View allAll Photos Tagged groupportraits
Mrs. Fielding of O'Connell, presumably of Waterford City commissioned this lovely group photo of four women who were very focused on something to the right of the photographer! Seemingly a mother and three sisters, the difference in hairstyles was once used to denote single ladies from married. Could this be the case here?
Photographer: A. H. Poole
Collection: Poole Photographic Studio, Waterford
Date: Circa 15th May 1903
NLI Ref: POOLEWP 1290
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
A couple of friends commissioned this gift - a portrait for their host at the Frederick Law Olmstead luncheon last May. That is Laurie, their host, second from right. I was unable to complete it on site in the rain- but it was fun to assemble from the photos I took that day. Thanks Mary Margaret (far left) and Julie (third from right)!
Boys taking a sheep to wash in the ocean in preparation of the Tabaski Festival stop to pose for a fun photo. Love the expressions here. Yoff Beach, Dakar, Senegal, West Africa.
Photography, Travel, Environmental Blogging in Senegal
Here is a blog about The Tabaski Festival in Senegal
www.instagram.com/geraint_rowland_photography/
Group Posed On Haystack. Gleichen, Alberta. Photograph.
Written on reverse:
Gleichen Oct. 27
Mr. Donnar? took us out in this auto to see his thrashing outfit. This was in the middle of a wheat field.
Another scene from a bygone era in Indonesia. Buying flowers at a traditional Balinese flower market. In traditional Balinese culture, flowers play a deeply symbolic and essential role as religious offerings (Canang Sari), and are used in nearly all ceremonies from festivals to weddings, and cremations.
People rushing between classes. Drawn for a life drawing class. University of Texas, Spring 2007.
found this in a drawer recently. Its strange I used the full sheet because my teacher usually instructed me to tear my pages in half. But the technique looks late in the semester, if I compare to others I have posted. If you attended UT, you will recognise the scene. I love how I tried to capture the hair bounce.
pen and ink. joseph gillot pen. 11 x 17"
wassau #97883 "exact gloss coated" 80 lb paper.
I guess Helma started with three or four dogs on the bank and when she caught six she asked me if I join to try seven at a stroke and so we did. We will try to get more until the bank is full :)
The highhlight of my trip was being invited to address an English Class in the remote Provincial City of Myitkyina in Kachin State. Having lunch in a restaurant, a well dressed and polite man asked to sit with me and asked if I would visit his language school. That afternoon a Burmese girl on a motorbike picked me up at my hotel and took me out to the suburbs and I spent about an hour there talking to the class even using the blackboard. Was such good fun and an amazingly rewarding experience. We all went out together that evening for an evening meal at a Kachin Restaurant, a perfect day for a person who didn't want to be a tourist !. As you can see I was fairly obvious by my height, the English teacher and owner is on my right.
Friday 11th November, 2016.
Photo by unknown student !.
Photograph. 15.4 x 20.5 cm.
Bought from an eBay seller in Swindon, Wiltshire, United Kingdom.
And a pot-plant on every table!
Explored on 3 September, 2017 (#391).
Sepia-toned photograph of a group of men and women in vintage clothing, taken outdoors in Máriaremete, Hungary, 1935.
In Bhutan, young boys from impoverished families willingly enter monastic life to alleviate their families' burdens. By joining a monastery, they gain access to essential provisions such as food, education, and healthcare, which not only secure their future but also facilitate their spiritual growth. Nevertheless, this decision comes at the cost of a conventional childhood filled with play and enjoyment. Despite the sacrifices, their unwavering devotion and hope for a better future keep them steadfast in their commitment to the monastic path. I was fortunate to be granted permission to capture poignant images of these young monks at Paro Dzong, the administrative seat of Paro district in Bhutan. During my time there, I immersed myself in documenting their daily routines, hoping to portray their lives with authenticity and sensitivity. Towards the end of our session, I gathered the young monks in the income hall of the main prayer hall, where I invited them to join me for a group portrait - Paro Dzong, Paro, Bhutan.
