View allAll Photos Tagged groupportraits
The 50s thing of dressing your kids up in costume. All alike. Well I suppose that that impulse is timeless. Daniel Boone. Jim was the only one with the coonskin cap. I remember really liking the fring-ie jacket. I'm sure that we were like puppies and kittens - fun at first. And then we ruined our parents lives.
He trained at the academy of art in Copenhagen from 1805 to 1808, adopting the clarity and brilliance characteristic of the Danish school. In 1808 he went to Dresden, where he associated with Caspar David Friedrich. Kersting was also a close friend of the painter Gerhard von Kügelgen. His first two portraits in individual interiors (a genre he was to make his own), Caspar David Friedrich in his Studio and Gerhard von Kügelgen in his Studio, attracted much attention on their exhibition at the Dresden Kunstakademie in 1811.
Kersting continued to produce works of this very appealing type, linking the sitter with his surroundings: they are an epitome of early Romantic interest in the spirit of the individual and point beyond the ephemeral, genre-like aspects of the subject to a symbol of the interaction between man and the space in which he works or lives. In 1812 Kersting painted The Embroiderer, The Elegant Reader and Man at a Desk. For the last of these, Kersting used the young painter Louise Seidler as a model. Seidler was instrumental in enabling Kersting to send several of his works to Goethe. who recommended that Grand Duke Charles Augustus buy The Embroiderer.
Group portrait taken during SIC Scripture Study's Certificate Presentation.
Follow me on Facebook: facebook.com/johnragaiphotos
Local Accession Number: 11_07_003494
Title: Barnum & Bailey Circus at Boston Garden
Creator/Contributor: Grant, Spencer, 1944- (Photographer)
Genre: Slides; Group portraits
Date created: 1974
Physical description: 1 slide : color ; 35 mm.
General notes: Title from photographer caption.
Subjects: Circuses & shows; Circus performers; Elephants; Boston Garden (Boston, Mass.); Barnum and Bailey; Boston Garden (Boston, Mass.); Barnum and Bailey
Collection: Spencer Grant Collection
Location: Boston Public Library, Print Department
Rights: Copyright (c) Spencer Grant
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.
Number:
164386
Date created:
1922
Extent:
1 photographic print : gelatin silver ; 7 x 9.25 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 Boteler, Lucy K.
Brenner, Ella Gertrude
Hales, Helen Addeline
Herbert, Anna
Hoffman, Virginia Mason
Klinefelter, Dorothy B., 1902-1978
Pagel, Katherine Elizabeth
Schramm, Wilhelmina A.
Cullen, Thomas Stephen, 1868-1953
Nash, Jane Evans, 1880-1955
Nursing students--Maryland--Baltimore--1920-1930
Nurses--Maryland--Baltimore--1920-1930
Graduation ceremonies--Maryland--Baltimore--1920-1930
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.
The Marcos Family at the Malacanang of the North, which overlooks the Paoay Lake, during the 95th Birth Anniversary of the late Philippine President Ferdinand E. Marcos. From left to right: Ilocos Norte Governor Imee Marcos, Senator Ferdinand Bongbong Marcos, Jr., 2nd District of Ilocos Norte Representative Imelda Romualdez-Marcos and Irene Marcos-Araneta.
--
(Sept. 11, 2012)
(PGIN-CMO Photo / Alaric A. Yanos)
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.
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.
Percy Wyndham Lewis was an English painter and author. He was a co-founder of the Vorticist movement in art, and edited the literary magazine of the Vorticists, BLAST.
In the years 1913-15 that he developed the style of geometric abstraction for which he is best known today, a style which his friend Ezra Pound dubbed "Vorticism". Lewis found the strong structure of Cubist painting appealing, but said it did not seem "alive" compared to Futurist art, which, conversely, lacked structure. Vorticism combined the two movements in a strikingly dramatic critique of modernity.
Local Accession Number: 11_07_003526
Title: High school football practice, South Boston
Creator/Contributor: Grant, Spencer, 1944- (Photographer)
Genre: Slides; Group portraits
Date created: 1973
Physical description: 1 slide : color ; 35 mm.
General notes: Title from photographer caption.
