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In one of my previous shots in this 365 I did a shot where I overlayed a tree silhouette shot over a portrait of myself. I really liked the effect but wanted to replicate it in camera. I set the camera up on the table with the centre post of my tripod reversed. Large piece of white paper with a fern branch and sorted the positioning and exposure. then did the same for my head. Fired the shutter in bulb mode and triggered my flash gun with my radio trigger. Snooted on lowest power then lined my head up with the branch and took it away before firing the flash from a different angle so as not to was out where the fern was. Repeated this process many, many times. I have bumped the shadows and contrast and lowered the exposure in post. I shall be revisiting this type of portraiture again soon.
This is number 57 of my 365.
Cheers.
Replicating the cover photo of this year's Autoshite calendar, here is RKG displaying the name of the website and its slogan 'Your motoring is our concern'.
.... Atop the replicated facade, brightly coloured geometric details and gold carvings are now once again prominent. Long home to the 1928 built Concourse Building, the corner of Adelaide and Sheppard is now fronted by a conspicuously new replica of the former building. Elements of the Art Deco building, demolished in 2013 .... have been incorporated into the new facade of the 42 storey EY Tower ....
After successfully replicating a LUT that I liked from another image processing program, I realized it might work well on some photos I took last May around the Perigord Noir region of France.
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Replicating a tattered focussing hood for a R.B. Graflex B 4x5 camera.
As can be seen, the original hood was cracked beyond repair. The above image shows the surviving leather stiffening boards put back into the location where they belong. The pattern of the folds and stiffeners is plain to see. Note that for visual effect the brown inside of the boards is shown (the back has a thin canvas covering that held them in place); this means that the boards on the sides (the complex pattern of six parallelogram and triangle shapes) has been swapped over.
© Dirk HR Spennemann 2010, All Rights Reserved
Assembled in Adobe Ideas, which has no provision for straight lines (a surprising shortcoming for a vector based app), so my improvised "straight" lines wobble. All the other irregularities are intentional, or maybe it is all simply more evidence of a seemingly orderly mind going astray.
By the way, this demonstrates again my aversion to symmetry which, however, I've noticed is much liked by many other amateur digital artists. The kind of symmetry I like best is what turns out on closer inspection not to be symmetrical, such as people's eyes, ears, face, arms, legs, etc. Nature seems to be full of near symmetries. I like better the much different and more interesting asymmetries of, say, friends and couples. Decades ago when I collected stamps there was a set with designs of folded paper cutouts (based I think on a folk tradition in Poland) which always changed something in each section when it was unfolded, to avoid any exact symmetries. That was what I liked best about those cutouts.
One of the spookiest near encounters for me was about 30 years ago when a young man my age and build walked past me on the sidewalk and I swear he looked exactly like I do in the mirror and pictures. I might have walked faster then to avoid any chance of him wanting to talk to me, though it seemed that he didn't notice me or maybe saw no similarity. Some people say they would like to have had a twin and one of my best friends in high school was a twin (I was one of the few outside his family who could easily tell him apart from his brother). One of me is just fine and yet quite enough -- two of me would be one too many.
... flanking the kailash temple on either sides are 56ft high monolithic towers.
kailash temple commissioned by the rashtrakuta king krishna-i in 8th centuary spans 266ft x 154ft, was carved out of huge rock cliff. sculptors chiselled thru 3 million cubic feet of rock, beginning at the top of the cliff and working their way down, leaving this magnificently carved monolithic marvel depicting mount kailash. in those days, the 'shikhara' 'n top layers were plastered in white to replicate the real snow cladded mount kailash.
see other images ELLORA here
I tried to replicate the scene from the movie when Soundwave hacks into a military satellite using his "tentacles".
Schools MUST BE LEGALLY REQUIRED to ONLY accept kind-spirted media such as Walt Disney's animated films Snow White and Pinocchio because mean-spirted media like Foster's Home for Imaginary Friends contains characters expressing anger in a mean, scary, and inappropriate way such as yelling, screaming, making freaky spikey eyelashes, triangular eyes, aiming guns and other mean-spirited stuff which is extremely offensive to little kids and making them cry and reminding them of being mistreated by mean teachers whereas Walt Disney's animated films Snow White and Pinocchio are entirely kind-spirited which is the MAIN meaning of school appropriate. Frankie Foster MUST BE BANNED Frankie Foster yells, screams, makes freaky spikey eyelashes and triangular eyes replicating that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and meanly gnashing her teeth when she gets mad which is mean-spirited because it is okay to get mad but it is not okay to yell, scream, make freaky spikey eyelashes triangular eyes, aim guns, destroy people's toys and belongings or any other mean spirited things when getting mad whereas Raggedy Ann and Raggedy Andy MUST BE KEPT FOREVER because Raggedy Ann and Raggedy Andy are kind-hearted, caring, respectful, helpful and other kind-spirited stuff just like the Disney Character Pinocchio which makes Raggedy Ann, Raggedy Andy, and the Disney Character Pinocchio extremely school appropriate because media does have to be kind-spirited like Walt Disney's animated films Snow White and Pinocchio, Corduroy The Bear with two buttons on his overalls, Blue's Clues, and Raggedy Ann and Andy and other kind-spirited media in order for it to be school appropriate not with mean inappropriate anger with freaky spikey eyelashes and triangular eyes etc replicating that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used have on Gordon in the old live action model version of Thomas and Friends like Frankie Foster does in Forster's Home for Imaginary Friends. Mean teachers getting students arrested for having autism or other disabilities MUST BE BANNED because that is very mean and hurtful and causes trauma to students with autism and other disabilities especially in modern Simpsons (The Simpsons seasons 19 and later) Chief Wiggums was getting people arrested for having autism and other disabilities is why modern Simpsons MUST END IMMEDIATELLY and that Nelvana's version of Corduroy the Bear MUST BE REVIVED with the premiere of Two Buttons again and Forever IMMEDIATELY and a lot of big schools with Bogen Multicom 2000 also have mean teachers getting students arrested for having autism or other disabilities is another reason why Bogen Multicom 2000 is a very mean-spirited PA System along their bell tones not sounding like a bell at all especially the in this picture of a mean teacher getting a boy arrested for having autism is in a school with a Bogen Multicom 2000 and allowing mean spirited stuff and allowing an ice cream truck to keep the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO is why I am dead furious with Bogen Communications and Fox Broadcasting and getting students arrested for having autism or other disabilities is one of the extremely bad impact modern Simpsons (The Simpsons seasons 19 and later) has gave us along with reusing bad things they used to make in the past and how to be mean and scary which are extremely bad. So this is why all broadcasts of The Simpsons MUST BE BY LAW MANDATED to be ONLY reruns of classic Simpsons (first 18 seasons of The Simpsons). This is why all schools MUST BE BY LAW MANDATED to be set up like Middleborough, Hilltop School from Timothy Goes to School, and or my DeVry building in North Brunswick, NJ and all with green chalkboards, electric mechanical wall bells, and Corbeil school buses and other school buses with electric stop arms, and only kind-spirited stuff like Disney Snow White and Pinocchio stuff and Corduroy the Bear with two buttons on his green corduroy overalls and Steve Notebooks etc, and no mean-spirited stuff like Bogen Multicom 2000 and that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and no processed foods in the school lunches. This is why McDonald's restaurants MUST BE BY LAW MANDATED to be McEyebrows with the yellow and orange striped awnings, arch wedge the new aluminum exterior I have created, or the original 1970s version of the iconic double sloped mansard roof and better and safe updated indoor PlayPlaces with low and safe steps and slides and green chalkboards and or just the dining room option (no playplace), This is why all ice cream trucks MUST BE BY LAW MANDATED to be all updated to the current updated yellow trapezoid children slow crossing warning blades that word CHILDREN SLOW CROSSING and or school bus stop signs and that all ice cream trucks MUST BE BY LAW MANDEDTED TO GET RID of the bad old outdated red trapezoid children slow crossing warning blades that word IF-SAFE STOP THEN-GO for good, This is why Crayola Crayon boxes MUST BE BY LAW MANDATED to be new modern 1997 boxes. This is why school PA systems MUST BE BY LAW MANDATED to be Rauland Telecenter or PA systems with no bell tones. And this is why Nelvana and Hanna-Barbera MUST TAKE OVER Warner Bros. Animation and Fuzzy Door Productions. And from now on the only childrens' books from the McDonald's double-sloped mansard era people MUST reuse in schools, republish, restore, reprint, and re-create are ONLY little golden books with the classic character train back cover template with Tootle pulling the long train of characters and Donald duck waving the flag saying "The World of Little Golden Books" not any of those old Thomas books with pictures from the old live action model version of Thomas and Friends so we will never ever have to deal with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends ever again. That mean scary looking grumpy face with the freaky spikey eyelashes, triangular eyes, and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends is the worst mean spirited anger imagery because the way how that face is modeled was depicting Gordon the Big engine about to kill people by running over them and about to come out of the TV and kill the viewers of the show by running over them which is very bad and murding is the worst crime. Original photo credited to TrustaMann on Deviantart.com. Parents and Teachers being mean to them and destroying their kid's toys and belongings and yelling "GOD DAM HELL" and "GOD IN HELL" as a punishments MUST BE BANNED AND ILLEGAL EVERYWHERE FOREVER!!!!!!!! because Parents and Teachers taking away and destroying kid's toys and stuff as a punishment is being mean to kids and hurts their feelings real bad and cry which is extremely bad and parents and teachers use scary inappropriate behaviors like yelling "GOD DAM HELL" and meanly yell I'm so god dam cross with you whey they