An overdose of cuteness and beautiful children on this Poole photo from 1920. Four girls and a handsome young man in the family portrait commissioned by Mr. JP Fogarty of Castlecomer, Co. Kilkenny. The gentleman and lady have good reason to look proud. To my way of thinking the oldest girl has the makings of a real beauty!
Photographer: A. H. Poole
Collection: Poole Photographic Studio, Waterford
Date: Circa 27th July 1920
NLI Ref: POOLEWP 2863a
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
This shot makes me giggle .... It the pre "Say Cheese" moment! The look on their faces is priceless!
A memory from the last summer of the 19th century. The caption for Emil Durling´s (1858 - 1933) original image in the Östergötland museum archive only mentions that you can see the photographer (second from the right in dark suit) together with a group of people posing on board a sailing boat moored in Strömmen, Sankt Anna in 1899. (Farmer/apple grower/photographer Durling´s farm was called Strömmen.)
I think that Durling took this group "selfie" because he wanted to have a nice memory of his relatives/friends celebrating the new boat, probably owned by the man sitting in the bow with his dog. They did not have any intention to sail.
Durling did not marry, but the farm remained within the family of his two sisters. In 1965 the main building was destroyed by a fire resulting in the death of two sister´s sons and the loss of a great number of Durling´s original photos. About 850 of his images remain in the museum archive.
Oil on canvas; 91 x 141 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.
Otis & Odessa met relatives in Pärnu during the summer holidays.
Not all relatives could come because of reduced flights, but most of them were there.
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HAPPY TEDDY BEAR TUESDAY!
Train station in Neuchatel, Suisse
1969
Going somewhere or arriving somewhere with my friends Leslie and Hillary. I remember I had borrowed that coat from Diana S. It was her sister's. At least I stayed in University at Neuchatel long enough to begin dreaming in French. What else is there?
When I get mad at my kids for doing something or not doing something, I say to myself, "What, you never fucked up your life?"
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"What is a saint? A saint is someone who has achieved a remote human possibility. It is impossible to say what that possibility is. I think it has something to do with the energy of love. Contact with this energy results in the exercise of a kind of balance in the chaos of existence. A saint does not dissolve the chaos; if he did the world would have changed long ago. I do not think that a saint dissolves the chaos even for himself, for there is something arrogant and warlike in the notion of a man setting the universe in order.
It is a kind of balance that is his glory. He rides the drifts like an escaped ski. His course is the caress of the hill. His track is a drawing of the snow in a moment of its particular arrangement with wind and rock. Something in him so loves the world that he gives himself to the laws of gravity and chance. Far from flying with the angels, he traces with the fidelity of a seismograph needle the state of the solid bloody landscape. His house is dangerous and finite, but he is at home in the world. He can love the shape of human beings, the fine and twisted shapes of the heart. It is good to have among us such men, such balancing monsters of love.” “
— Leonard Cohen is a Canadian Juno Award-winning singer-songwriter, musician, poet, and novelist, Beautiful Losers (1966) (Photo)
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Genius is often only the power of making continuous efforts. The line between failure and success is so fine that we scarcely know when we pass it — so fine that we are often on the line and do not know it. How many a man has thrown up his hands at a time when a little more effort, a little more patience, would have achieved success.
As the tide goes clear out, so it comes clear in. In business sometimes prospects may seem darkest when really they are on the turn. A little more persistence, a little more effort, and what seemed hopeless failure may turn to glorious success. There is no failure except in no longer trying. There is no defeat except from within, no really insurmountable barrier save our own inherent weakness of purpose.
— Elbert Hubbard, was an American writer, publisher, artist, and philosopher (1856-1915), as quoted from Electrical Review (c. 1895), this was later published as part of various works by Hubbard, including FRA Magazine : A Journal of Affirmation (1915)
Oil on canvas; 152 x 127 cm.
