blend of exuberance and sober expression, the use of color, and the strength of the lines, de la Serna reminded Zervos of Zurburan, El Greco, and Cézanne.
Indeed, to Zervos, Cubism brought out either a deep expressiveness due to the distortion of the central object or figure represented, or resulted in an abstract painting composed of forms independent of the exterior reality. In any case, representation of both possibilities was typical of de la Serna's work. The artist easily balanced and reconciled the extremes of both representation and abstraction. Although a traditional Cubist subject, Nature Mort de la Guitare is a strong example of de la Serna's Cubist technique of the late 1920's.
In 1930, the Galerie Zak devoted an entire exhibition to de la Serna;s works. The National Gallery of Berlin,and the museum of Mannheim both acquired paintings of his. In 1932, he returned triumphantly to Spain, where he toured with successful exhibitions throughout his homeland. In 1936, he took part in an exhibition at the Musée du Jeu de Paume in Paris. During this time, he rarely participated in public showings of his work. After the Second World War, he released works he had painted secretly which honored the Resistance and decried the atrocities of war.
De la Serna continued to work throughout the 1940's and 1950's. His style evolved into pure combinations of color and form. His paintings continued to be shown in France, Germany, Spain, and Mexico. In 1963, he was invited to participate in an exhibition of French paintings at the Tate Gallery in London and in an exhibition at the Hammer Gallery in New York.
In 1974, the Musée d'Art Moderne de la Ville de Paris organized a retrospective of nearly one hundred of de la Serna's paintings from throughout his career. The retrospective tracked the artist's diversity of subjects and the technical scope of his talent. De la Serna died in Paris in 1968. His personal contributions to the language of art endure.
Lovis Corinth (21 July 1858 – 17 July 1925) was a German painter and printmaker whose mature work realized a synthesis of impressionism and expressionism.
Corinth studied in Paris and Munich, joined the Berlin Secession group, later succeeding Max Liebermann as the group's president. His early work was naturalistic in approach. Corinth was initially antagonistic towards the expressionist movement, but after a stroke in 1911 his style loosened and took on many expressionistic qualities. His use of color became more vibrant, and he created portraits and landscapes of extraordinary vitality and power. Corinth's subject matter also included nudes and biblical scenes.
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.
Local Accession Number: 11_07_003466
Title: Female impersonators at gay pride rally, Copley Square, Boston
Creator/Contributor: Grant, Spencer, 1944- (Photographer)
Genre: Slides; Group portraits
Date created: 1977
Physical description: 1 slide : color ; 35 mm.
General notes: Title from photographer caption.
Subjects: Female impersonators; Gay rights; Demonstrations; Protest posters
Collection: Spencer Grant Collection
Location: Boston Public Library, Print Department
Rights: Copyright (c) Spencer Grant
All eyes are on the mustachioed martinet in the centre, with his shock troop of what used to be known as schoolmasters, ready to do battle with insolence, insubordination and ignorance. His cane is gripped at a 45 degree angle but behind his death stare lurks a peevish resentment, typical of someone persistently passed over for promotion. A minority of the staff, mainly the younger ones, are clean shaven but all observe the dress code that ensures uniformity, despite the variety of jacket stylings and neck wear.
Goya was a Spanish painter and print maker. He was a court painter to the Spanish Crown and a chronicler of history. He has been regarded both as the last of the Old Masters and as the first of the moderns. The subversive and subjective element in his art, as well as his bold handling of paint, provided a model for the work of later generations of artists, notably Manet and Picasso.
Oil on canvas; 188.5 x 161.5 cm.
