View allAll Photos Tagged groupportraits
Local Accession Number: 11_07_003472
Title: Elementary school recess, Reading
Creator/Contributor: Grant, Spencer, 1944- (Photographer)
Genre: Slides; Group portraits
Date created: 1982
Physical description: 1 slide : color ; 35 mm.
General notes: Title from photographer caption.
Subjects: School children; Education; Play (Recreation)
Collection: Spencer Grant Collection
Location: Boston Public Library, Print Department
Rights: Copyright (c) Spencer Grant
Number: 118142
Date created: 1897
Extent: 1 photographic print on board : albumen ; 13 x 16 in.
Rights: Photograph is in the public domain.
Note: Photographer unknown. Female student in this class is absent from the portrait.
Number:
164379
Date created:
1918
Extent:
1 photographic print : gelatin silver ; 7.25 x 9 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
Anderson, Anna Lillian
Badenhoop, Anna L. F.
Buckingham, Lillian A.
Clare, Gladys Holley
Crew, Catherine M.
DuBois, R. Yvonne
Farell, Harriet L.
Gross, Caroline S.
Gross, Elsie Augusta
Hutton, L. Pauline
Jacobs, Constance E.
Kirby, Margaret Armstrong
LaMotte, Elizabeth
Schaub, Louise Kathryn
Stoll, Bertha L.
Wesley, Abbey Gibson
Wiley, Maude Viola
Yeager, Emma Buffington
Nursing students--Maryland--Baltimore--1910-1920
Nurses--Maryland--Baltimore--1910-1920
Graduation ceremonies--Maryland--Baltimore--1910-1920
Nursing schools--Faculty
Group portraits
Portrait photographs
Notes:
Photographer unknown.
Local identifier: SFF 89203_0151_l9_002
Photographer: Unknown
Caption: "Johane Myawo, Aaron Gameda, Malla Moe".
The reverse side of this image can be seen here: www.flickr.com/gp/fylkesarkiv/3Nb7Af
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.
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.
Local Accession Number: 06_11_001223
Title: Group in County Ave
Statement of responsibility: S. F. Adams, photographer
Creator/Contributor: Adams, S. F., 1844- (photographer)
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 from handwritten text on verso.
Date notes: Date supplied by cataloger.
Collection: Stereographs
Location: Boston Public Library, Print Department
Shelf locator: Misc
Rights: No known copyright restrictions.
This must have been towards the end of our parents' marriage, taken at Penn Trail on the Loxahatchee. Pictures of this time make me sad. It was such a sad time.
We don't look as crazy as a lot of families looked in 1970.
*
Hugh brought my father a plastic cup of water. “You O.K., Lou?”
“Fine,” my father answered.
“Why do you think she did it?” I asked as we stepped back into the sunlight. For that’s all any of us were thinking, had been thinking since we got the news. Mustn’t Tiffany have hoped that whatever pills she’d taken wouldn’t be strong enough, and that her failed attempt would lead her back into our fold? How could anyone purposefully leave us, us, of all people? This is how I thought of it, for though I’ve often lost faith in myself, I’ve never lost it in my family, in my certainty that we are fundamentally better than everyone else. It’s an archaic belief, one that I haven’t seriously reconsidered since my late teens, but still I hold it. Ours is the only club I’d ever wanted to be a member of, so I couldn’t imagine quitting. Backing off for a year or two was understandable, but to want out so badly that you’d take your own life?
“I don’t know that it had anything to do with us,” my father said. But how could it have not? Doesn’t the blood of every suicide splash back on our faces?
NOW WE ARE FIVE
A big family, at the beach.
BY DAVID SEDARIS
Findley Lake. Labor Day. 1952
*
Excerpt from the brilliant John O'Donohue:
[...]
In life, anything can come along the pathway to the house of your soul, the house of your body, to transfigure you. We're vulnerable externally to destiny, but we're also vulnerable internally, within ourselves. Things can come awake within your mind and heart that cause you immense days and nights of pain, a sense of being lost, of having no meaning, no worth; a kind of acidic negativity can knock down everything that you achieve in yourself, giving your world a sense of being damaged.