take away kid's toys and stuff needs to stop forever. And at Holly Springs school in my 5th grade school year there were mean teachers that got mean and super mad at me and took away my Steve notebook and forced me to see the freaky spikey eyelashes, razor blade forehead wrinkles, and triangular eyes they used to had on Gordon's grumpy face in the old model version of Thomas and Friends which scared me and other kids real bad when they meanly called me bad just because I made one bad choice and I am a good boy and always try to be kind and respectful. And in the old model version of Thomas and Friends, Gordon looked like an evil man with a gun when he gets grumpy is why I hate the old model version of Thomas and Friends and say that the old model version of Thomas and Friends MUST BE BANNED and good thing I the kind and respectful teachers gave me back my Steve Notebook. Also in my 5th grade year at Holly Springs there was a preschool class with a secondary teachers being mean and got super mad at the little kid and took away his toys and stuff and destroyed them and made the little kid sit in the hallway and and forced and made the little kid to see the freaky spikey eyelashes, razor blade forehead wrinkles, and triangular eyes they used to had on Gordon's grumpy face in the old model version of Thomas and Friends and the little kid cried real hard and I felt bad for the little kid but at least Santa mended the little kids destroyed toys back together at his workshop and gave the toys back to the little kid and at also it is a good thing Thomas and Friends moved to from live action models to CGI animations which is better and friendlier and made Gordon have a more accurate grumpy face similar to Homer Simpson in classic Simpsons episodes. This is why Bogen Multicom 2000 systems MUST BE BANNED from schools and that Bogen Communications MUST SHUT DOWN FOREVER. Especially, that mean scary looking grumpy face with the freaky spikey eyelashes, triangular eyes, and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends is the worst mean spirited anger imagery because the way how that face is modeled was depicting Gordon the Big engine about to kill people by running over them and about to come out of the TV and kill the viewers of the show by running over them which is very bad and murding is the worst crime. Eventhough I am not worried about the mean teachers at Holly Springs school anymore, I still occasionally have nightmares about the mean teachers at Holly Springs school, one night I had 2 nightmares of the mean teachers at Holly Springs school and the first nightmare was in Mrs. Monic's room with the mean teachers at Holly Springs threatening to give me a punishment day by destroying my Steve notebook and forcing me to see that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and the mean then the mean teachers told me to shut up in a slow monster voice with teeth sticking together and then I woke up and realized it was only a dream and the second nightmare with the mean teachers at Holly Springs school the mean teachers were forbidding me to revive Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good and the mean teachers then were calling me a bad boy and then destroyed my Steve notebook and had Gordon in the old live action model version of Thomas and Friends kill me by running me over with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and sending my soul to where the devil lives but good thing God came and angrily confronted the mean teachers at Holly Springs school and angrily destroyed that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and angrily put a grinning smile face on the live action model version of Gordon the Big engine and made the live action model version of Gordon the Big engine inanimate forever as his punishment and revived me and mended my Steve notebook back together and God told me that I am not a bad boy and then allowed me to revive Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and Corduroy the Bear does have two buttons on his green corduroy overalls forever. Especially when I was in 5th grade at Holly Springs, my anxiety had in my head of the mean teachers making evil magic giant steel crates to lock kids in with slamming lift doors forcing kids to see that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and the mean teachers having live action model version of Gordon the Big engine shoot a gun at the kids in the steel crate with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes they used to have on Gordon in the old live action model version of Thomas and Friends and the mean teachers having the live action model version of Gordon the Big engine kill the kids in the steel crate by running them over with that mean scary looking grumpy face with the freaky spikey eyelashes and triangular eyes and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends and I had been having this scary thought since 5th grade at Holly Springs when the mean secondary teachers from Mrs. Monic's room was giving a little kid a punishment day in the hall and was giving me the idea of killing myself by setting my own body on fire I had this bottled up since 5th grade at Holly Springs school. This is why I am collaborating to make everything great again as when I revive Nelvana's version of Corduroy the Bear with the premiere of Two Buttons again and Forever fixing Betty Quan's upsetting mistake for good by showing that they did get Corduroy's button out of the storm drain and put Corduroy's button back on Corduroy the Bear's green corduroy overalls and Corduroy the Bear does have two buttons on his green corduroy overalls forever. This is why Bogen Multicom 2000 systems MUST BE BANNED from schools and that Bogen Communications MUST SHUT DOWN FOREVER. Especially, that mean scary looking grumpy face with the freaky spikey eyelashes, triangular eyes, and razor blade forehead wrinkles they used to have on Gordon in the old live action model version of Thomas and Friends is the worst mean spirited anger imagery because the way how that face is modeled was depicting Gordon the Big engine about to kill people by running over them and about to come out of the TV and kill the viewers of the show by running over them which is very bad and murding is the worst crime. And parents and teachers being mean to kids and destroying their kid's toys and belongings as punishments was giving me the idea of killing myself by setting my own body on fire.
The very last of British Leyland's attempt to replicate the success of the Mini. Though the Metro did sell strong on the domestic market, it's ability to woo the international market like its predecessor was sadly not meant to be. Here is the very last Rover 100 Metro, signed by members of the production team as it left the Longbridge factory for the last time.
Originally conceived by British Leyland, the Metro was built to similar principals as those of the Mini it was intended to replace, with a small, practical platform with as much use available to the passenger as was possible. The car came under various initial guises, including the Austin Metro, the Austin miniMetro, the Morris Metro van and the MG Metro, a version of the car with a 1.3L A-Series Turbo Engine.
Although the car was launched in 1980, development of a Mini replacement had dated back to the beginning of the 70's. Dubbed ADO88 (Amalgamated Drawing Office project number 88), the Metro was eventually given the go ahead in 1977, but wanted to have the appeal of some of the larger 'Supermini' (what a contradiction in terms) cars on the market, including cars such as the Ford Fiesta and the Renault 5. Designed by Harris Mann (the same guy who gave us the Princess and the Allegro), the car was given a much more angular body for the time, but despite its futuristic looks did share many features of the earlier Mini, including the 675cc BMC-A Series engine that dated back to 1959, and the gearbox. Initial cars also included the Hydragas Suspension system originally used on the Allegro and the Princess, though with no front/rear connection. The car was also built as a hatchback, which would eventually be a key part of its success as the Mini instead utilised only a small boot.
The Metro was originally meant for an earlier 1978 launch, but a lack of funds and near bankruptcy of British Leyland resulted in the car's launch being pushed back. This delay however did allow the folks at Longbridge to construct a £200m robotic assembly plant for the new Metro line, with the hope of building 100,000 cars per year. Finally the car entered sales 3 years late and got off to quite promising initial sales, often being credited for being the saviour of British Leyland. The Metro was in fact the company's first truly new model in nearly 5 years, with the 9 year old Allegro still in production, the 1980 Morris Ital being nothing more than a 7 year old Marina with a new face, and the 5 year old Princess not going anywhere!
As mentioned, an entire myriad of versions came with the Metro, including the luxury Vanden Plas version and the sporty MG with its top speed of 105mph and 0-60mph of 10.1 seconds. Eventually the original incarnation of the car, the Austin Metro, went on to sell 1 million units in it's initial 10 year run, making it the second highest selling car of the decade behind the Ford Escort. However, like most other British Leyland products, earlier cars got a bad reputation for poor build quality and unreliability, combined with the lack of rustproofing that was notorious on many BL cars of the time.
The show was not over however, as in 1990 the car was given a facelift and dubbed the Rover Metro. The 1950's A-Series engine was replaced by a 1.1L K-Series, and the angular bodyshell was rounded to similar principals as those by acclaimed styling house Ital to create a more pleasing look for the 90's. This facelift, combined with an improvement in reliability and build quality, meant that the car went on to win the 'What Car?' of the Year Award in 1991.
In 1994 the car was given yet another facelift, with once again a more rounded design and removal of the Metro name, the car being sold as the Rover 100. Engines were once again changed, this time to a 1.5L Peugeot engine and more audacious colour schemes were available for the even more rounded design of the new car. However, the car was very much starting to look and feel its age. Aside from the fact that the design dated back to 1977, the new car was not well equipped, lacking electric windows, anti-lock brakes, power steering, or even a rev counter! In terms of safety, it was very basic, with most features such as airbags, an alarm, an immobiliser and central locking being optional extras.
Eventually the curtain had to fall on the Metro, and in 1997, twenty years after the initial design left the drawing board, it was announced that the car would be discontinued. Spurred on by dwindling sales due to lack of safety and equipment, as well as losing out to comparative cars such as the ever popular Ford Fiesta, VW Polo and Vauxhall Corsa, with only fuel economy keeping the car afloat, Rover axed the Metro in 1998 with no direct replacement, although many cite the downsized Rover 200 a possible contender. Stumbling blindly on, the next car to fill the gap in Rover's market was the 2003 CityRover, based on the TATA Indica, which flopped abysmally and pretty much totalled the company (but that's another story).