Mexican family of painters. Luis Juarez (b c. 1585; d Mexico City, c. 1638) painted in the Mannerist style of the Spanish painters settled in Mexico, such as Baltasar de Echave Orio and Alonso Vazquez, although his figures are softer than those of his teachers. He began working in the first decade of the 17th century. His signed St Teresa (Guadalajara, Mus. Guadalajara) dates from that time and his St Anthony of Padua and the Ascension (both Quer?taro, Mus. Reg.) from 1610. In 1611 he was commissioned to make the triumphal arch for the reception of the Viceroy of New Spain, Fray Garc?a Guerra. During the 1620s he painted the retables in the church of Jesus Maria, Mexico City, and in S Agustine, Puebla. The finest of his numerous religious works are the Annunciation, the Agony in the Garden, the Visitation, the Archangel Michael and St Raphael (all Mexico City, Pin. Virreinal); the Mystic Marriage of St Catherine and the Virgin Bestowing the Chasuble on St Ildefonso (both Mexico City, Mus. N. A.); and the Education of the Virgin and the Ascension.
Read more: www.answers.com/topic/juarez-4#ixzz2BMBgOyFW
Number:
163932
Date created:
1894
Extent:
1 photographic print : gelatin silver ; 6 x 8.5 in.
Description:
Back row, from left to right: 1) A. Irvine; 2) G. Baxter; 3) [E. Baechtel?]
Middle row, from left to right: 1) C. Hendrickson; 2) A. Preston; 3) H. Carr; 4) [M. Heriot?]; 5) K. Delong, 6) Isabel Hampton; 7) J. Feeley; 8) G. Ross; 9) A. Moore; 10) H. Bartlett; 11) E. Hubbard.
Front row, from left to right: 1) E. Mason; 2) E. Leech; 3) A. Conover; 4) M. Bishop; 5) M. Nelson; 6) A. Avery; 7) F. Patterson.
Absent: M. Forde.
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
Johns Hopkins Hospital. School of Nursing--Rites & ceremonies
Irvine, Agnes Y.
Baxter, Grace
Baechtel, Emily
Norton, Cecilia Hendrickson, 1867-1963
Preston, Alice M.
Iglehart, Caroline H. Carr
De Long, Katherine C.
Robb, Isabel Hampton
Feeley, Julia E.
Ross, Georgina
Taylor, Annie Moore
Bartlett, Helen Conkling, 1866-1945
Hubbard, Eugenie
Lanier, Emily Mason
Leech, Elizabeth B.
Conover, Alice B.
Bishop, Mary L.
Nelson, Mary Carter
Lee, Anna Avery
Patterson, Frances
Nursing students--Maryland--Baltimore--1890-1900
Nurses--Maryland--Baltimore--1890-1900
Graduation ceremonies--Maryland--Baltimore--1890-1900
Portrait photographs
Group portraits
Notes: Photographer unknown.
His first teacher was the history painter Jean Bardin, who took him to Rome in 1768. Back in Paris in 1772, he transferred to the studio of Nicolas-Bernard Lépicié. In 1776 he won the Prix de Rome with Alexander and Diogenes and returned to Rome, where he was to spend the next four years at the Académie de France in the company of Jacques-Louis David and Jean-François-Pierre Peyron. While witnessing at first hand Peyron's development of a manner indebted to Poussin and David's conversion to Caravaggesque realism, Regnault inclined first towards a Late Baroque mode in a Baptism of Christ then, in Perseus Washing his Hands , to the static Neoclassicism of Anton Raphael Mengs.
Alexandre Yevgenievich Jacovleff (also spelt Iacovleff or Yakovlev) was a Russian neoclassicist painter, draughtsman, designer and etcher. Alexandre was the son of a naval officer from Saint Petersburg, where he was born. Between 1905 and 1913 he studied at the Imperial Academy of Arts under Kardovsky. While a student he enjoyed drawing and worked for the art magazines Apollon, Satiricon, Niva, New Satiricon. After 1912, Jacovleff was a member of Mir Iskusstva. Jacovleff's large group portrait On Academic Dacha was exhibited at the Baltic Exhibition in Malmö in 1912, and received praise from the critics present, including Alexandre Benois. During his student days he befriended another Academy student, Vladimir Shukhaev. They were almost inseparable, and received the nickname of The Twins.
In 1913, Jackovleff received the rank of an Artist and a scholarship to study abroad for his paintings Bathing (Купание) and In Banya. He went to Italy and Spain together with Shukhaev. There they painted their double self-portrait as Harlequin and Pierrot. Another important work of that period was Violinist painted in 1915. At that time Jacovleff attempted to integrate Renaissance art with Primitivism, particularly the Russian Lubok.