Another way to approach this is to look at the huge difference between sincerity and authenticity. Sincerity, while it's lovely, is necessary but insufficient, because you can be sincere with just one zone of your heart awakened. When many zones of the heart are awakened and harmonized we can speak of authenticity, which is a broader and more complex notion. It takes great courage and grace to feel the call to awaken, and it takes greater courage and more grace still to actually submit to the call, to risk yourself into these interior spaces where there is very often little protection. It takes a great person to creatively inhabit her own mind and not turn her mind into a destructive force that can ransack her life.
[...]
[Even some] lovely people feel that their real identity is working on themselves, and some work on themselves with such harshness. Like a demented gardener who won't let the soil settle for anything to grow, they keep raking, tearing away the nurturing clay from their own heart, then they're surprised that they feel so empty and vacant. Self-compassion is paramount. When you are compassionate with yourself, you trust in your soul, which you let guide your life. Your soul knows the geography of your destiny better than you do.
Beechwoods, Summer , 1918
Morris Patton, Don Daugherty, Allison Smith, Anne Stewart, Howard Smith, Helen Scott, JB.Smith, Arthur Smith, Andy Bob, John M. Smith, George Hill, Edwin Smith
*
from Inward Outward :
Pierre Teilhard de Chardin, SJ
Above all, trust in the slow work of God.
We are quite naturally impatient in everything to reach the end without delay.
We should like to skip the intermediate stages.
We are impatient of being on the way to something unknown, something new.
And yet it is the law of all progress that it is made by passing through some stages of instability---and that it may take a very long time.
And so I think it is with you.
Your ideas mature gradually--let them grow,
Let them shape themselves, without undue haste.
Don't try to force them on,
as though you could be today what time
(that is to say, grace and circumstances acting on your own good will)
will make of you tomorrow.
Only God could say what this new spirit gradually forming within you will be.
Give our Lord the benefit of believing that his hand is leading you,
and accept the anxiety of feeling yourself in suspense and incomplete.
*
We may have been interested in our world when we were little children, but then we were taught how to handle it by our parents who had already developed a system to deal with the world and to shield themselves from it at the same time. As we accepted that system, we lost contact with the freshness and curiosity of experience.
- Chögyam Trungpa
*
from Bill Scheffel
"The fading away of the Tao is when openness turns into spirit, spirit turns into energy, and energy turns into form. When form is born, everything is thereby stultified. The functioning of the Tao is when form turns into energy, energy turns into spirit, and spirit turns into openness. When openness is clear, everything thereby flows freely.
Therefore ancient sages investigated the beginnings of free flow and stultification, found the source of evolution, forgot form to cultivate energy, forgot energy to cultivate spirit, and forgot spirit to cultivate openness.
When openness turns into spirit, spirit turns into energy, energy turns into form, and form turns into vitality, then vitality turns into attention. Attention turns into social gesturing, social gesturing turns into elevation and humbling. Elevation and humbling turn into high and low positioning, high and low positioning turns into discrimination.
Discrimination turns into official status, status turns into cars. Cars turn into mansions, mansions turn into palaces. Palaces turn into banquet halls, banquet halls turn into extravagance. Extravagance turns into acquisitiveness, acquisitiveness turns into fraud. Fraud turns into punishment, punishment turns into rebellion. Rebellion turns into armament, armament turns into strife and plunder, strife and plunder turn into defeat and destruction."
From The Immortal Sisters: Secret Teachings of Taoist Women, translated and edited by Thomas Cleary. This section was written in the 10th century by Tan Jingsheng. It’s called Transformational Writings, and it sums up the Taoist view of the evolution and involution of both individuals and collective processes:
Read: THE LUXURY OF WALKING
*
Number:
178312
Date created:
1919
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Back row: 1) Horace G. Stewart; 2) Albert S. McCown; 3) C. Creighton; 4) Benjamin Kramer; 5) Paul G. Shipley; 6) Hugh W. Josephs.
Middle row: 1) Eugene M. Carr; 2) Happ; 3) Grover Powers; 4) James L. Gamble; 5) Kenneth Blackfan.
Front row: 1) Charles E. Wagner; 2) Tisdall; 3) John Howland; 4) Harold L. Higgins.