Subjects: Football players; Coaches (Athletics)
Collection: Spencer Grant Collection
Location: Boston Public Library, Print Department
Rights: Copyright (c) Spencer Grant
Children playing card game, Vietnam, ca. 1904
Photographer:
Unknown
Subjects (LCSH):
Children--Clothing & dress--Vietnam
Card games--Vietnam
Group portraits
Digital Collection:
International Collections
http://content.lib.washington.edu/icweb/index.html
Item Number: INC0457
Persistent URL:
http://content.lib.washington.edu/u?/ic,397
Visit Special Collections reproductions and rights page for information on ordering a copy.
University of Washington Libraries. Digital Collections http://content.lib.washington.edu/
First school in Edmonds, Washington, 1888
Photographer:
Unknown
Subjects (LCSH):
School buildings--Washington (State)--Edmonds
School children--Washington (State)--Edmonds
Teachers--Washington (State)--Edmonds
Portraits, Group--Washington (State)--Edmonds
Digital Collection:
Washington Localities Collection
content.lib.washington.edu/wastateweb/index.html
Item Number: WAS0921
Persistent URL:
content.lib.washington.edu/u?/wastate,669
Visit Special Collections reproductions and rights page for information on ordering a copy.
University of Washington Libraries. Digital Collections content.lib.washington.edu/
Born in Illinois, Meatyard attended Williams College on the Navy V-12 program. He became a licensed optician in 1949 after working for Dow Optical in Chicago. Moved to Lexington, Kentucky, for an optician job, became interested in photography, and sought out Van Deren Coke as a teacher/mentor; bought twin lens reflex in 1950. He also studied with Minor White but thought of himself as a "primitive" photographer. Meatyard’s photographic work is primarily square, black and white images of children and anonymous figures wearing Halloween masks in rural fields, abandoned structures, or barns. He often experimented with movement of one or more human subjects producing enigmatic blurred features. The work creates macabre overtones with doll images and nightmare juxtapositions of innocence (children) and potential danger. Many critics have attributed visual elements in Meatyard’s photographs to metaphors for death and decay. He was influenced by literary sources and his final theme, before an untimely death, was The Family Album of Lucybelle Crater (published posthumously in 1974). Characters and scenes in this series are taken somewhat literally from a Gertrude Stein story of a Southern lady. Meatyard’s work appeared in print in the early 1970s just as university art programs in the United States began to experience a growing trend in creative photography; this, and the appeal of a psychological dimension, may explain the longevity of this man’s influence.
(Author: Ken White - Rochester Institute of Technology)
www.luminous-lint.com/app/photographer/Ralph_Eugene__Meat...
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.
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: 13_05_000581
Title: Prince & Princess of Wales [back]
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 from item or from accompanying material.
Date notes: Date supplied by cataloger.
Subjects: Princesses; Princes; Alexandra, Queen, consort of Edward VII, King of Great Britain, 1844-1925; Edward VII, King of Great Britain, 1841-1910
Collection: Cartes de Visite Collection
Location: Boston Public Library, Print Department
Rights: No known copyright restrictions.
Oil on canvas; 220.8 x 180.5 cm
Bunny, Rupert (Charles Rupert Wulsten) was an Australian painter. After studying in Melbourne under G. F. Folingsby (d 1891), he moved to Europe in 1884 and studied in London under P. H. Calderon and in Paris under Jean-Paul Laurens, who introduced him to the Société des Artistes Français in 1887. His early works consisted mainly of mythological subjects and graceful images of pleasant Symbolist landscapes (e.g. Pastoral, c. 1893; Canberra, N.G.); he defected to the New Salon in 1901 and produced some less decorative works, including images of biblical subjects (e.g. the Prodigal Son, c. 1903; Melbourne, Wesley Church). A long series of paintings of women followed (e.g. the Distant Song, c. 1909; Canberra, N.G.), but his style again changed abruptly when in 1913 he exhibited at the Salon d’Automne a series of images of dancers, The Rite that shows the influence of Primitivism. Although not attracted to the avant-garde, Bunny showed an adventurous spirit in his unusual sense of color, sense of rhythm and witty use of his subjects’ poses. He continued to live in Paris and London until 1933 when he returned to Melbourne.
Pencil note on the reverse - "Albion Place school at Maidstone 28.2.1941" Nice to see everyone looking so happy.