In 1915, Jacovleff returned to Petrograd. The same year his works were shown at a Mir Iskusstva exhibition and caused mixed reactions. While some critics praised them, the Academy of Arts rejected them. Jackovleff painted a lot of Sanguine drawings including the Shalyapin portrait. He frescoed Firsanov's mansion in Moscow, and the artistic cabaret Prival Komediantov in Petrograd. He also lectured on Women's Architect Courses and organized his own (together with Shukhaev, Radlov and Kardovsky) artistic movement: St. Luke Guild of Painters.
In the summer of 1917, Jacovleff received a scholarship to study in the Far East. He traveled to Mongolia, China and Japan (1917–1919). Subsequently he settled in Paris and obtained French Citizenship. Between 1924 and 1925 he took part in an expedition to the Sahara desert and Equatorial Africa organized by Citroën (Croisi-24re Noire). His African paintings were a big success and as a result Jacovleff was awarded the Legion of Honor by the French government in 1926. In 1928, Jacovleff organized a large personal exhibition in Moscow.
Between 1931 and 1932, he was the Artistic Adviser of another Citroën expedition, this time across Asia. He travelled through Syria, Iran, Afghanistan, Mongolia and China, and created a number of exotic paintings. From 1934 to 1937, Jackovleff was the Director of the Painting Department of the School of the Museum of Fine Arts, Boston, Massachusetts. He spent the last months of his life in Paris and Capri.
Women and children on an automobile outing, ca. 1910
Photographer:
Unknown
Subjects (LCSH):
Automobiles
Women
Children
Portraits, Group
Digital Collection:
Transportation Collection
http://content.lib.washington.edu/transportationweb/index.html
Item Number: TRA0196
Persistent URL:
http://content.lib.washington.edu/u?/transportation,14
Visit Special Collections reproductions and rights page for information on ordering a copy.
University of Washington Libraries. Digital Collections http://content.lib.washington.edu/
Number:
179795
Date created:
1962
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row, from left to right: 1) Esterly; 2) J. Cohen; 3) Plauth; 4) Cooke; 5) Starfield; 6) Lawrence; 7) Ward.
Second row, from left to right: 1) Holtzman; 2) Cantolino; 3) Neims; 4) Frank; 5) Frank; 6) Lurie; 7) Witte; 8) Neff; 9) Araujo.
Third row, form left to right: 1) Friedman; 2) Battaglia; 3) Corry; 4) Forman; 5) S. Cohen; 6) Harwin; 7) Churnick.
Fourth row, from left to right: 1) Bell; 2) Soule; 3) Nichols; 4) Van; 5) Fleteren; 6) Rosenstein; 7) O'Sullivan.
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
Esterly, Nancy B.
Cohen, Janice E.
Plauth, William H.
Cooke, Robert E.
Starfield, Barbara
Lawrence, Tsun-Yee K.
Ward, Adele C.
Holtzman, Neil A.
Cantolino, Salvatore J. (Salvatore James)
Neims, Allen H. (Allen Howard),
Frank, Michael M.
Lurie, Hugh J.
Witte, John J.
Neff, John M.
Friedman, William Foster
Battaglia, Frederick Camillo
Corry, Robert J.
Forman, Edwin N.
Cohen, Sanford N.,
Harwin, S. Martin
Chernick, Victor
Bell, Thomas R.
Soule, David W.
Nichols, Buford L.
Van Fleteren, Andre H.
Rosenstein, Beryl J.
O'Sullivan, E. Peter
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Number:
164390
Creator:
Wellen-Lewis
Date created:
1926
Extent:
1 photographic print : gelatin silver ; 7.25 x 8.75 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Church Home and Hospital (Baltimore, Md.). School of Nursing Apicella, Lorena Marie
Bowen, Dorothy May
Eyler, Tacie E.
Hammond, Amanda Forsyth
Horner, Lillian Ida
Jackson, Harriet Stinchcomb
Moran, Madeline F.