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
Stewart, Horace G.
McCown, Albert S.
Creighton, C.
Kramer, Benjamin
Shipley, Paul G.
Josephs, Hugh W.
Carr, Eugene M.
Happ, William M.
Powers, Grover F.
Gamble, James L.
Blackfan, K.D.
Wagner, Charles G.
Howland, John
Higgins, Harold L.
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Teitl Cymraeg/Welsh title: Tri o ddynion ifanc
Cyfrwng/Medium: Tintype
Maint/Dimensions: 92 x 80 mm, 69 x 56 mm visible image area
Cyfeiriad/Reference: fmc00094 (pz8236)
Rhif cofnod / Record no.: 4446225
Ceir mwy o ffotograffau a rhagor o wybodaeth ar wefan y Llyfrgell Genedlaethol.
More images and further information can be found on the National Library of Wales' website.
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.
Purchased at a flea market or antique store in Maryland.
"Summer 1927" & names of women written on verso
Oil on gesso-primed hardboard; 50.8 x 35.6 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.
French painter who was the rival of Le Brun but an exponent of the same Academic theories. Like Le Brun he was a pupil of Vouet, but he went to Rome in 1636 and remained there until 1657, forming his style on the approved models of the Carracci, Domenichino and Poussin. He returned to Paris on the orders of Louis XIV and decorated the dome of the Val-de-Grâce (1663), but his principal importance was as portrait painter to the Court. He revived the earlier Italian type of allegorical portrait, and a good example is the Marquise de Seignelay as Thetis (1691, London, National Gallery). He was strongly opposed to the Académie royale, and, in spite of his own stylistic origins, championed the Venetian or 'colourist' school; this, however, was probably only to oppose Le Brun. When Le Brun died in 1690 Mignard was at once made 'premier peintre', and, on the King's orders, the Academy had, in a single sitting, to appoint Mignard Associate, Member, Rector, Director and Chancellor of the body he had so long opposed. There are pictures by him in the Royal Collection, Windsor, Honolulu, London and many French museums.
Number:
179873
Date created:
1959
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row, from left to right: 1) Budner; 2) Due; 3) Rubsen; 4) Cooke; 5) M. Jelks; 6) Gibson; 7) Freeman.
Second row, from left to right: 1) Dong; 2) Hardman; 3) Hotta; 4) Schuster.
Third row, form left to right: 1) Beskind; 2) Caterinicchio; 3) Jelks; 4) Drachman; 5) Hayes.
Fourth row, from left to right: 1) Gartner; 2) Benson; 3) Ottenheimer.
Fifth row, from left to right: 1) Drash; 2) ___; 3) Plauth; 4) Breibart; 5) Pakula; 6) ___; 7) Neerhout; 8) Vita.
Sixth row, from left to right: 1) Kramer; 2) Evans.
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
Budner, Harvey M.
Due, Dora
Cooke, Robert E.
Jelks, Mary Larson
Gibson, Lewis E.
Freeman, John M.
Dong, Bock L.
Hardman, George W. Jr.
Hotta, Shoichi S.
Schuster, Frank F.
Beskind, Harry
Caterinicchio, Benedict S.
Jelks, Allen N.
Drachman, Robert H.
Hayes, James W.
Gartner, Lawrence M.
Benson, Philip Francis
Ottenheimer, Edward J. Jr.
Drash, Allan L.
Plauth, William H.
Breibart, Sidney
Pakula, Lawrence C.
Neerhout, Robert C.
Vita, Martin B.
Kramer, Robert A.
Evans, Hugh E.
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Count Feodor Petrovich Tolstoy was born into a noble family. In 1802, he graduated from the Naval Academy and entered the St. Petersburg Academy of Fine Arts. He was fond of drawing and painting, but his highest success was in wax modeling.
In 1810, he was appointed designer of medals in the St. Petersburg Mint. One of his more interesting works of the late 1810s is a series of 21 medallions devoted to the Russian-Napoleonic war of 1812-1814.