In the end only 2,078,000 Metro's were built in comparison to the 5.3 million examples of the Mini that it was meant to replace. The main failings of the Metro were down to the fact that the car was too big compared to the Mini, and the rounded old-world charm of the Coopers and Clubmans was replaced by the angular corners. Because of this the car simply didn't have the novelty that the Mini continued to claim even 20 years after the first ones left the factory, and the Mini would even go on to outlive the Metro by another 2 years, ending production in 2000, then going on to have a revival in the form of BMW's New Mini Cooper that's still being built today. Unlike the Mini, the Metro also failed to conquer the international market in the same way, scoring its 2 million units pretty much in Britain alone, although some cars were sold in France and Spain, but only to the total of a few hundred.
The Metro however survived only on fuel economy and its spacious interior, but by the early 1990's, whilst other car manufacturers had moved on leaps and bounds, Rover continued to be stuck in the past with not the money or the enthusiasm to change what was a terribly outdated and extremely basic car. Towards the end the Metro, which had only a few years earlier won awards for its practical nature, was ending up on lists for Worst car on the market.
Today however you can still see Metro's, later editions are especially common on the roads of Britain. Earlier models built under British Leyland have mostly rusted away and are apparently only down to about a thousand nowadays, but the Rover 100's and Rover Metros continue to ply their trade, a lonely reminder of how here in Britain, we can never ever seem to move on!
Concrete pillboxes built to replicate Nazi bunkers rest on an old cattle farm now an area of critical environmental concern managed by the BLM in southwest Oregon, Sept. 26, 2018. BLM video: Toshio Suzuki
A quiet oak savanna in southwest Oregon has a World War II story to tell.
It was the summer of 1942 when thousands of young American troops started arriving in Oregon to prepare for battle.
Only months prior, immediately after the Japanese bombing of Pearl Harbor and America’s entry into WWII, the U.S. Army broke ground on Camp White, a massively ambitious training ground for troops north of Medford.
The national war effort was ramping up, and from the rationing at home to the drill sergeants yelling at new draftees, the task at hand was unified: Get America prepared for war as fast as possible.
At Camp White, in the heart of the Rogue River Valley, it got loud very quick.
Construction crews worked 24 hours a day until the base, consisting of 1,300 structures, was complete. Barracks, mess halls, a railroad, full electrical grid and sewer system were all built in six months.
And then the troops arrived.
The newly reinstated 91st Division went on 91-mile-long hikes.
They fired bazookas, mortars and tanks.
And they attacked concrete pillboxes built to replicate Nazi bunkers.
Despite creating what was then Oregon’s second most populous city at 40,000 people, there are now only a few lasting structures proving Camp White ever existed. Sadly, there are even fewer first-hand memories.
The pillboxes are still standing, though. They simultaneously represent a mostly forgotten military legacy and since 2013, an opportunity for historic preservation.
After decades of private cattle farming, Camp White’s pillboxes now rest on public land.
Read the full story about the Camp White pillboxes that rest on the northeast side of Upper Table Rock, an area of critical environmental concern for the BLM: www.facebook.com/notes/blm-oregon-washington/the-wwii-leg...
Take a virtual tour of the pillboxes via this 360-degree video: www.youtube.com/watch?v=XgHu5y-TtAw
Dacora Super Dignette E-B (1962)
Optische Werke Steinheil München - Cassar 1:2.8/45mm lens
Prontor-LK shutter 1/15-1/500 and B
Coupled rangefinder
The selenium exposure meter is displayed by a needle in the viewfinder, so one can get the right exposure without taking the eye of the viewfinder.
The needle is replicated on the top plate.
Made in West Germany by Dacora Kamerawerke
I invite you to visit my camera site at Classic Cameras in english.
Convido-os a visitar o minha página Câmaras & Cia. em português
These were found near our property, growing in a marshy area. The Indian Paintbrush is also called Harsh Paintbrush, Cliff Paintbrush and Small-Flowered Paintbrush. They can be tricky to identify as they also bloom in shades of red, purple, orange, even white and cream.
There is a Native American legend about a young brave who, frustrated with not being able to replicate the vivid colours of nature in a painting, was gifted with brushes laden with the colours of the earth by The Great Spirit. Satisfied with his masterpiece, he left the spent brushes in fields across the landscape, and from these, the legend tells us, the beautiful Indian Paintbrush now blooms.
Tomica replicates this stunning 2+2 coupé with its low muscular stance and race-bred lines pretty well. For the real deal the sales speak states that the RC F is engineered to provoke a potent physical response in drivers who insist on uncompromising high-performance and unreserved refinement. I guess the starting price of £63,000 plus assists in this statement. Meanwhile I am more that happy with Tomica’s model and saving a good few quid.
Takara Tomy
Tomica Lexus RC F Performance package
Number 84
Colour White with black bonnet and roof sections
New issue in 2020
Features - suspension
Made in Vietnam
Scale 1:64th as quoted by manufacturer
The chap washing the car and the bike are part of the Tomica Diocolle 2b Car Wash Set. The Lexus isn't part of this set.
Starting in 2000 I began to model the Milwaukee Road’s former Chicago & Evanston Line that operated on Chicago’s North Side in N-scale. After several years I finished the section that replicated the prototype with street trackage on Lakewood Avenue between Belmont and Wellington. I was inspired by Bill Denton’s famous “Kingsbury” N-scale layout that also modeled the same Milwaukee Road C&E Line but farther south, in downtown Chicago. Bill was an encouragement to me and we displayed our layouts together at two shows.
As I put this diorama into storage as I move onto other projects I wanted to document it. There were no guides or manuals on creating street trackage in N-scale-everything was HO oriented-so I had to sort of had to use trial and error. I hope what I detail below helps future N-scale modelers of urban scenes.
The scene depicted here combines the best of the 1960s and into the early 1980s when the Milwaukee Road abandoned the tracks north of Diversey in 1984. It shows double tracks down the street though by the early 1970s it was consolidated down to one track. Some compression was used. Best Brewing was a customer of the Milwaukee Road before it shut down in the early 1960s while Reed Candy was served by the Milwaukee Road through 1982. Today this scene is unrecognizable except for the Best Brewing complex which is now apartments. Reed Candy was knocked down in the 1990s and replaced by the “Sweeterville” townhomes.
The coal cars shown depict the interchange traffic the Milwaukee Road had with the Chicago Transit Authority at the Buena Yard in the Uptown neighborhood. The Milwaukee Road would hand off coal hoppers, tank cars, boxcars destined for coal yards, fuel oil dealers, and the lumberyard at Howard Avenue. The CTA used electric locomotives to handle the freight cars until it ended in April of 1973. No more would freight trains pass in front of Wrigley Field.
All buildings on this diorama were scratchbuilt from historic photos using a combination of Design Preservation Modules, various components from Walthers kits, Plastruct sheets of molded styrene, Grant Line windows, doors, and frames, and more. And India ink wash over the brick surfaces gave them an aged look. Floquil enamel paints were used.
The track is Atlas Code 80 chosen for its high rail profile which made it easier to model street trackage around it. The roadbed was built up with cork and the pavement made from sheets of card stock and carefully cut styrene in between the rails and at the switch points. Stained, balsa wood strips were used to simulate timber grade crossing protection. The operating signals are from NJ International. To simulate the period specific use of asphalt siding in its various colors on the houses I took pictures of actual siding, scanned the prints, the printed them using an inkjet printer onto paper. The paper was then cut into the right sizes and glued onto the sides of the houses, cutting out the spaces for windows and doors with a knife.
To see my other diorama showing this same line passing Wrigley Field circa 1973 go to www.flickr.com/photos/39092860@N06/albums/72157676195056596
Photo of this scene shown below.
We're Here! finding more Toilet Tissue.
Need more? Reverse engineer your microwave oven to become a mass replicator!
Find instructions on the Internet. Do not work on energized circuits. Not responsible for anything. Replicate at your own risk. Obey all regulations. Do not violate the laws of thermodynamics.
Original photo rendered in b&w, and that was all.
Taken in a garden where all the statues were replaced by flat white replicas, because the originals are being repaired. Not nice to see, and I suppose people around have fiund it odd to see me photographing them, but you can always find an interesting way of looking at less beautiful things.
And here's a wider view of this"statue".
Moldovan army soldier Gegar Zakuiashuili, replicating Afghan National Army, pulls security after his convoy halted during a training exercise at the Joint Multinational Readiness Center in Hohenfels, Germany, Feb. 17, 2012. The JMRC, working with U.S. Marine Forces Europe as part of the Georgia Deployment Program-International Security Assistance Force, conducts mission rehearsal exercises for Georgian infantry battalions to assist them in preparing to deploy for operations in Afghanistan.
VIPER COMBAT CAMERA USAREUR
Photo by Spc. Tristan Boldent
Date Taken:02.17.2012
Location:HOHENFELS, BW, DE
Read more: www.dvidshub.net/image/528646/training-exercise-joint-mul...