Null, Ethel La Rue
Snyder, Ruth E.
Sutherland, Lygia
Townsend, Louise W.
Vogtman, Christine M.
Whaling, Lucy Shannon
Wilkinson, Louise B.
Wright, Irene K.
Warner, Mary Catherine
Nash, Jane Evans, 1880-1955
Elliott, Margaret, 1884-1966
Nursing students--Maryland--Baltimore--1920-1930
Nurses--Maryland--Baltimore--1920-1930
Graduation ceremonies--Maryland--Baltimore--1920-1930
Nursing schools--Faculty
Group portraits
Portrait photographs
Notes:
Photographer unknown.
Creator: H. Allison & Co. Photographers
Date: 1913
Original Format: Glass Plate Negative, 9.5 X 7.5 inches
Description: Group portrait of Mourne Grange School Cricket Team, 1913
PRONI Ref: D2886/SCH/MG/4
Copying and copyright:
Please see www.proni.gov.uk/index/research_and_records_held/copying_...
For Copy Orders, contact:
Email: proni@dcalni.gov.uk
This painting had an influence on the great 19th century Honore Daumier which is obvious from this print:
Local Accession Number: Ms.3898.9 box 1, folder 6
Title: A. Lane, pres. BSA.
Creator/Contributor: Donna Paul Photography
Genre: Group portraits; Photographic prints
Date created: 1961-1993 (approximate)
Physical description: 1 photograph : print ; sheet 13 x 18 cm
Summary/Abstract: Arthur Lane speaking at the dedication of the International Longshoremen's Association Guaranteed Annual Income. Union Hall, South Boston. Left to right: Bob Calder; Ann Alyward; Arthur Lane; unidentified; Ray Flynn; unidentified.
General notes: Title supplied by Boston Public Library staff.
Acquisition notes: Donated by Arthur Lane.
Subjects: Public speaking
Collection: Lane/Mead Boston Maritime Collection
Location: Boston Public Library, Rare Books Department
Rights: Rights status not evaluated.
Number:
164485
Date created:
1959-09-04
Extent:
1 photographic print : gelatin silver ; 8 x 10 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Church Home and Hospital (Baltimore, Md.). School of Nursing
Appel, Moselle Annette
Bassford, Elizabeth Anderson
Beggs, Margaret Ann
Bicknell, Jean Rummery
Bossom, Bonnie Belle
Buppert, Barbara Penn
Connery, Mary Florence
Esposite, Lorrena Marie
Franklin, Patricia Sherwood
Fritzges, Pauline Louise
Guthridge, Gloria Elaine Davis
Henry, Sonia Harriett
Hersh, Joann Helen
Hurley, Carole Annette
Lammi, Sylvia Rose
Lau, Ella Marie
Lucas, Evelyn Helen
Mellott, Dorothy Elizabeth
Melton, Mary Lucy
Schulze, Barbara Ann
Reeder, Barbara Lois
Reichert, Irmalea
Roberts, Nancy Louise
Sinclair, Mary Margaret
Wengerd, Barbara Ann
Whiteford, Diane Dooley
Williams, Barbara Miles
Windle, Jean Lee
Creutzburg, Freda Lewis, 1898-1963
Nursing students--Maryland--Baltimore--1950-1960
Graduation ceremonies--Maryland--Baltimore--1950-1960
Nurses--Maryland--Baltimore--1950-1960
Nursing schools--Faculty
Group portraits
Portrait photographs
Notes:
Photographer unknown.
Wang Qingsong specializes in digitally enhanced photographs and oil paintings that address universal social conflicts. Widely considered the reigning master of photographic mise-en-scene (and high quality printing) in China today, Wang, born in 1966, lives and works in Beijing.
Wang holds the auction record, $864,943, in contemporary Chinese photography, for Follow Me, which depicts a teacher in front of a giant blackboard scribbled with slogans and brand names in English and Chinese.[1] His works have been sold at Sotheby's (New York and London locations) and Christie's (London).