Feodor Tolstoy is also characterized as having versatile talents. In 1838, he wrote a ballet Aeol’s Flute, libretto, sketches of set designs and costumes and 60 sketches in which he denoted the choreography of the ballet. In 1828, he became vice-president of the St. Petersburg Academy, in 1842 - professor, in 1859 - the first assistant of the president. By the end of his life he began to go blind and had to stop painting.
Number:
164397
Date created:
1930
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 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
Nester, Garnette Anne
Hobson, Harriet M.
Wharton, Catherine
Baker, Ida A.
Dykis, Gladys
Rogers, Mildred E.
Eckenrode, Mary Isabel
Dykis, Mary Louise
Coyner, Isabel
Aspinall, Ruth
Dunnick, D. Leona
Adreon, Sue Joyce
Seim, Lelia
Hardigen, Lola Delelia
Edmonston, Mary Eleanor
Buzzerd, Christina Elizabeth
Hartman, Martha P.
Butcher, Margaret Lucille
Rider, Lola Virginia
Lednum, Ruth A.
Thomson, Margaret Mary
Schoppert, Edna Ruth
Webb, Dorothy
Nash, Jane Evans, 1880-1955
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.
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.
Local accession number: 13_05_000616
Title: Beecher family [back]
Statement of responsibility: From photographic negative in Brady's National Portrait Gallery
Creator/Contributor: Brady's National Photographic Portrait Galleries (Photographer)
Genre: Photographs; Cartes de visite; Group portraits
Publisher: Published by E & H. T. Anthony, 501 Broadway, New York
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 from item or from accompanying material.
Date notes: Date supplied by cataloger.
Subjects: Clergy; Abolitionists; Beecher, Henry Ward, 1813-1887; Beecher, Lyman, 1775-1863; Stowe, Harriet Beecher, 1811-1896
Collection: Cartes de Visite Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
Three Young Ladies. Real Photo Postcard.
Unposted.
CYKO Stamp Box.
Author's Note:
This postcard from an album that has a felt North Dakota Agricultural College cover. The seller noted that the album belonged to a Ms. Henricks. There were only 5 remaining postcards in the album and they are all posted here.
[06190]
Number:
164378
Creator:
Jeffres Studio (Baltimore, Md.)
Date created:
1917
Extent:
1 photographic print : gelatin silver ; 7.75 x 9.5 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
Coale, Maude E.
Dandridge, Marie
Finneyfrock, Ethel V.
Hade, Mary Jane
Halbert, Rhoda W.
Kelm, Lillian A.
Lamb, Dorothy
McCosh, Louise Alexander
Martin, M. Gladys
Masser, Geraldine H.
Neale, Mary Aline
Richardson, Margaret Hanson
Robinson, Florence V.
Sandrock, Helen Louise
Schneider, Grace Katherine
Shearman, Hetty A., 1894-1967
Smyth, Helen E.
Webster, Kathryn
Cullen, Thomas Stephen, 1868-1953.
Nursing students--Maryland--Baltimore--1910-1920
Nurses--Maryland--Baltimore--1910-1920
Graduation ceremonies--Maryland--Baltimore--1910-1920
Nursing schools--Faculty
Group portraits
Portrait photographs
Number:
178316
Date created:
1930
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
Description:
Front row: 1) Benjamin E. Hodge; 2) [unknown]; 3) B. Hamilton; 4) [unknown]; 5) [unknown]; 6) L. Emmett Holt; 7) [unknown]; 8) [unknown]; 9) [unknown].
Second row: 1) [unknown]; 2) Mary Adams; 3) Deborah Jackson; 4) Dorothy R. Meeker; 5) [unknown]; 6) Blandina Worcester; 7) David H. Shelling.
Third row: 1) Herbert Rothschild; 2) [unknown]; 3) Gordon Hinds; 4) Henry Lichtenburg; 5) Robert O. Y. Warren; 6) T. Campbell Goodwin; 7) Vivian Tappan; 8) James V. Bickford; 9) Francis Schwentker.
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
Hodge, Benjamin E.
Holt, L. Emmett (Luther Emmett), 1895-1974
Hamilton, B.
Worcester, Blandina
Bickford, James
Shelling, David
Rothschild, Herbert
Hinds, Gordon F.
Warren, Robert O.Y.