"My Corner - 3rd floor front
327 Morewood Ave
Fatty - Venus - Georgia Clark -Bennie (Anna), Grace Saxman
*
Let me tell you, it took a great lot of sleuthing to figure out where this was. I inherited my [great] Aunt Anna's photo albums, Bible, and Journals. She died in an "Insane" Asylum in the 1950s, suffering from Schizophrenia. I know little more than that, except what I read between the lines in her photos and journals. My mother [who also suffered from schizophrenia] once said, "I've been talking to Anna, you know." I said, "Well Anna is dead." My mother, shooting me a withering glance, replies, "Well of course she is." I asked what Anna had to say to her, and my mother said, "She needs money." I condescendingly explained to my mother that when you're dead you don't need money. My mother triumphantly interrupted my careful explanation to inform with with great certainty that you most certainly DO need money in the afterlife, and Anna needs it now.
As was typical in my relationship with my mother and in our conversations, I lost my own certainty that I knew or had any idea what I was talking about. I bowed to her superior knowledge and humbly asked her what we should do.
I love that these girls in 1910 went by "Fatty" and "Venus."
*
When Someone Deeply Listens to You
John Fox
When someone deeply listens to you
it is like holding out a dented cup
you’ve had since childhood
and watching it fill up with
cold, fresh water
When it balances on top of the brim,
you are understood.
When it overflows and touches your skin,
you are loved.
When someone deeply listens to you
the room where you stay
starts a new life
and the place where you wrote
your first poem
begins to glow in your mind’s eye.
It is as if gold has been discovered!
When someone deeply listens to you
your bare feet are on the earth
and a beloved land that seemed distant
is now at home within you.
Local Accession Number: 11_07_003611
Title: Harvard crew practice on Charles River, Dunster House in background, Cambridge
Creator/Contributor: Grant, Spencer, 1944- (Photographer)
Genre: Slides; Group portraits
Date created: 1969-1992 (approximate)
Physical description: 1 slide : color ; 35 mm.
General notes: Title from photographer caption.
Date notes: Date supplied by cataloger.
Subjects: Rowers; Team rowing; Bridges; Harvard University
Collection: Spencer Grant Collection
Location: Boston Public Library, Print Department
Rights: Copyright (c) Spencer Grant
Local Accession Number: 06_11_001190
Title: Group photograph of eighteen people outside a small cottage on Martha's Vineyard
Statement of responsibility: Made and for sale by Joseph W. Warren
Creator/Contributor: Warren, Joseph W. (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 supplied by cataloger.; Part of series: Views in and around Wesleyan Grove Camp Ground, Martha's Vineyard.
Date notes: Date supplied by cataloger.
Subjects: Dwellings
Collection: Stereographs
Location: Boston Public Library, Print Department
Shelf locator: Unidentified ind cottages
Rights: No known copyright restrictions.
Paper mount for this image has the names:
Al Mc Clurb; Sam Dailey; A. Cunningham; A. McDaniels; E McDaniels
Paper mount stamped:
"SW & GW Cabrey/ View Photographers/ Buildings, Horses, Cattle & Machinery
All work Intstantaneous"
Here's the picture in its mounting material: [ www.flickr.com/photos/chris-warren-photos/6000493180/]
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: 11_07_003426
Title: Saturday produce sellers, Haymarket Square, Boston
Creator/Contributor: Grant, Spencer, 1944- (Photographer)
Genre: Slides; Group portraits
Date created: 1975
Physical description: 1 slide : color ; 35 mm.
General notes: Title from photographer caption.
Subjects: Produce stands; Refuse; Haymarket Square (Boston, Mass.)
Collection: Spencer Grant Collection
Location: Boston Public Library, Print Department
Rights: Copyright (c) Spencer Grant
Manifesting a spiritual practice with our family is extremely difficult, but it’s also really simple. We don’t get carried away by our emotions; we don’t affirm our position at the expense of where others are coming from. But we do our best to open our arms, open our heart, and let what we've got inside us flow out into the situation and let the situation outside flow into us. In that process, we lose ourselves.
- Shozan Jack Haubner, "Drama or Dharma"
Team IT Maahad Muhammadi Perempuan,Kota Bharu,Kelantan.