Wang Qingsong has had solo exhibitions at Albion Gallery, London; PKM Gallery, Beijing; PKM Gallery, Seoul; MEWO Kunsthalle, Memmingen, Germany; and Marella Arte Contemporanea, Milan. His work has been exhibited internationally in numerous group shows, including Action–Camera: Beijing Performance Photography (Belkin Art Gallery, Vancouver, 2008); Fabricating Images from History (Chinablue Gallery, Beijing, 2008); 21:Contemporary Art (Brooklyn Museum, 2008); Beyond Icon: Chinese Contemporary Art in Miami (Art Basel, Miami, 2007); Mirror Image of Diversity (Beijing Tokyo Art Projects, Beijing, 2007); and Body Language (National Gallery of Victoria, Melbourne, Australia, 2008). Wang has also participated in the 2008 Shanghai Biennale; the Busan Biennale; and the 2006 Bucharest Biennale. Wang had his first solo museum exhibition at The Hammer Museum at UCLA in the spring of 2009.
www.artspeakchina.org/mediawiki/Wang_Qingsong_%E7%8E%8B%E...
Vladimir Lukich Borovikovsky was a prominent Russian portraitist. His art may be regarded as the last phase in the XVIII century traditions of Russian portraiture. He was into the family of Ukrainian Cossacks. His father brothers were icon-painters. Borovikovsky also started as an icon-painter for local churches. In 1787 he drew two pictures for the house in which Empress Catherine II the Great was staying during her visit to Ukraine. His work was noted and he was sent to St. Petersburg to become one of the court painters.
Borovikovsky became a pupil of the Austrian painter I.-B. Lampi, who was working at the Russian court at the time. Also he was supported and greatly advised by Russian artist Dmitry Levitzky. In 1795 he was appointed an Academician. He became a very popular portrait-painter and created about 500 portraits during his lifetime. The most notable are Portrait of Catherine II, Empress of Russia (1794), Portrait of E. N. Arsenyeva (1796), Portrait of M. I. Lopukhina (1797), Portrait of F. A. Borovsky (1799), Portrait of Paul I, Emperor of Russia (1800), Portrait of Prince A. B. Kurakin (1801-1802), Portrait of Princess A. G. Gagarina and Princess V. G. Gagarina (1802).
Local accession number: 13_05_000438
Title: Unidentified group of men in military dress [front]
Genre: Photographs; Cartes de visite; Group portraits
Date created: 1859-1870 (approximate)
Physical description: 1 photograph : print on card mount ; mount 11 x 7 cm (carte de visite format)
General notes: Title supplied by cataloger.
Date notes: Date supplied by cataloger.
Subjects: Military personnel
Collection: Cartes de Visite Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
Margaret Bourke-White, original name Margaret White (born June 14, 1904, New York, New York, U.S.—died August 27, 1971, Stamford, Conn.), American photographer known for her contributions to photojournalism.
Margaret White was the daughter of an engineer-designer in the printing industry. She attended Columbia University (1922–23), the University of Michigan (1923–25), Western Reserve University (now Case Western Reserve University), and Cornell University (A.B., 1927). During this period she took up photography, first as a hobby and then, after leaving Cornell and moving to New York City, on a professional freelance basis. She combined her own last name with her mother’s maiden name (Bourke) to create her hyphenated professional name. Beginning her career in 1927 as an industrial and architectural photographer, she soon gained a reputation for originality, and in 1929 the publisher Henry Luce hired her for his new Fortune magazine. In 1930 Fortune sent Bourke-White to photograph the Krupp Iron Works in Germany, and she continued on her own to photograph the First Five-Year Plan in the Soviet Union. She became one of the first four staff photographers for Life magazine when it began publication in 1936, and her series of photographs of Fort Peck Dam was featured on the cover and as part of the feature story of the first issue.
Throughout the 1930s Bourke-White went on assignments to create photo-essays in Germany, the Soviet Union, and the Dust Bowl in the American Midwest. These experiences allowed her to refine the dramatic style she had used in industrial and architectural subjects. These projects also introduced people and social issues as subject matter into her oeuvre, and she developed a compassionate, humanitarian approach to such photos. In 1935 Bourke-White met the Southern novelist Erskine Caldwell, to whom she was married from 1939 to 1942. The couple collaborated on three illustrated books: You Have Seen Their Faces (1937), about Southern sharecroppers; North of the Danube (1939), about life in Czechoslovakia before the Nazi takeover; and Say, Is This the U.S.A. (1941), about the industrialization of the United States.