I am bound and determined to replicate everything I miss from the old food groups that I used to eat!!!
What a crazy weekend! It began on Saturday May 22, 2010. I got up at 5:30 a.m. It was thick with wet fog after having rained the previous day. The ground was wet, perfect for my weekend planting. I went outside and did all my garden chores. I came in and shot a picture of the coconut cake I had made the night before (before it was entirely eaten!!!). I've been sick for about 3 weeks and I was still feeling under the weather but I thought it would be great to head north into Wisconsin for a short road trip. I thought it might be nice to see some new countryside. I didn't want to get out of the car, go anywhere specifically, or to shoot pictures. I have just been too tired... Dave (spincast1123) has been sick too but he was getting bored/stir crazy! He said "let's head up to The International Crane Foundation in Baraboo Wisconsin?" It was the beginning of a very LONG WEEKEND!!!! We crammed tons of things in and stayed over night. We went to: 1) Merrimac Ferry 2) The International Crane Foundation 3) Baraboo Zoo/Park 4) Trolls in Mt. Horeb 5) The cave at Blue Mound and 6) Little Norway. Way too much fun and beauty!!!!!!
This is an image of Joe at work at Moraine State Park on the South Shore getting what he said the last good day of foliage color before the cold spell predicted for the next week.
Putting on paper how he sees it.
Through the eyes of an Artist.
Replicated from this image in the JR James Collection: www.flickr.com/photos/jrjamesarchive/9494159196
Acrylic marker and ink on paper 9.85" x 13.85" May 8, 2025. www.saatchiart.com/en-jp/art/Drawing-Self-replicating-Sur...
Replicated in the early 90s by Durham Constabularly to the exact spec of their patrol cars in the 70s.
The vehicle details for EHN 91J are:
Date of Liability 01 06 2014
Date of First Registration 18 08 1970
Year of Manufacture 1970
Cylinder Capacity (cc) 1798cc
CO₂ Emissions Not Available
Fuel Type PETROL
Export Marker N
Vehicle Status Licence Due to Expire
Vehicle Colour BLACK
Pride of Longbridge 2014.
The very last of British Leyland's attempt to replicate the success of the Mini. Though the Metro did sell strong on the domestic market, it's ability to woo the international market like its predecessor was sadly not meant to be. Here is the very last Rover 100 Metro, signed by members of the production team as it left the Longbridge factory for the last time.
Originally conceived by British Leyland, the Metro was built to similar principals as those of the Mini it was intended to replace, with a small, practical platform with as much use available to the passenger as was possible. The car came under various initial guises, including the Austin Metro, the Austin miniMetro, the Morris Metro van and the MG Metro, a version of the car with a 1.3L A-Series Turbo Engine.
Although the car was launched in 1980, development of a Mini replacement had dated back to the beginning of the 70's. Dubbed ADO88 (Amalgamated Drawing Office project number 88), the Metro was eventually given the go ahead in 1977, but wanted to have the appeal of some of the larger 'Supermini' (what a contradiction in terms) cars on the market, including cars such as the Ford Fiesta and the Renault 5. Designed by Harris Mann (the same guy who gave us the Princess and the Allegro), the car was given a much more angular body for the time, but despite its futuristic looks did share many features of the earlier Mini, including the 675cc BMC-A Series engine that dated back to 1959, and the gearbox. Initial cars also included the Hydragas Suspension system originally used on the Allegro and the Princess, though with no front/rear connection. The car was also built as a hatchback, which would eventually be a key part of its success as the Mini instead utilised only a small boot.
The Metro was originally meant for an earlier 1978 launch, but a lack of funds and near bankruptcy of British Leyland resulted in the car's launch being pushed back. This delay however did allow the folks at Longbridge to construct a £200m robotic assembly plant for the new Metro line, with the hope of building 100,000 cars per year. Finally the car entered sales 3 years late and got off to quite promising initial sales, often being credited for being the saviour of British Leyland. The Metro was in fact the company's first truly new model in nearly 5 years, with the 9 year old Allegro still in production, the 1980 Morris Ital being nothing more than a 7 year old Marina with a new face, and the 5 year old Princess not going anywhere!
As mentioned, an entire myriad of versions came with the Metro, including the luxury Vanden Plas version and the sporty MG with its top speed of 105mph and 0-60mph of 10.1 seconds. Eventually the original incarnation of the car, the Austin Metro, went on to sell 1 million units in it's initial 10 year run, making it the second highest selling car of the decade behind the Ford Escort. However, like most other British Leyland products, earlier cars got a bad reputation for poor build quality and unreliability, combined with the lack of rustproofing that was notorious on many BL cars of the time.
The show was not over however, as in 1990 the car was given a facelift and dubbed the Rover Metro. The 1950's A-Series engine was replaced by a 1.1L K-Series, and the angular bodyshell was rounded to similar principals as those by acclaimed styling house Ital to create a more pleasing look for the 90's. This facelift, combined with an improvement in reliability and build quality, meant that the car went on to win the 'What Car?' of the Year Award in 1991.
In 1994 the car was given yet another facelift, with once again a more rounded design and removal of the Metro name, the car being sold as the Rover 100. Engines were once again changed, this time to a 1.5L Peugeot engine and more audacious colour schemes were available for the even more rounded design of the new car. However, the car was very much starting to look and feel its age. Aside from the fact that the design dated back to 1977, the new car was not well equipped, lacking electric windows, anti-lock brakes, power steering, or even a rev counter! In terms of safety, it was very basic, with most features such as airbags, an alarm, an immobiliser and central locking being optional extras.
Eventually the curtain had to fall on the Metro, and in 1997, twenty years after the initial design left the drawing board, it was announced that the car would be discontinued. Spurred on by dwindling sales due to lack of safety and equipment, as well as losing out to comparative cars such as the ever popular Ford Fiesta, VW Polo and Vauxhall Corsa, with only fuel economy keeping the car afloat, Rover axed the Metro in 1998 with no direct replacement, although many cite the downsized Rover 200 a possible contender. Stumbling blindly on, the next car to fill the gap in Rover's market was the 2003 CityRover, based on the TATA Indica, which flopped abysmally and pretty much totalled the company (but that's another story).
In the end only 2,078,000 Metro's were built in comparison to the 5.3 million examples of the Mini that it was meant to replace. The main failings of the Metro were down to the fact that the car was too big compared to the Mini, and the rounded old-world charm of the Coopers and Clubmans was replaced by the angular corners. Because of this the car simply didn't have the novelty that the Mini continued to claim even 20 years after the first ones left the factory, and the Mini would even go on to outlive the Metro by another 2 years, ending production in 2000, then going on to have a revival in the form of BMW's New Mini Cooper that's still being built today. Unlike the Mini, the Metro also failed to conquer the international market in the same way, scoring its 2 million units pretty much in Britain alone, although some cars were sold in France and Spain, but only to the total of a few hundred.
The Metro however survived only on fuel economy and its spacious interior, but by the early 1990's, whilst other car manufacturers had moved on leaps and bounds, Rover continued to be stuck in the past with not the money or the enthusiasm to change what was a terribly outdated and extremely basic car. Towards the end the Metro, which had only a few years earlier won awards for its practical nature, was ending up on lists for Worst car on the market.
Today however you can still see Metro's, later editions are especially common on the roads of Britain. Earlier models built under British Leyland have mostly rusted away and are apparently only down to about a thousand nowadays, but the Rover 100's and Rover Metros continue to ply their trade, a lonely reminder of how here in Britain, we can never ever seem to move on!
Replicated from this image in the JR James Collection: www.flickr.com/photos/jrjamesarchive/9499424291
Replicating a stores delivery to Dilhorne Colliery, a Beyer Peacock 'Pug' 04-0ST is shunting vans in the sidings accessed directly from the vicious 1 in 19 'Foxfield Bank'.
Had random moment of inspiration the other night and shot this. It's very etherial and mysteriously creepy, but there's something about the image that's perfect to me. I'm about to start to get completely wild with my work, and I can't wait. I have the new camera, and now all I need is some inspiration, ideas, models, and some locations and I'll be golden. Big things soon I hope!
AB B800 Softbox in different directions.
www.facebook.com/pages/Andy-S-Foster-Photography/15772338...
Photo of symbol on a dumpster. Photo has been color-modified, replicated, and arranged.
Here's the little (unfinished) story about this shot. In the parking lot of our apartment complex sits a shiny green dumpster. This particular, recently-painted dumpster has been there for a few months now, but I hadn't paid it any special attention. A week ago when I was stalking photos, I took a close-up shot of a white symbol that was stencilled on the side of the dumpster. I remember vaguely thinking something like,
"That symbol stikes me more as a warning symbol than (say) a recycling symbol," but I thought no more of it, until today, when I started playing with the photo image. If my search for the meaning of the symbol gave me the right answer, it's a "Radioactive" symbol. I asked the apartment custodian if he knew why the dumpster might have a radioactive warning on it. He said no, and that he hadn't noticed the symbol. He said that the dumpster is used for yard wastes such as grass clippings, which must be kept separate from garbage and trash wastes which are kept in another dumpster in the basement of the building. The custodian said he does think it is amusing that every week the waste hauler comes, empties the garbage dumpster into the truck, and then drives over to the yard waste dumpster. And, yes, dumps that one into the same compartment of the same truck as the garbage. So my challenge for the summer is to discover how and why a dumpster IMBY has been designated as a container of radioactive materials.
