View allAll Photos Tagged two
Photoshoot of sisters modeling bikinis and swimsuits.
Cowgirl models with cowboy hats, revolvers, and cowboy boots.
Two Rivers Police Department
Manitowoc County, Wisconsin
May 2016
Photo by Asher Heimermann/Incident Response
A couple of Stags taken in Lyme Park. Pity I didn't get this before the 25th, I could have made it my X-mas card for this year :-))
Given the choice this older gentleman eyes two beauties but it appears youth wins out over age
1935 Ford roadster
1931 Ford A coupe
Beach Hop Whangamata New Zealand
For my video; youtu.be/y9S_S3bV6zs
Photoshoot of sisters modeling bikinis and swimsuits.
Cowgirl models with cowboy hats, revolvers, and cowboy boots.
NYC: The High Line / Section Three
One of three walkable rail installations
Sony RX-100 III | 24-70@70mm
Two buses on Trent Barton's service two. On the left is 741 (FJ09 BXF), in normal Trent Barton livery and acting as spare on the route. On the right is 743 (FT09 XPB), in standard "the two" livery.
Unfortunately, best friend forever (BFF)'s face is peeling off the back of the bus!
Both are Volvo B7RLE/Wright Eclipse Urbans. York Street/Victoria bus station, Nottingham.
Two unknown (to me) species of fly, getting jiggy with it on some bushpeas Happy Insect Hump Day!
EDIT: Thanks to Maurice for identifying this as Plecia amplipennis
Portrait of Comte Oscar de Ranchicourt Leaving for the Hunt
Théodore Chassériau
Santa Bárbara de Samaná, Dominican Republic, 1819 – Paris 1856
1854
Oil on canvas
116.2 x 89.5 cm
Purchase, the Museum Campaign 1988-1993 Fund and the Montreal Museum of Fine Arts' Volunteer Association Fund
Inventory 2015.228
Chassériau was in full possession of his artistic powers in 1854. These two hunting portraits, which brilliantly illustrate his originality and creativity, call to mind his admiration of Dutch and Flemish painters. Entirely in keeping with the fashion of the era, they indicate the revival of interest in hunting with hounds during the Second Empire, a time when eclecticism prevailed in every aesthetic domain.
While the dogs and horses are English breeds, the whipper-in holding back the impatient hounds is depicted in Louis XV-period dress, his French-style green coat and cocked hat showing a nostalgia for the Ancien Régime. The count stands near a gate, holding his hunting horn and riding crop. For her part, the countess, an elegant, smiling equestrienne, crop in hand and groom beside her, is about to mount her horse. Her shapely silhouette extends the curve of the stairway banister, counterbalancing the virile contrapposto stance of her husband, hand on belt, wears a serious expression.
The Burial at Sea of a Marine Officer Serving under Louis XVI
Eugène Isabey
Paris 1803 – Montévrain, France, 1886
1836
Oil on canvas
243.5 x 166 cm
Purchase, Adrienne D'Amours Pineau and René Pineau Memorial Fund, the Museum Campaign 1988-1993 Fund, the Montreal Museum of Fine Arts' Volunteer Association Fund and the Leacross Foundation Fund
Inventory 2013.70
Isabey dreamed of becoming a sailor. Refusing to relinquish his passion, he became a marine specialist. Inspired by English painters, notably Constable and Turner, this romantic artist painted the ocean in all its moods. A perfectionist, he attended to every detail and enthusiastically embraced the innovations in naval construction. “Isabey is the only painter capable of building a boat,” said Jongking, one of his students.
Exhibited in the Salon of 1836, The Burial at Sea of a Marine Officer Serving under Louis XVI elicited surprise. The subject is impressive: the stormy sky, the rough sea, the sails flapping in the wind and the body, enveloped in a white shroud, thrown into the sea at the sound of the canon, marking the absolution of a marine officer whose identity remains unknown. This painting recalls the sad metaphor of the human condition—the indentured sailor recruited from childhood—provided by Victor Hugo: “He alone battles as waves grow steep / He sails into the deep and into the night / Hard work! all is black, all is cold, without light.” Alfred de Musset spoke of the work as a tour de force: “In my opinion, this canvas merits fulsome praise. The execution is magnificent, and the composition so forceful that it stuns at first sight. I have heard the artist reproached for having shown but a part of the vessel. Nothing could be more undeserved, as it is precisely this rough portrayal that lends the scene its power.”