Bourke-White covered World War II for Life and was the first woman photographer attached to the U.S. armed forces. While crossing the Atlantic to North Africa her transport ship was torpedoed and sunk, but Bourke-White survived to cover the bitter daily struggle of the Allied infantrymen in the Italian campaign. She then covered the siege of Moscow and, toward the end of the war, she crossed the Rhine River into Germany with General George Patton’s Third Army troops. Her photographs of the emaciated inmates of concentration camps and of the corpses in gas chambers stunned the world.
After World War II, Bourke-White traveled to India to photograph Mahatma Gandhi and record the mass migration caused by the division of the Indian subcontinent into Hindu India and Muslim Pakistan. During the Korean War she worked as a war correspondent and traveled with South Korean troops.
Stricken with Parkinson disease in 1952, Bourke-White continued to photograph and write. She retired from Life magazine in 1969.
www.britannica.com/EBchecked/topic/75883/Margaret-Bourke-...
Local Accession Number: 06_11_002447
Title: Family home
Genre: Stereographs; Photographic prints; Portrait photographs; Group portraits
Date issued: 1850-1920 (approximate)
Physical description: 1 photographic print on stereo card : stereograph ; 9 x 18 cm.
General notes: Title supplied by cataloger.
Date notes: Date supplied by cataloger.
Subjects: Houses; Yards; Families
Collection: Stereographs
Location: Boston Public Library, Print Department
Shelf locator: Unidentified
Rights: No known copyright restrictions.
Cousins. Bobby Ben, Anna Ben, Linda, BethAnn and we Bowmanses. I remember the Twin Lakes water being so cold that it hurt to swim in it.
*
“Everything,' his father said, 'comes down to time in the end--to the passing of time, to changing. Ever thought of that? Anything that makes you happy or sad, isn't it all based on minutes going by? Isn't sadness wishing time back again? Even big things--even mourning a death: aren't you really just wishing to have the time back when that person was alive? Or photos--ever notice old photographs? How wistful they make you feel? ... Isn't it just that time for once is stopped that makes you wistful? If only you could turn it back again, you think. If only you could change this or that, undo what you have done, if only you could roll the minutes the other way, for once.”
― Anne Tyler, Dinner at the Homesick Restaurant
*
"Our experience is altogether momentary. From one point of view, each moment is so elusive and so brief that we cannot even think about it before it has gone. From another point of view, this moment is always here, since we know no other moment than the present moment. It is always dying, always becoming past more rapidly than imagination can conceive. Yet at the same time it is always being born, always new, emerging just as rapidly from that complete unknown we call the future. Thinking about it almost makes you breathless."
- Alan Watts
*
The Continuous Life
What of the neighborhood homes awash
in a silver light, of children hunched in the bushes,
watching the grown-ups for signs of surrender,
signs that the irregular pleasures of moving
from day to day, of being adrift on the swell of duty,
have run their course? O parents, confess
to your little ones the night is a long way off
and your taste for the mundane grows; tell them
your worship of household chores has barely begun;
describe the beauty of shovels and rakes, brooms and mops;
say there will always be cooking and cleaning to do,
that one thing leads to another, which leads to another;
explain that you live between two great darks, the first
with an ending, the second without one, that the luckiest
thing is having been born, that you live in a blur
of hours and days, months and years, and believe
it has meaning, despite the occasional fear
you are slipping away with nothing completed, nothing
to prove you existed. Tell the children to come inside,
that your search goes on for something you lost - a name,
a family album that fell from its own small matter
into another, a piece of the dark that might have been yours,
you don't really know. Say that each of you tries
to keep busy, learning to lean down close and hear
the careless breathing of earth and feel its available
languor come over you, wave after wave, sending
small tremors of love through your brief,
undeniable selves, into your days, and beyond.