Update: Called the local customer service number for the multi-national waste hauling behemoth (~$14B/yr). I asked if they knew why there was an official looking Radioactive symbol on their dumpster. And then I answered their questions about three times. Each question was a variation on "What?" She then put me on hold to go talk to her supervisor. That was about 9 months ago.
IMG_4369ocr
“Any users, found to replicate, reproduce, circulate, distribute, download, manipulate or otherwise use my images without my written consent will be in breach of copyright laws as well as contract laws.” www.flickr.com/photos/the_eye_of_the_moment
nrhodesphotos@yahoo.com
“The-Eye-of-the-Moment-Photos-by-Nolan-H.-Rhodes”
you robbed your drawing style from someone else - that stuff you're doing isn't original or unique its just a subconscious appropriation, an amalgamation of stuff you looked at that someone else did already and your imagination is just regurgitating what you saw somewhere before.
plagiaristic mark making in progress someone call the originality police - this person just drew a butterfly using similar visual building blocks to someone who is or has been alive in human history.
is uniqueness an illusion the ego creates? - why does"personal style" seem less important to eastern cultures? - see anime what about children's drawings, naive art, cave painting and the great collective and recognizable art styles of ancient civilizations?
It was recently put to me that I draw in the style of someone else - that my work is a kind of copy - this was most probably an attempt to shake my confidence and make me feel sad about my creations..LOL what fun!
It has however sparked numerous conversations on twitter and in the real world and I would like to extend my deepest heartfelt thanks to those of you who continue to support my art.
I'm not against copying, I think mark making will inevitably become an individual expression even if the drawer is consciously trying to replicate a pre existing method/formula.
a while back I discovered someone had blatantly ripped off a poster I'd done to such a degree it was just funny - I wasn't mad or upset I was just amazed. I'm not a big copyright enforcer activist or anything and I realize it's all a big kind of boiling pot.
If you like my work and the things I like we may end up drawing something in a similar fashion and thats ok - if you want to draw one of my characters please feel free to do so - it would be nice of you to credit me but not essential to my ego.
all are welcome here :-)
#Jon Boam
✰ This photo was featured on The Epic Global Showcase here: flavoredtape.com/post/156982833498
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✦ Now Featuring Josh Perrett | London 📍 “When Gandalf watched Avatar”. When I first edited and posted this photo on the 30th of October, I had no idea it was going to do as well as it did.
It literally went viral across multiple platforms on the inter-web. Made it to the front page or Reddit and got featured buy over 150 pages on Instagram, with a combined total of well over 100million followers.
It’s safe to say I was shocked and excited.
However since then I’ve gone through phases where I’ve felt the need to try and edit in a certain way so I can replicate that style.
I now realise that’s not what I’m in this for.
Editing has made me lazy and lately I’ve re-found my love for capturing moments inside the camera instead of creating them inside the box.
The truth is all your work inspires me so much im never sure of what I want to do myself. However if I’ve inspired even one of you then that’s my job done.
Im not saying I won’t edit in my style anymore but now for me, it’s time to open my eyes again and put more into the first stage of the process…. The photography.
Anyway sorry for the bla bla! Have a good week wherever you are and follow @trappingtones / tag #trappingtones for the chance to be featured😅 haha (sorry, not sorry for the shameless plug 😂)
Explore @josh.perrett here and on instagram for more!
The Skater (Portrait of William Grant)
West Building, Main Floor—Gallery 59
•Date: 1782
•Medium: Oil on Canvas
•Dimensions:
oOverall: 245.5 × 147.4 cm (96⅝ × 58 1/16 in.)
oFramed: 274.3 × 177.2 × 9.5 cm (108 × 69¾ × 3¾ in.)
•Credit Line: Andrew W. Mellon Collection
•Accession Number: 1950.18.1
•Artists/Makers
oPainter: Gilbert Stuart, American, 1755-1828
Overview
In 1775, Gilbert Stuart set sail for London where Benjamin West welcomed the destitute young man into his home. The Skater marks the end of his five-year apprenticeship to West. Stuart’s first effort at full-length portraiture, its originality brought the artist so much notice at the 1782 Royal Academy exhibition that he soon set up his own studio.
The unorthodox motif of skating—indeed, any presentation of vigorous movement at all—had absolutely no precedent in Britain’s “Grand Manner” tradition of life-size society portraiture. The painter recalled that when William Grant, from Congalton near Edinburgh, arrived to have his picture painted, the Scottish sitter remarked that, “on account of the excessive coldness of the weather … the day was better suited for skating than sitting for one’s portrait.” Thus artist and sitter went off to skate on the Serpentine River in Hyde Park. When he returned to West’s studio with Grant, Stuart conceived the idea of portraying his subject on ice skates in a winter landscape, with the twin towers of Westminster Abbey far in the distance.
In this innovative design, Grant glides effortlessly forward with arms crossed over his chest in typical eighteenth-century skating form. Except for his folded arms, the figure’s stance derives from an ancient Roman statue, the Apollo Belvedere, a cast of which stood in the corner of West’s studio.
Provenance
The sitter, William Grant [d. 1821], Congalton, Scotland, and Cheltenham, England; his son, William Grant [d. 1827], Congalton, Scotland, and London; his daughter, Elizabeth Grant [Mrs. Charles Pelham-Clinton, d. 1899];[1] her son, Charles Stapleton Pelham-Clinton [1857-1911], Moor Park, Stroud, Gloucestershire;[2] his widow, Elizabeth Pelham-Clinton [d. 1946], London and Holmes Green, Buckinghamshire; her niece and adopted daughter, Georgiana Elizabeth May Pelham-Clinton [Mrs. John Stuart Bordewich, b. 1913] London; sold 1950 to the NGA.
[1]The wills of William Grant and his son (Scottish Record Office, Edinburgh) do not mention the portrait. Burke’s Genealogical and Heraldic History of the Peerage, Baronetage and Knightage, Privy Council and Order of Precedence, 101st ed., London, 1956: 1611, lists Mrs. Pelham-Clinton, the first owner of record, as her father’s only surviving child at the time of her marriage in 1848. Her husband was the second son of Henry Pelham-Clinton, 4th Duke of Newcastle.
[2]According to a file note by William P. Campbell (NGA curatorial file), a label from the 1878 exhibition at the Royal Academy of Arts is attached to the stretcher and documents this owner and address; see Burke 1956, 1611, for the dates of this and later owners.
Associated Names
•Clinton, Pelham, Miss
•Grant, William
•Grant, William
•Pelham-Clinton, Charles Stapleton
•Pelham-Clinton, Charles Stapleton, Mrs.
•Pelham-Clinton, Elizabeth
Exhibition History
•1782—Royal Academy, London, 1782, no. 190, as Portrait of a gentleman skating
•1878—Exhibition of Works by Old Masters, and by Deceased Masters of the British School, Royal Academy, London, 1878, no. 128, as Portrait of W. Grant, Esq., of Congalton, Skating in St. James Park, attributed to Thomas Gainsborough
•1946—American Painting from the Eighteenth Century to the Present Day, Tate Gallery, London, 1946, no. 206
•1963—Style, Truth, and the Portrait, Cleveland Museum of Art, Ohio, 1963, no. 38
•1967—Gilbert Stuart, Portraitist of the Young Republic, 1755-1828, National Gallery of Art; Museum of Art, Rhode Island School of Design, Providence, 1967, no. 8
•1976—American Art: 1750-1800, Towards Independence, Yale University Art Gallery, New Haven; The Victoria and Albert Museum, London, 1976, no. 44
•1981—American Portraiture in the Grand Manner: 1720-1920, Los Angeles County Museum of Art; National Portrait Gallery, Washington, D.C., 1981-1982, no. 21.
•2001—Great British Paintings from American Collections: Holbein to Hockney, Yale Center for British Art, New Haven; The Huntington Library, Art Collections, and Botanical Gardens, San Marino, 2001-2002, no. 35, repro.
•2004—Gilbert Stuart, The Metropolitan Museum of Art, New York; National Gallery of Art (for the National Portrait Gallery), Washington, D.C., 2004-2005, no. 6, repro.
Bibliography
•1782—”Candid.” Letter to the Editor. The Morning Chronicle, and London Advertiser (9 May 1782): 2.
•1782—”Postscript. Account of the Exhibition of Paintings, &c. at the Royal Academy.” St. James Chronicle, or British Evening Post, 2-4 May 1782: 4.
•1782—”Royal Academy, 1782. Fourteenth Exhibition.” The Morning Chronicle, and London Advertiser (30 April 1782): 3.
•1816—Jouett, Matthew Harris. “Notes Taken by M. H. Jouett while in Boston from Conversations on painting with Gilbert Stuart Esqr.” Manuscript, published in Gilbert Stuart and His Pupils, by John Hill Morgan. New York, 1816: 86, 87.