Karl Hofer was born in Karlsruhe the son of a military musician. After an apprenticeship in C.F. Müller's court bookstore, he began to study at the Großherzoglich Badische Akademie der Bildenden Künste in Karlsruhe in 1897. Here he studied under Poetzelberger, Kalckreuth and Thoma until 1901. None of these teachers, however, were able to provide him with ideas for his ambitious striving for a new art form and he soon came under the influence of Arnold Böcklin. Hofer traveled to Paris in 1900 where he was greatly impressed by Henri Rousseau's naive painting. The art historian Julius Meier-Graefe introduced Hofer not only to private collections worth while seeing in Paris, but also drew his attention to Hans von Marées. As a result Hofer decided in 1903 to spend a couple of years in Rome. His painting, which was until then influenced by Böcklin's Symbolism, changed in favor of Marées' classic-Arcadian concept. In 1904 the Kunsthaus Zurich presented Hofer's first one-man show within the ‚Ausstellung moderner Kunstwerke', which was afterwards shown in an extended version at the Kunsthalle Karlsruhe and at the Folkwang-Museum in Hagen and in Weimar in 1906. From 1908 Hofer lived temporarily in Paris. The stay changed his style through dealing with influences of Cézanne, French Impressionists and El Greco. In 1913 the artist moved to Berlin. He was interned in France one year later and only returned to Germany in 1917. He accepted a post as a professor at the Kunstschule in Berlin-Charlottenburg in 1921. On the occasion of his 50th birthday a retrospective took place at the Kunsthalle Mannheim, the ‚Berlin Secession' and Alfred Flechtheim's gallery in Berlin. His art was considered "degenerate" during the 'Third Reich' and he was dismissed from his teaching post in 1933/34. His works were exhibited in 1937 in the Munich exhibition 'Entartete Kunst'. Hofer lived in Berlin for the rest of his life. He was the director of the Hochschule für Bildende Künste in Berlin.
This photo is copyrighted and may not be used in any way without permission. Photo taken on 05/12/09 outside of Jannus Landing in St.Pete.
Check out more portraits from this shoot:
Portraits of Spencer Chamberlain of Underoath on 05/12/09
Spencer Chamberlain is the lead singer of the post-hardcore band Underoath.
Kane Hangin out
Jim and I, shirtless with our friends.
Afloat in a world of large shining cars, houses with white wrap around porches surrounded by ancient trees. This was an intimate self contained time right after WWII, a time of celebration of that fact that life goes on and there is the possibility of a new beginning.
When I first watched Ken Burns series on WWII in the Pacific [The War] I was spellbound. This was the background of my childhood that no one ever talked about but everyone felt deeply. I suppose that there is always the subterranean feeling of anxiety that underlies the serene topsoil. In my idyllic childhood I woke up at night biting my fingernails. I had anxiety attacks. How could I help but act out the inner life of my parents?
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"It was that impossible thing: happiness that does not wilt to reveal the thin shoots of some new desire rising from within it."
[George Saunders from his short story collection “10th of December”]
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"we have now been accounted for
and it is written on our empty graves
that After everything still I stayed.
And I mean it. I stayed. I stayed. I stayed."
Buddy Wakefield, “Self-Portrait”
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A Short Testament
Whatever harm I may have done
In all my life in all your wide creation
If I cannot repair it
I beg you to repair it,
And then there are all the wounded
The poor the deaf the lonely and the old
Whom I have roughly dismissed
As if I were not one of them.
Where I have wronged them by it
And cannot make amends
I ask you
To comfort them to overflowing,
And where there are lives I may have withered around me,
Or lives of strangers far or near
That I’ve destroyed in blind complicity,
And if I cannot find them
Or have no way to serve them,
Remember them. I beg you to remember them
When winter is over
And all your unimaginable promises
Burst into song on death’s bare branches.
Anne Porter
[via rabbit-light]
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