- Mark Strand
*
If you need to visualize the soul, think of it as a cross between a wolf howl, a photon, and a dribble of dark molasses. But what it really is, as near as I can tell, is a packet of information. It's a program, a piece of hyperspatial software designed explicitly to interface with the Mystery. Not a mystery, mind you, the Mystery. The one that can never be solved.
To one degree or another, everybody is connected to the Mystery, and everybody secretly yearns to expand the connection. That requires expanding the soul. These things can enlarge the soul: laughter, danger, imagination, meditation, wild nature, passion, compassion, psychedelics, beauty, iconoclasm, and driving around in the rain with the top down. These things can diminish it: fear, bitterness, blandness, trendiness, egotism, violence, corruption, ignorance, grasping, shining, and eating ketchup on cottage cheese.
Data in our psychic program is often nonlinear, nonhierarchical, archaic, alive, and teeming with paradox. Simply booting up is a challenge, if not for no other reason than that most of us find acknowledging the unknowable and monitoring its intrusions upon the familiar and mundane more than a little embarrassing.
But say you've inflated your soul to the size of a beach ball and it's soaking into the Mystery like wine into a mattress. What have you accomplished? Well, long term, you may have prepared yourself for a successful metamorphosis, an almost inconceivable transformation to be precipitated by your death or by some great worldwide eschatological whoopjamboreehoo. You may have. No one can say for sure.
More immediately, by waxing soulful you will have granted yourself the possibility of ecstatic participation in what the ancients considered a divinely animated universe. And on a day to day basis, folks, it doesn't get any better than that."
- Tom Robbins You gotta have soul
Esquire October 1993
*
Number:
178310
Date created:
1914
Extent:
1 photographic print : gelatin silver ; 6.75 x 8.75 in.
Description:
Front row: 1) Kenneth Blackfan; 2) John Howland; 3) Edwards A. Park.
Back row: 1) Louis Minsk; 2) Grover Powers; 3) Joseph Turner.
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
Park, Edwards A.
Howland, John
Blackfan, K.D.
Turner, Joseph
Minsk, Louis D.
Powers, Grover F.
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
undercover police make an arrest on the corner of mutual and queen.
i, not being the investigative reporting type, got this one shot made my self scarce.
they arrested at least four people, and all of the police were plain clothes and had earphone radios.
Number:
163932
Date created:
1900
Extent:
1 photographic print : gelatin silver ; 6 x 12 in.
Back row: 1) F. Kingstone; 2) F. Flood; 3) G. Miller; 4) L. Bradley; 5) S. Wilcox; 6) N. Smith; 7) L. Smith; 8) E. Wilson; 9) I. Stevens; 10) K. Ink; 11) E. Muldrew.
Second row: 1) F. Fleming; 2) G. Simpson; 3) L. McCallum; 4) E. Madiera; 5) Miss Nutting; 6) A. Hartridge; 7) A. Hanway; 8) M. Weir.
Front row: 1) A. Miller; 2) F. Harrell; 3) Miss Hutchinson; 4) K. Carhart; 5) Miss Sampson; 6) L. Jubb; 7) M. Sechler.
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
Johns Hopkins Hospital. School of Nursing--Rites & ceremonies
Bradley, Letitia
Stinson, Kate Carhart
Fleming, Frederica
McLaren, Frances Flood
Culbertson, Amelia Hanway
Harrell, Fanny S.
Ink, Katherine S.
Jubb, Lillian G.
Kingstone, Frances
Madeira, Edith
McCallum, Leila
Miller, Amy P.
Miller, Gertrude A.
Muldrew, Ellen
Opie, Gertrude Simpson
Smith, Nancy H.
Risher, Mary Weir
Wilcox, Sarah Brown
Wilson, Emma
Nursing students--Maryland--Baltimore--1900-1910
Nurses--Maryland--Baltimore--1900-1910
Graduation ceremonies--Maryland--Baltimore--1900-1910
Portrait photographs
Group portraits
Notes: Photographer unknown.
Number:
164553
Date created:
1976-06-13
Extent:
1 photographic print : col. ; 8 x 10 in.