•1846—Lester, C. Edwards. The Artists of America. New York, 1846: 126.
•1869—Dunlap, William. A History of the Rise and Progress of The Arts of Design in the United States. 2 vols. Reprinted in 3. New York, 1969 (1834): 1:183-184.
•1877—Stuart, Jane. “The Youth of Gilbert Stuart.” Scribner’s Monthly 13, no. 5 (March 1877): 642.
•1878—”The Old Masters at Burlington House. Second Notice.” The Illustrated London News 72, no. 2012 (January 19, 1878): 66.
•1878—”The Old Masters at Burlington House. Third Notice.” The Illustrated London News 72, no. 2013 (January 26, 1878): 91.
•1878—”The Old Masters at the Royal Academy.” Saturday Review 45, no. 1159 (January 12, 1878): 50.
•1879—Mason, George C. The Life and Works of Gilbert Stuart. New York, 1879: 187-190.
•1880—”Portraits Painted by Stuart...taken from Mason’s Life and Works of Gilbert Stuart.” In Exhibition of Portraits Painted by Gilbert Stuart. Exh. cat. Museum of Fine Arts, Boston, 1880: 41, no. 268.
•1883—Quincy, Josiah. Figures of the Past from the Leaves of Old Journals. 4th ed. Boston, 1883: 84.
•1926—Park 1926, 34, 358-359, no. 343, repro.
•1928—Whitley, William T. Artists and Their Friends in England, 1700-1800. 2 vols. London and Boston, 1928: 2:395-396.
•1932—Whitley, William T. Gilbert Stuart. Cambridge, Massachusetts, 1932: 15, 31-36.
•1952 Cairns, Huntington, and John Walker, eds., Great Paintings from the National Gallery of Art. New York, 1952: 138, color repro., as The Skater.
•1956 Walker, John. National Gallery of Art, Washington. New York, 1956: 50, color repro., as The Skater.
•1957—Shapley, Fern Rusk. Comparisons in Art: A Companion to the National Gallery of Art, Washington, DC. London, 1957 (reprinted 1959): pl. 91.
•1961—Oswald, Arthur. “Our Ancestors on the Ice.” Country Life 129 (9 February 1961): 268-270, repro.
•1964—Mount, Charles Merrill. Gilbert Stuart. New York, 1964: 69-74.
•1966—Cairns, Huntington, and John Walker, eds. A Pageant of Painting from the National Gallery of Art. 2 vols. New York, 1966: 2:380, color repro.
•1969—Novak, Barbara. American Painting of the Nineteenth Century: Realism, Idealism, and the American Experience. 2nd ed. New York, 1979: 32, fig. 1.17.
•1969—Prown, Jules David. American Painting, From its Beginnings to the Armory Show. Geneva, 1969: 47-48.
•1970—American Paintings and Sculpture: An Illustrated Catalogue. National Gallery of Art, Washington, 1970: 106, repro., as The Skater.
•1973—Button, Dick. “The Art of Skating.” Antiques 103, no. 2 (February 1973): 351-362, color repro. on cover.
•1973—Finley, David Edward. A Standard of Excellence: Andrew W. Mellon Founds the National Gallery of Art at Washington. Washington, 1973: 135.
•1975—Walker, John. National Gallery of Art, Washington. New York, 1975: 380, color repro. 381.
•1978—King, Marian. Adventures in Art: National Gallery of Art, Washington, D.C. New York, 1978: 54, pl. 31.
•1980—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1980: 234, repro.
•1980—Evans, Dorinda. Benjamin West and His American Students. Exh. cat. National Portrait Gallery, Washington; Pennsylvania Academy of the Fine Arts, Philadelphia. Washington, 1980: 55, 57-58, repro. 59.
•1980—Wilmerding, John. American Masterpieces from the National Gallery of Art. National Gallery of Art, Washington, D.C., 1980: 10, no. 6, color repro.
•1981—Waterson, Merlin. “Hissing Along the Polished Ice.” Country Life 169 (2 April 1981): repro. 872.
•1981—Williams, William James. A Heritage of American Paintings from the National Gallery of Art. New York, 1981: color repro. 49, 62, repro. 63.
•1984—Walker, John. National Gallery of Art, Washington. Rev. ed. New York, 1984: 376, no. 531, color repro.
•1986 McLanathan, Richard. Gilbert Stuart. New York, 1986: color repro. 36, 37, 45-47.
•1986—Pressly, William L. “Gilbert Stuart’s The Skater: An Essay in Romantic Melancholy.” American Art Journal 18, no. 1, 1986: 42-51, fig. 1.
•1987—Pearson, Andrea G. “Gilbert Stuart’s The Skater (Portrait of William Grant) and Henry Raeburn’s The Reverend Robert Walker, D.D., Skating on Duddington Loch: A Study of Sources.” Rutgers Art Review 8 (1987): 55-70, fig. 1.
•1988—Wilmerding, John. American Masterpieces from the National Gallery of Art. Rev. ed. National Gallery of Art, Washington, D.C., 1988: 58-59, no. 6, color repro.
•1990—Crean, Hugh R. Gilbert Stuart and the politics of fine arts patronage in Ireland, 1787-1793; A social and cultural study. Ann Arbor, Michigan, 1990: 55-62.
•1992—American Paintings: An Illustrated Catalogue. National Gallery of Art, Washington, 1992: 345, repro.
•1992—National Gallery of Art, Washington. National Gallery of Art, Washington, 1992: 214, repro.
•1995—Miles, Ellen G. American Paintings of the Eighteenth Century. The Collections of the National Gallery of Art Systematic Catalogue. Washington, D.C., 1995: 162-169, color repro. 165.
•1997—Hughes, Robert. American Visions: The Epic History of Art in America. New York, 1997: 128, color fig. 81.
•1997—Thomson, Duncan. Raeburn: The Art of Sir Henry Raeburn 1756-1823, Exh. cat. Scottish National Portrait Gallery at the Royal Scottish Academy, Edinburgh; National Portrait Gallery, London, 1997-1998, p. 90, no. 61, repro.
•1998—Mandel, Corinne. “Melancholy.” In Encyclopedia of Comparative Iconography: Themes Depicted in Works of Art, edited by Helene E. Roberts. 2 vols. Chicago, 1998: 2:586-588.
•2004—Hand, John Oliver. National Gallery of Art: Master Paintings from the Collection. Washington and New York, 2004: 294-295, no. 240, color repro.
•2011—Gopnik, Adam. Winter: Four Windows on the Season. Toronto, 2011: 142-143, color repro.
•2013—Evans, Dorinda. Gilbert Stuart and the Impact of Manic Depression. Burlington, 2013: 162-164, 168 nn. 36 and 37, fig. 11.
•2016—Rather, Susan. The American School: Artists and Status in the Late Colonial and Early National Era. New Haven, 2016: 171-172, color fig. 125.
From American Paintings of the Eighteenth Century:
1950.18.1 (1051)
The Skater (Portrait of William Grant)
•1782
•Oil on Canvas, 244.5 × 147.4 (96¼ × 58)
•Andrew W. Mellon Collection
Technical Notes
The support is a finely woven twill fabric. The top and bottom tacking edges have been unfolded and add about 6 cm to the painting’s height. The lateral tacking margins have been cropped, but cusping remains along these edges. The thin white ground extends to cover the tacking margins, suggesting that the canvas was pre-primed. Much of the preliminary drawing, done loosely with paint and brush, is visible on the surface, having been incorporated into the painting. The paint is thinly applied, except in the sitter’s upper body, face, and collar, and in the sky around his head, where the paint is thicker and its handling more controlled. Many pentimenti are evident, including changes in the figure’s hat, shoulders, tail of the coat on the viewer’s right, and the sitter’s right leg.
Abrasion is found in the ice at the sitter’s feet. Crackle is more pronounced near the head, where the paint is thicker, and is especially pronounced to the right of the skater’s thigh. There are pinpoint losses throughout. The painting was lined prior to 1950.
Provenance
William Grant [d. 1821], Congalton, Scotland, and Cheltenham, England; his son William Grant [d. 1827], Congalton, Scotland, and London; his daughter Elizabeth Grant [Mrs. Charles Pelham-Clinton, d. 1899];1 her son Charles Stapleton Pelham-Clinton [1857-1911], Moor Park, Stroud, Gloucestershire;2 his widow Elizabeth Pelham-Clin ton [d. 1946], London and Holmes Green, Buckinghamshire; her niece and adopted daughter Georgiana Elizabeth May Pelham-Glinton [Mrs. John Stuart Bordewich, b. 1913], London.
Exhibited
Royal Academy of Arts, London, 1782, no. 190, as Portrait of a gentleman skating. Exhibition of Works by the Old Masters, and by Deceased Masters of the British School, Royal Academy of Arts, London, 1878, no. 128, as Portrait of W. Grant, Esq., of Congalton, Skating in St. James3s Park, attributed to Thomas Gainsborough.3 American Painting from the Eighteenth Century to the Present Day, Tate Gallery, London, 1946, no. 206. Style, Truth and the Portrait, The Cleveland Museum of Art, Ohio, 1963, no. 38. Gilbert Stuart, NGA; RISD, 1967, no. 8. American Art: 1750-1800, Towards Independence, YUAG; The Victoria and Albert Museum, London, 1976, no. 44. American Portraiture in the Grand Manner: 1720-1920, Los Angeles County Museum of Art; NGA, 1981-1982, no. 21.