Location : Maahad Tahfiz Al-Quran Wal Qiraat,Pulai Chondong.
During : Pertandingan Multimedia [Animasi] (2010)
Seriously,gambar ni cukup istimewa bagi sy... :))
To : kak za . kak byqie . kak dnin . kak ama' . kak zakiah . kak ua . kak dila . uma . sarah . amna . pina....
"Mengenalimu wahai sahabat,merupakan sebuah hadiah yg x ternilai bagiku...thanx Allah kerana m'pertemukan kami..mengenali korang merupakan saat yg paling bahagia bg aku..:D"
selanjutnya :
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-...
Bain News Service,, publisher.
Delegates of Hawaii
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.22029
Call Number: LC-B2- 3889-6
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; 20 3/8 in. x 27 1/8 in.
Hogarth is best known for his series paintings of 'modern moral subjects', of which he sold engravings on subscription. The Collection contains the set called 'Marriage A-la-Mode'. Although pugnaciously hostile to Continental art, he succumbed to French influence. In 1753 he published his 'Analysis of Beauty', in which he stresses the importance of the serpentine line.
Hogarth was born in London, the son of an unsuccessful schoolmaster and writer from Westmoreland. After apprenticeship to a goldsmith, he began to produce his own engraved designs in about 1710. He later took up oil painting, starting with small portrait groups called conversation pieces. He went on to create a series of paintings satirising contemporary customs, but based on earlier Italian prints, of which the first was 'The Harlot's Progress' (1731), and perhaps the most famous 'The Rake's Progress'. His engravings were so plagiarised that he lobbied for the Copyright Act of 1735 as protection for writers and artists.
During the 1730s Hogarth also developed into an original painter of life-sized portraits, and created the first of several history paintings in the grand manner.
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.
Some days you get lucky and just get a chance to do some cool stuff to take photos of, today was one of those days. Lynn Haven Fire Department got pink shirts to wear during October, and asked if I would take a group photo. I was like a kid in a candy store I was so excited. After I got the formal photo (posted on here also) I got out the Phantom to get this aerial shot. You can see my camera on the tripod and the lights still set up, and me in my black shirt at the end of the line of firemen. I hope I get asked to do this again in their regular uniforms in November! (hint, hint)
SFFf-1988007.0047
"Røysafolket" (the Røysa people) outside their home. Front row, fom the front left: Gustav (b.1892), Reinhardt (b. 1898), Marie (b. 1903), Ingeborg (b. 1901) and Laura (b. 1895). In the back row, left to right: Inger (b. 1890) Berte Rasmusdatter (b. 1866) and Arne Gunnarson (b. 1861).
Photographer: Anders Folkestadås
Date: 1906
Medium: Glassplate negative
Extent: 8 x 11 cm
www.fylkesarkiv.no/foto/detalj?http://www.sffarkiv.no/sff...
Hans Holbein the Younger was a German artist and printmaker who worked in a Northern Renaissance style. He is known as one of the greatest portraitists of the 16th century. He also produced religious art, satire, and Reformation propaganda. He is called "the Younger" to distinguish him from his father, Hans Holbein the Elder, an accomplished painter of the Late Gothic school.
Holbein travelled to England in 1526 with a recommendation from Erasmus. He was welcomed into the humanist circle of Thomas More, where he quickly built his reputation. After returning to Basel for four years, he resumed his career in England in 1532. By 1535, he was King's Painter to King Henry VIII.
Holbein's art was prized from early in his career. By the 19th century, Holbein was recognized among the great portrait masters. Holbein's art has sometimes been called realist, since he drew and painted with a rare precision. His portraits were renowned in their time for their likeness; and it is through Holbein's eyes that many famous figures of his day, such as Erasmus and More, are now "seen".
Maundy Thursday is the day of the year Swedish kids dress up as Easter Witches and go round the neighbourhood handing out Easter cards. They often get candy in return. So kind of like halloween, but not as big a deal. Halloween has recently started to make inroads in Sweden (the last 5 years perhaps) so now we have two times a year to go ask for sweets.
An affluent group of British travellers pose for the camera at the start of a ten day trip through France and Switzerland in 1938. Ten days of exposure to French cultural landmarks and foreign cuisine.