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Maker: Jean-François Armbruster (1835 - 1912)
Born: France
Active: France
Medium: albumen print
Size: 8 in x 6.5 in
Location:
Object No. 2019.299
Shelf: B-10
Publication:
Other Collections:
Provenance: collectiblephotography
Rank: 90
Notes: Armbruster was a photographer, painter, draftsman and graduate of the Lyon School of Fine Arts. Also known for his pencil portraits. As a photographer, he settled in 1859 as successor to Camille Dolard, at 11 Place Croix-Paquet in Lyon, then Place de la Charité in the 1870s, and 2 rue du Plat in the early 1880s.
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All photographs are © copyright by Rakhi Rawat. Please do not copy, use and modify any of my photographs without my explicit written permission. All rights reserved.
Coffin plate with "The gates ajar" design for Eliza Dodge, aged 42 years, 4 months and 14 days. Eliza died in South Marysburgh, Prince Edward County on March 1, 1890. She was married to Frederick Dodge and her maiden name was Thompson.
This object was found in Deseronto, Ontario in February 2014.
Belated photos from the 2011 Pitchfork Music Festival.
I've compiled all of these beach ball shots into a single blog post.
© Andy Marfia 2012
This is the best shot I took unfortunately :( I have failed you Todd. I took this photo like this because I thought it was a bit silly to have a small figure tying his shoe which is bigger than him. This shot is interesting because the shoe is clearly much bigger than them. I wanted to convey humor because it is goofy. I used these settings cuz I wanted even light to go through the whole photo and keep the subject lit like the house parties I go to ayyyyye
Here is used my phone to present how 21st century humans(first world country societies) are evolving around technology and not real knowledge. They don't actually need knowledge because they have a search engine on the internet so their brains are literally their phones and computers etc. However, you can question that it is good or bad. My opinion is different in each sector. I feel social media and technology has changed us because it brings people closer and it's free but on the other hand now a days you can't live without and phone. Furthermore, it is another platform where people can do the act of cyber bullying. In conclusion, my opinion is very mixed because personally have seen the advantages and disadvantages of technology.
From Wikipedia, the free encyclopedia:
A pysanka (Ukrainian: писанка, plural: pysanky) is a Ukrainian Easter egg, decorated using a wax-resist (batik) method. The word comes from the verb pysaty, "to write", as the designs are not painted on, but written with beeswax. The word pysanka refers specifically to an egg decorated with traditional Ukrainian folk designs, and is not a generic term for any egg decorated using wax resist.
The art of the decorated egg in Ukraine, or the pysanka, probably dates back to ancient times. No actual ancient examples exist, as eggshells are fragile.
As in many ancient cultures, Ukrainians worshipped a sun god (Dazhboh). The sun was important - it warmed the earth and thus was a source of all life. Eggs decorated with nature symbols became an integral part of spring rituals, serving as benevolent talismans.
In pre-Christian times, Dazhboh was one of the main deities in the Slavic pantheon; birds were the sun god's chosen creations, for they were the only ones who could get near him. Humans could not catch the birds, but they did manage to obtain the eggs the birds laid. Thus, the eggs were magical objects, a source of life. The egg was also honored during rite-of-Spring festivals––it represented the rebirth of the earth. The long, hard winter was over; the earth burst forth and was reborn just as the egg miraculously burst forth with life. The egg, therefore, was believed to have special powers.
With the advent of Christianity, via a process of religious syncretism, the symbolism of the egg was changed to represent, not nature's rebirth, but the rebirth of man. Christians embraced the egg symbol and likened it to the tomb from which Christ rose. With the acceptance of Christianity in 988, the decorated pysanka, in time, was adapted to play an important role in Ukrainian rituals of the new religion. Many symbols of the old sun worship survived and were adapted to represent Easter and Christ's Resurrection.
In modern times, the art of the pysanka was carried abroad by Ukrainian emigrants to North and South America, where the custom took hold, and concurrently banished in Ukraine by the Soviet regime (as a religious practice), where it was nearly forgotten. Museum collections were destroyed both by war and by Soviet cadres. Since Ukrainian Independence in 1991, there has been a rebirth of the art in its homeland.
Maker: Edouard Baldus (1813-1889)
Born: Germany
Active: France
Medium: heliogravure
Size: 9 3/4" x 13 1/3"
Location: Paris
Object No. 2014.310
Shelf: B-37
Publication: E. Baldus, Reconstruction de 'Hotel de Ville de Paris, Des Fossez et Cie, Editeurs, Paris, 1884, pl 55
Other Collections: Candian Centre for Architecture, Avery Library - Columbia University
Provenance: Bloomsbury Auctions, London, Photo Opportunities, February 28, 2014, lot 128
Notes: This plate is part of a series of 100 published by Baldus in 1884 showing the reconstruction of the Hotel de Ville in Paris following its destruction during the Paris Commune of 1871. It was Baldus last project; he declared bankruptcy in 1897 and died two years later. The photographer Édouard Baldus (1813–1889), a central figure in the early development of French photography and acknowledged in his day as a pioneer in the still-experimental field, was widely acclaimed both for his aesthetic sensitivity and for his technical prowess. Establishing a new mode of representing architecture and describing the emerging modern landscape with magnificent authority, he enjoyed high patronage in the 1850s and 1860s. Yet, despite the artist's renown during his lifetime, his name is all but unknown today, his work savored only by connoisseurs. Baldus made his reputation with views of the monuments of Paris and the south of France, with dramatic landscapes of the Auvergne, with photographs of the New Louvre, and with a poignant record of the devastating floods of 1856. But it is his two railroad albums—the first commissioned in 1855 by Baron James de Rothschild for presentation to Queen Victoria, the second in 1861 by the Paris-Lyon-Mediterranee railroad company—that are his greatest achievement. Here he brought together his earlier architectural and scenic images with bold geometric views of the modern landscape—railroad tracks, stations, bridges, viaducts, and tunnels—to address the influence of technology (of which both the railroad and the camera are prime examples). In so doing, Baldus anticipated the concerns of Impressionist painters a decade later and those of many artists of our own day, meeting his task with a clarity and directness not since surpassed. Beginning in the mid 1860s with this publication, and lasting until the early 1880s, Baldus primary commercial activity centered on the production of photogravures, a process he first explored in 1854. This work had nothing to do with promoting artistic photography or his own photographic work; instead it was an industrial application of photography that brought credit and financial gain to Baldus as an inventor and entrepreneur rather than an artist. (source: MET). Beginning in the mid 1860s, and lasting until the early 1880s, Baldus primary commercial activity centered on the production of photogravures, a process he first explored in 1854. This work had nothing to do with promoting artistic photography or his own photographic work; instead it was an industrial application of photography that brought credit and financial gain to Baldus as an inventor and entrepreneur rather than an artist.
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