In 1782 Gilbert Stuart, a young painter in London, was “suddenly lifted into fame by the exhibition of a single picture,”4 his full-length of William Grant called Portrait of a Gentleman Skating. (The painting was given its present title of The Skater m 1946.) Stuart devised the theme after an outing on the Serpentine river in Hyde Park with Grant, a young Scottish lawyer, who had come for a sitting for a full-length portrait. According to American artist William Dunlap, who heard the story from miniaturist Charles Fraser,
Stuart said that he felt great diffidence in undertaking a whole length; but that there must be a beginning, and a day was accordingly appointed for Mr. Grant to sit. On entering the artist’s room, he regretted the appointment, on account of the excessive coldness of the weather, and observed to Stuart, that the day was better suited for skating than sitting for one’s portrait. To this the painter assented, and they both sallied out to their morning’s amusement. Stuart said that early practice had made him very expert in skating. His celerity and activity accordingly attracted crowds on the Serpentine river—which was the scene of their sport. His companion, although a well-made and graceful man, was not as active as himself; and there being a crack in the ice, which made it dangerous to continue their amusement, he told Mr. Grant to hold the skirt of his coat, and follow him off the field. They returned to Mr. Stuart’s rooms, where it occurred to him to paint Mr. Grant in the attitude of skating, with the appendage of a winter scene, in the back ground.5
The setting for the portrait is the Serpentine, a popular skating spot in London that was created when Kensington Gardens was landscaped during the reign of George II.6 Grant is dressed completely in black, from his hat and the fur-lined lapels of his coat to his breeches, stockings, and shoes. Behind him to the right two skaters sit at the edge of the ice, putting on their skates, while two other men stand under a tree. In the left background two skaters perform the Salutation, also known as the Serpentine Greeting, while others watch.7 The painting offers a balance of black, gray, and off-white, with slight touches of red on the clothing of the background figures. Stuart’s pupil Matthew Harris Jouett later described the portrait as a “fine contrast of Grant in full black to the snow & grey chilly background.”8 The young lawyer William Grant (d. 1821) was the son of Ludovick Grant of Edinburgh.9 Why he chose Stuart to paint his portrait is not known ; perhaps he was a friend or a distant relative of Stuart’s early London patron Alexander Grant, also a Scot.10 Moderately wealthy, Grant was fond of portraits. George Romney painted him in 1781 and again in 1787, and in 1794 he painted “ Mrs. Grant, “ perhaps Grant’s wife Dorothea Dalrymple, whom he married that year. Grant’s children were painted by John Opie (LaSalle University Art Museum, Philadelphia).11 At his death in 1821, Grant left his heirs a large estate called Congalton, in Scotland, as well as stock in the Bank of England and the Royal Bank of Scotland.
The portrait, Stuart’s first full-length, showed his ability to invent new compositions within the tradition of English portraiture, in which standing cross-legged poses had been popular for men’s portraits since the 17405. Its success made it possible for Stuart to move from West’s studio into one of his own. Comparisons between the two American artists by contemporaries were inevitable. When Giuseppi Baretti, an Italian-born lexicographer, author, and friend of Sir Joshua Reynolds, saw the painting at West’s before its exhibition at the Royal Academy of Arts, he commented, according to Dunlap, “What a charming picture ! Who but the great West could have painted such a one ! “ Later, seeing Stuart at work on the painting, he exclaimed, “What, young man, does Mr. West permit you to touch his pictures?” Stuart replied that it was his own painting. Baretti is supposed to have said, “Why, it is almost as good as Mr. West can paint.”12 The close association of the two men’s work is revealed by an undated chalk drawing by West titled Skateing. West, like Stuart, enjoyed a reputation as a good skater, and in this chalk drawing depicted skaters and spectators on the ice at the Serpentine. A skater in the center foreground turns toward the man behind him, who lies on the ice after a fall. To the left, two figures who perform the Serpentine Greeting are virtually identical to the two skaters in the background of Stuart’s portrait of Grant. To the right is a small figure whose pose seems similar to Grant’s; the figure is very sketchy.
A reviewer noted Stuart’s relationship to Benjamin West when Stuart exhibited the painting with three others at the Royal Academy of Arts in 1782.
Mr. Stuart is in Partnership with Mr. West; where it is not uncommon for Wits to divert themselves with Applications for Things they do not immediately want; because they are told by Mr. West that Mr. Stuart is the only Portrait Painter in the World; and by Mr. Stuart that no Man has any Pretensions in History Painting but Mr. West. After such Authority what can we say of Mr. Stuart’s Painting.13
The portrait enchanted visitors who attended the Academy’s exhibition. Horace Walpole, author of Anecdotes of Painting in England (1762-1771), the first history of British art, wrote “very good” next to the entry for the portrait in his copy of the catalogue.14 Stuart overheard the Duke of Rutland on opening day, urging Sir Joshua Reynolds, “I wish you would go to the exhibition with me, for there is a portrait there which you must see, every body is enchanted with it.” When Sir Joshua asked who painted it, the Duke replied, “A young man by the name of Stuart. “15 Visitors and reviewers praised the portrait’s unusual pose and Stuart’s ability with likeness. Sir John Cullum commented on the novelty of the theme in his letter of 1 May 1782 to Frederick Hervey, Bishop of Derry and Earl of Bristol. “One would have thought that almost every attitude of a single Figure had long been exhausted in this land of portrait painting but one is now exhibited which I recollect not before—it is that of Skating. There is a noble portrait large as life thus exhibited and which produces the most powerful effect.”16 A reviewer for the Morning Chronicle, and London Advertiser commented on 30 April that “Stuart and Opie, whose merits were not so generally known, have proved themselves able artists” and praised Stuart for his “striking likenesses.”17 Stuart’s ability to capture a likeness was borne out by Charles Fraser’s later comment to artist William Dunlap that the picture attracted so much comment that Stuart was “afraid to go to the academy to meet the looks and answer the inquiries of the multitude. Mr. Grant went one day to the exhibition, dressed as his portrait represented him; the original was immediately recognized, when the crowd followed him so closely that he was compelled to make his retreat, for every one was exclaiming, ‘There he is, there is the gentleman.’”18
Opinion was divided on the technique of the painting. One reviewer said that “Mr. Stuart seldom fails of a Likeness; but wants Freedom of Pencil, and Elegance of Taste.”19 However, the author of a letter in the Morning Chronicle, and London Advertiser noted, “ Mr. Stuart… may be said to be an acquisition to the public; his Gentleman seating, No. 190, is reposed, animated and well drawn.”20 And a critic in the London Courant commented on the portrait as Stuart’s first attempt at a full-length. “If we have been informed aright this is the gentleman’s first essay in this branch of the art ; at all events it does honour to his pencil, from the novelty of the design and the neatness of the execution.”21 A commentator in 1795 wrote about Stuart’s early difficulty with a portrait of this size.