Goodwin, T. Campbell
Tappan, Vivian
Schwentker, Francis F.
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
Tempera on canvas; 172 x 232 cm.
Austrian painter. He was the illegitimate son of a peasant girl and the Austrian church artist and photographer Georg Egger. Later he adopted the name of his father and home town. He studied at the Akademie der Bildenden Künste in Munich from 1884 to 1893. The main subject-matter of his early works, which were painted in a naturalistic style and influenced by Franz von Defregger, was determined by his background: scenes from peasant life and from the Tyrolean freedom battles of 1809 against the French troops of Napoleon, for example Ave Maria after the Battle on the Bergisel (1893–6; Innsbruck, Tirol. Landesmus.). He moved in 1899 to Vienna, where his own style developed: its fresco-like monumentality, as in The Dance of Death of Year Nine (1908; Vienna, Belvedere), was a contrast to sophisticated metropolitan culture at the turn of the century. His style was characterized by a concentration on the clearly outlined large form and by a linear rhythm in the picture surface. Bulky figures combine to form voluminous masses that appear against the background as silhouettes. Colors are reduced to mainly monochrome earth-colored tones of brown.
Spaarnestad Photo/SFA022801513
Eerste Wereldoorlog. Mobilisatie vrijwilligers Nederlands-Indië. Na erkenning door de regering worden de blanke en inlandse vrijwilligers door het gouvernement van kleding en wapens voorzien. Groepsfoto na een velddienstoefening met de wapens op Buitenzorg (bij Batavia). Nederlands Indië/Indonesië, 1915.
Oil on canvas; 141 x 157 cm.
ohn Wootton was an English painter of sporting subjects, battle scenes and landscapes, and illustrator. Born in Snitterfield, Warwickshire (near Stratford-upon-Avon), he is best remembered as a pioneer in the painting of sporting subjects – together with Peter Tillemans and James Seymour – and was considered the finest practitioner of the genre in his day. As such, his paintings were very fashionable and were sought after by those among the highest strata of the British society. These included figures such as George II of England, Frederick, Prince of Wales, and the Duke of Marlborough. He is now some what eclipsed in the field of animal paintings by George Stubbs (1724-1806), who is considered technically superior. Examples of Wooton's animal painting can be found in the Tate Gallery, London, the Virginia Museum of Fine Arts, Richmond, the Yale Center for British Art, and in the Elizabethan Great Hall at Longleat.
Number:
178507
Date created:
1945
Extent:
1 photographic print : gelatin silver ; 7.5 x 9.5 in.
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
Dittmann, Barbara
Govan, Clifton D. Jr.
Kaye, Robert
Park, Edwards A.
Weiseth, Warren M.
Whittemore, Ruth
Steinheimer, Mary E.
Birmingham, John R.
Hammond, Margaret
Hall, Rowena S.
Pediatricians
Group portraits
Portrait photographs
Notes: Photographer unknown.
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.
Giovanni Battista Piazzetta was an Italian rococo painter of religious subjects and genre scenes. Starting in 1697 he studied with the painter Antonio Molinari. He found inspiration in Crespi's art, in which the chiaroscuro of Caravaggio was transformed into an idiom of graceful charm.
Piazzetta created an art of warm, rich color and a mysterious poetry. He often depicted peasantry, even if often in a grand fashion. He was highly original in the intensity of color he sometimes used in his shadows, and in the otherworldly quality he gave to the light which throws part of a composition into relief. The gestures and glances of his protagonists hint at unseen dramas, as in one of his best-known paintings, The Soothsayer(1740, now in Gallerie dell'Accademia, Venice). Also notable are his many carefully rendered drawings of half-length figures or groups of heads. Usually in charcoal or black chalk with white heightening on gray paper, these are filled with the same spirit that animates his paintings, and were purchased by collectors. He also produced engravings.
In 1750 Piazzetta became the first director of the newly founded Scuola di Nudo, and he devoted himself in the last few years of his life to teaching. He was elected a member of the Bolognese Accademia Clementina in 1727.