Scope and content:
Back row: 1) Donna Swope; 2) Jane Louise Seiss; 3) Renee Rose Francisco; 4) Dana Elaine Smith; 5) Susan Helene Palank; 6) Stephanie Jarboe McCabe; 7) Nancy Lynn Wathen; 8) Mary Lucile Paxson; 9) Howard Frederick Gaguski; 10) Janet Ann Stoia; 11) Micke Ann Brown; 12) Alice Marie Roth; 13) Victoria Anne Sallese. Front row: 1) JoAnn Lambert; 2) Joan Louise Fruhling; 3) Anne Marie Leether; 4) Debra Hofmann Maslow; 5) Peggy Ann Shaffer; 6) Debra Lynn Sears; 7) Kathy Burns Dodge; 8) Elizabeth Jane Ruby; 9) Debra Lee Riggleman; 10) Michele Renee Burdette; 11) Barbara Ellen Haffner; 12) Pamela Ann Cork; 13) Mary Ann Veronica Lukowski; 14) Maria Kristine Kern; 15) Marjorie Maisck
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Church Home and Hospital (Baltimore, Md.). School of Nursing
Brown, Micke Ann
Burdette, Michele Renee
Cork, Pamela Ann
Dodge, Kathy Burns
Francisco, Renee Rose
Fruhling, Joan Louise
Gaguski, Howard Frederick
Haffner, Barbara Ellen
Jozwick, Diana Lynn
Kern, Maria Kristine
Leether, Anne Marie
Lukowski, Mary Ann Veronica
Maslow, Debra Hofmann
McCabe, Stephanie Jarboe
Palank, Susan Helene
Paxson, Mary Lucile
Riggleman, Debra Lee
Roth, Alice Marie
Ruby, Elizabeth Jane
Sallese, Victoria Anne
Sears, Debra Lynn
Seiss, Jane Louise
Shaffer, Peggy Ann
Smith, Dana Elaine
Stiller, Deborah April
Stoia, Janet Ann
Wathen, Nancy Lynn
Nursing students--Maryland--Baltimore--1970-1980
Nurses--Maryland--Baltimore--1970-1980
Graduation ceremonies--Maryland--Baltimore--1970-1980
Nursing schools--Faculty
Group portraits
Portrait photographs
Notes:
Photographer unknown.
Number
164422
Date created:
1939-05-29
Extent:
1 photographic print : gelatin silver ; 8 x 10 in.
Rights:
Photograph is subject to copyright restrictions. Contact the Alan Mason Chesney Medical Archives for reproduction permissions.
Subjects:
Church Home and Hospital (Baltimore, Md.). School of Nursing
Crevensten, Margaret Regenia
Johnston, Denum
Frautmann, Pauline Catherine
Garner, Helen Elizabeth
Piacentino, Elvira Julia
Swanner, Lillian M.
Buchanan, Marie Ruth
Register, Mabel Esther
O'Mailey, Doris E.
Luttrell, Ruth Esther
Stenson, Maxine M.
Arnold, Lillian Elizabeth
Adams, Anne A.
Ensor, Alice Gertrude
Jefferson, Carrie Knighton
Gardner, Anna A.
Freeburger, Irene Elizabeth
Higgins, John Anna
Warfield, Jane Eleanor
Gallion, Madeline J.
Widdowson, Geneva Catherine
Repp, Louise
Armiger, Harriett Neff
Townshend, Margaret M.
Abell, Sarah Frances
Miller, Hilda Amelia
Goldstraw, Joyce
Eye, Mary Mildred
Boykin, Mary Elizabeth
Cullen, Thomas Stephen, 1868-1953
Nash, Jane Evans, 1880-1955
Creutzburg, Freda Lewis, 1898-1963
Elliott, Margaret, 1884-1966
Nursing students--Maryland--Baltimore--1930-1940
Nurses--Maryland--Baltimore--1930-1940
Graduation ceremonies--Maryland--Baltimore--1930-1940
Nursing schools--Faculty
Group portraits
Portrait photographs
Notes:
Photographer unknown.