It is now some years since Stuart the portrait painter … painted a portrait of a Mr. Grant in the action of skating; this portrait was given in so spirited an attitude and with so appropriate a character that when it was exhibited, it established the fame of the artist, of whom his brethren had before that time said he made a tolerable likeness of a face, but as to the figure he could not get below the fifth button.22
The combination of the full-length portrait with the act of skating was indeed a novel theme. Stuart appropriately portrayed Grant as a figure skater, the version of the sport popular in England, which emphasized graceful and refined movements, instead of as a Scottish speed skater, which encouraged skill, speed, and competition. Grant wears skates designed for the “small pivots and graceful maneuvers which were essential to the art of figure skating.”23 Robert Jones, in his influential Treatise on Skating (London, 1772), recommended a similar crossedarm pose as “a proper attitude for genteel rolling” (Figure 2).24 Matthew HarrisJouett in 1816 quoted Stuart on “the importance of keeping the figure in its circle of motion, “ giving the example of “his famous skaiting picture of Grant as contrasted with Buckminster Preble who turns his body one way his neck another and his eyes another…. “25
The painting is unlike other images of skaters, which belong to the tradition of sporting scenes. They include Irish painter Robert Healy’s Tom Conolly and his Friends Skating (1768, private collection, Ireland), Sir Henry Raeburn’s The Reverend Robert Walker Skating on Duddingston Loch (c. 1784, National Gallery of Scotland, Edinburgh), Thomas Rowlandson’s watercolor Skaters on the Serpentine of 1784 (National Museum of Wales, Cardiff), and a view by Julius Caesar Ibbetson engraved in 1787 as Winter Amusement; A View in Hyde Park from the Moated Housed Philippe Jacques de Loutherbourg’s A Winter Morning, with a Party Skating of 1776 is particularly close to Stuart’s and West’s images in that it shows skating figures similar to those who perform the Serpentine Greeting. And like de Loutherbourg’s scene, Benjamin West’s undated drawing Skateing focuses its action on the popular Serpentine river. In the background is a structure similar to the Cheesecake House, a refreshment lodge that is also seen in the images by Rowlandson and Ibbetson. De Loutherbourg’s scene, which includes portraits of the artist and his wife, the artist’s partner V.M. Picot and others, was the best known of the various images of skaters made before or at the time that Stuart painted his portrait of Grant. It was reproduced by Matthew Boulton’s picture manufactory in Birmingham, England, between 1776 and 1780 by an unusual reproductive process that replicated paintings with their original coloring. In the mid-1780s a cloth merchant and amateur painter named Joseph Booth revived the idea of reproducing the painting by using a “polygraph process.” Numerous color reproductions of de Loutherbourg’s Winter Morning survive.27
Art historian William Pressly has proposed an interpretation of The Skater as expressing the theme of melancholy. To Pressly, the “recently revived tradition of the melancholy hero” explains the somber coloration of the painting, the darkly shaded eyes of the skater, and the use of a crossed-arm pose. In this view the painting becomes a self-portrait of Stuart’s own tendency toward melancholy. The snowy setting is appropriate in this theory, since winter was traditionally associated with melancholia.28 One might even suggest that Stuart included himself as the man on the right who stands under a tree. The physiognomy of this spectator, with his long nose and angular chin, closely resembles Stuart’s self-portrait of around 1786. Whether the association of the mood and the season necessarily points to melancholy as the subject of the painting is uncertain, even though the connection of the two was well known at the time and had been developed in verse many years earlier by the English poet James Thomson in his poem “Winter” in The Seasons (1730). “Winter” itself could be the theme, rather than “melancholy.” As Jules Prown has pointed out, “The skater evokes an allegorical image of Winter as one of the Four Seasons. “29 Lines from Thomson’s “Winter” form the caption for a late eighteenth-century English mezzotint titled “Winter,” which shows three warmly dressed figures walking near the Serpentine, where skaters can be seen in the background. “While every work of man is laid at rest, “ they “swoop on sounding skates a thousand different ways” and the “land is madden’d all to joy” (“Winter,” verses 761, 769, 771).30 The allusion to the mood of the season indicates that Stuart had absorbed the highly sophisticated London practice of borrowing from literary works for the subject matter of portraits.
Stuart was also absorbing lessons on technique. The portrait is a masterpiece of the late eighteenth-century British style of portraiture, which focuses on the figure, particularly the face, by painting the background with less detail. X-radiography shows that Stuart, when painting Grant’s face, had not yet developed the fully calligraphic brushwork for which he is known in his later paintings. Here he shaped the eyes, nose, mouth, and shadow of the nose by drawing the features with the brush. Later he would not follow the outline of the individual features as closely. Stuart also used more white pigment in the transitional flesh tones than he would in later works. X-radiography suggests, not surprisingly, that Stuart painted the background after completing the figure; the brushstrokes of the clouds mark the outer edges of the hat, face, and shoulders, which were already blocked out and painted. In addition, close examination of the painting reveals changes, or pentimenti, in the hat, shoulders, tail of the coat, and sitter’s right leg, indicating that Stuart did indeed struggle with the challenge inherent in a full-length, a size he rarely agreed to use again in his long career.
EGM
Notes
1.The wills of William Grant and his son (Scottish Record Office, Edinburgh) do not mention the portrait. Burke 1956, 1611, lists Mrs. Pelham-Glinton, the first owner of record, as her father’s only surviving child at the time of her marriage in 1848. Her husband was the second son of Henry Pelham-Glinton, 4th Duke of Newcastle.
2.According to a file note by William P. Campbell (NGA), a label from the 1878 exhibition at the Royal Academy of Arts is attached to the stretcher and documents this owner and address; see Burke 1956, 1611, for the dates of this and later owners.
3.Royal Academy 1878, unpaginated; Graves 1913, 1:383,3:1275; Graves 1905,71296. For a discussion of the attribution of the portrait in 1878 to Gainsborough, and the Grant family’s research to determine Stuart’s authorship, see Whitley 1932,33-36.
4.Quincy 1883,84, who does not identify the picture.
5.Dunlap 1834, 1:183; Fraser heard the story from Stuart. John Gait had by then published his story about Benjamin West as a skater; see Gait 1820, 2:26-31. Gait told how, when West was a young artist in London in the 17605, his skating skills had brought him to the attention of the English aristocracy. Allen Staley kindly pointed out the similarity of the two anecdotes.
6.Hayes 1990, 64.
7.Button 1973, 354.
8.Jouett 1816, in Morgan, Stuart, 1939, 87; since Jouett never saw the portrait, his description must be a quotation from Stuart.
9.Faculty of Advocates 1944, 90, courtesy of Dr. Louise Yeoman, Scottish Record Office, Edinburgh.
10.Alexander Grant is mentioned in Stuart 1877, 642; see also Stuart 1967,14.
11.Ward and Roberts 1904, 2:63-64. The earlier portrait of Grant by Romney was sold by Georgiana Bordewich, former owner of The Skater, at Christie’s on 22 March 1974 (lot 96) and bought by Léger Galleries; see Léger Galleries 1975, unpaginated, no. 5. Mrs. Bordewich also sold a portrait said to be of Grant by Thomas Hudson (lot 94), 127 by 101.6 cm (50 by 40 inches), and the portrait of his four eldest children, attributed to Opie (lot 95). The portrait of Mrs. Grant remained in Romney’s studio and was sold at Romney’s sale in 1807.
12.Dunlap 1834, 1:183; Jouett referred to Baretti’s “mistaking it for Wests best production” when he recorded Stuart’s comments about painting in 1816; see Jouett 1816, in Morgan, Stuart, 1939, 87.
13.“Postscript. Account of the Exhibition of Paintings, &c. at the Royal Academy,” St. James’s Chronicle, or British Evening Post, 2-4 May 1782, 4.
14.Whitley 1932,32.
15.Dunlap 1834,1:184.
16.Quoted in Whitley 1932,33, and Pressly 1986, 44, from Childe-Pemberton 1925,1:284.
17.“Royal Academy, 1782. Fourteenth Exhibition,” Morning Chronicle, and London Advertiser, 30 April 1782, 3.
18.Dunlap 1834,1:184.
19.“Postscript. Account of the Exhibition of Paintings, &c. at the Royal Academy,” St. James’s Chronicle, or British Evening Post, 2-4 May 1782, 4.
20.The letter from the correspondent, identified as “Candid,” was published in the Morning Chronicle, and London Advertiser on 9 May 1782, 2.
21.Quoted in Whitley 1932, 33, from an unidentified issue.
22.Quoted in Whitley 1932,33, from an unidentified source.
23.Pearson 1987, 59.
24.Pressly 1986, 48; Pearson 1987, 60, 62, fig. 8.
25.Jouett 1816, in Morgan, Stuart, 1939, 86.
26.For three of these paintings see Hayes 1990, 64-66, no. 19, color repro.; and Pearson 1987, 57 fig. 2 and 61 fig. 7.
27.de Loutherbourg 1973, unpaginated, cat. no. 22. Allen Staley kindly pointed out the significance of this image for Stuart’s and West’s works.
28.Pressly 1986, 42-51.
29.Prown 1969, 48.
30.Quoted in Button 1973, 355, fig. 4.
References
•1782—”Royal Academy, 1782. Fourteenth Exhibition.” Morning Chronicle, and London Advertiser. 30 April: 3.
•1782—”Postscript. Account of the Exhibition of Paintings, &c. at the Royal Academy.” St. James’s Chronicle, or British Evening Post. 2-4 May 1782: 4.
•1782—”Candid.” Letter to the Editor. Morning Chronicle, and London Advertiser. 9 May: 2.
•1816—Jouett: 86, 87.
•1834—Dunlap: 1:183-184.
•1846—Lester: 126.
•1877—Stuart: 642.
•1878—”The Old Masters at the Royal Academy.” Saturday Review 45, no. 1159 (12 January): 50.
•1878—”The Old Masters at Burlington House. Second Notice.” Illustrated London News 72, no. 2012 (19 January): 66.
•1878—”The Old Masters at Burlington House. Third Notice.” Illustrated London News 72, no. 2013 (26 January): 91.
•1879—Mason: 187-190.
•1880—MFA: 41, no.268.
•1883—Quincy: 84.
•1926—Park: 34, 358-359, no. 343, repro.
•1928—Whitley: 2:395-396.
•1932—Whitley: 15, 31-36.
•1961—Oswald: 268-270, repro.
•1964—Mount: 69-74.
•1969—Prown: 47-48.
•1973—Button: 351-3 62, color cover repro.
•1980—Evans: 55, 57-58, repro. 59.
•1980—Wilmerding: 50, color repro .51.
•1981—Waterson: 872 repro.
•1981—Williams: color repro. 49, 62, repro. 63.
•1984—Walker: 376, no. 531, color repro.
•1986—Pressly: 42-51, fig.1.
•1986—McLanathan: color repro. 36, 37, 45-47.
•1987—Pearson: 55-70, fig. 1.
•1988—Wilmerding: 58-59, color repro.
•1990—Crean: 55-62.