Andrei Rublev is considered to be the greatest medieval Russian painter of Orthodox icons and frescoes. There is little information about his life. He probably lived near Moscow under Nikon of Radonezh, who became hegumen after the death of Sergii Radonezhsky (1392). The first mention of Rublev is in 1405 when he decorated icons and frescos for the Cathedral of the Annunciation of the Moscow Kremlin in company with Theophanes the Greek and Prokhor of Gorodets. Theophanes was an important Byzantine master who moved to Russia, and is considered to have trained Rublev.
In Rublev's art, two traditions are combined: the highest asceticism and the classic harmony of Byzantine mannerism. The characters of his paintings are always peaceful and calm. After some time his art came to be perceived as the ideal of Church painting and of Orthodox iconography. He died at Andronikov Monastery on January 29, 1430 (this date is still questionable). His work has influenced many different artists including Dionisy. At the Stoglavi Sobor (1551) Rublev's icon style was announced as a model for church painting. He was canonized a saint in 1988 by the Russian Orthodox Church. The church celebrates his feast day on January 29 and July 4.
Hieronymus Bosch was an Early Netherlandish painter of the fifteenth and sixteenth centuries. The artist's work is well-known for the use of fantastic imagery to illustrate moral and religious concepts and narratives.
Shot in the late afternoon at Laredo’s Mexican Restaurant here in Marietta. Amanda and Matt are Donna’s kids. Jackson is Matt’s son and Donna’s grandson. Hard to believe that image is almost fourteen years old.
Men, women and children posed on an iceberg for a group gathering, Nome, Alaska, ca. 1901.
Photographer:
Hegg, Eric A., 1867-1948
Subjects (LCSH):
Portraits, Group--Alaska--Nome
Digital Collection:
Eric A. Hegg Photographs
http://content.lib.washington.edu/heggweb/index.html
Item Number: HEG299
Persistent URL:
http://content.lib.washington.edu/u?/hegg,612
Visit Special Collections reproductions and rights page for information on ordering a copy.
University of Washington Libraries. Digital Collections http://content.lib.washington.edu/
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.
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 canvas; 137 × 170 cm.
He was born in Zürich, Switzerland, the second of eighteen children. His father was Johann Caspar Füssli, a painter of portraits and landscapes. He intended Henry for the church, and sent him to the Caroline college of Zurich, where he received an excellent classical education. In 1765 he visited England, where he supported himself by miscellaneous writing. Eventually, he became acquainted with Sir Joshua Reynolds, to whom he showed his drawings. Following Sir Joshua's advice he devoted himself wholly to art. In 1770 he made an art-pilgrimage to Italy, where he remained till 1778.
In Rome he copied Michelangelo's Sistine Chapel frescoes, drawn to the expressive style and the sometimes disturbing imagery. He also painted tragic or violent situations from literature, particularly Shakespeare and Milton, populated by stylized figures with exaggerated movements. Critical successes brought international acclaim, despite his unusually unrestrained, agitated approach. In 1799 Fuseli was named a Royal Academy professor, and he became curator there in 1804. One of his former pupils remembered that he "used to dab his beastly brush into the oil, and sweeping round the palette in the dark, take up a great lump of white, red, or blue, as it might be and plaster it over a shoulder or face. . . . I found him the most grotesque mixture of literature, art, skepticism, indelicacy, profanity, and kindness".
An impromptu group portrait session at Smorgasburg LA, 1 of 3. Photo by Ming Lo. I saw this group at Smorgasbord taking pictures, and I suggested a group portrait. #groupportrait #smorgasburgla #dnfxla #portrait #vsco #vscodaily #instagood #portraitvision #photooftheday #postthepeople #allshots_ #agameoftones #theimaged #bravogreatphoto #instadaily #justgoshoot #liveauthentic #thelikedphotocommunity #portraitsociety #fatalframes #resourcemag #creativesontherise #imonthehub #portraitkillers #portraitpatrol #portraitfeed #riseagainst #minglo
Chancellor Mark Canada invited the campus community to Alumni Hall for coffee and conversation. (Photos by Shea Lazansky/IUK)
Group portrait of African American students. Roger Williams University, Nashville, TN. ca. 1899
Vintage African American photography courtesy of Black History Album, The Way We Were.
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