Portrait of Comtesse de Ranchicourt Leaving for the Hunt
Théodore Chassériau
Santa Bárbara de Samaná, Dominican Republic, 1819 – Paris 1856
1854
Oil on canvas
116.2 x 89.5 cm
Purchase, the Museum Campaign 1988-1993 Fund and the Montreal Museum of Fine Arts' Volunteer Association Fund, inv. 2015.229
Cinderella
Edward John Poynter
Paris 1836 – London 1919
About 1870
Oil on canvas
40.6 x 33.7 cm
William John and Agnes Learmont Bequest
Inventory 1909.588
This exquisite painting, while less ambitious in scale and in composition than those depicting Greco-Roman life on which Poynter established his reputation, demonstrates the qualities for which Poynter’s work was valued, such as an adept depiction of surfaces and the contrasts between them, exemplified in the marble column, the girl’s face, and the copper pot hanging from her wrist.
The subject of Cinderella was a popular one among the artist’s contemporaries, including a well-known version by his brother-in-law, Burne-Jones. Despite his obvious talents, Poynter’s reputation early in his career, when he was counted among the more talented and progressive artists of his generation, has been overshadowed by his long-standing service as the president of the Royal Academy (from 1898 until 1918), and his disdain for the modern painting techniques of the Impressionists. Poynter was also notably the last artist to be the director of the National Gallery in London, a position he occupied from 1894 to 1904.
Brittany Coast Scene (Saint-Malo)
Eugène Isabey
Paris 1803 – Montévrain, France, 1886
1860
Oil on canvas
46.3 x 66 cm
Gift of David A. Wanklyn
Inventory 1936.657
With the restoration of the monarchy, the Romantic generation harked back to a bygone past, a nostalgia that focused for some on the Ancien Régime, for others on the Napoleonic saga. The marine painting became the object of renewed interest, France relaunched its merchant navy. The Anglomania that gripped French artistic circles did not fail to impress Isabey. He visited England on several occasions, notably in 1820 with his friend Géricault when the latter crossed the Channel to exhibit the most scandalous seascape of the times, his Raft of the Medusa. In England, Isabey studied the heavy swells and calm beaches depicted by the likes of Turner or Constable exhibited at the Royal Academy in London.
Typical of the artist’s later style, this painting depicts a storm off Saint-Malo, whose picturesque architecture Isabey attentively studied. Famous for its fortified ramparts, this port in Brittany was also known for its heavy tides—among the most impressive in Europe—whose devastating power was thwarted by breakwaters characteristically made of spiky rows of tree trunks, seen here. The Romantic sentiment of humanity’s miniscule status when drawing boats ashore to save them from titanic nature’s colossal power is rendered by slashing brushwork and intense impasto that blends dark sky, granite buildings and anthracite sea.
The Valley of Slaughter, Skye
John MacWhirter
Slateford, Scotland, 1839 – London 1911
1876
Oil on canvas
88.3 x 134.6 cm
Gift of Lord Strathcona and family
Inventroy 1927.319
In this painting, MacWhirter illustrates the magnificent force of nature in his native Scotland, where he was primarily known as a watercolourist. The scene depicted here is on the Isle of Skye, in the Hebrides, known for its mountain scenery and its history, associated with the Norse invasion and settlement. In 1896, MacWhirter provided illustrations for an article in Magazine of Art describing the beauty of Skye’s landscape, where the “play of light and shade at morning and at evening upon these marvelous crags and peaks” is often seen “under driving mist and storm cloud,” giving them “a most impressive appearance.” MacWhirter's paintings exemplify what the celebrated English critic Ruskin described as "the contemplative order" of landscape. MacWhirter instructed his students to "study Turner for light and atmosphere, Millais for everything."
Lion with Snake, No. 2 or Lion of the Tuileries (reduction)
Antoine Louis Barye
Paris 1795 – Paris 1875
After 1857-1858
Bronze
18 x 20.5 x 10 cm
Cast Brame, Paris
Gift of Nancy Mathias in memory of her husband David Mathias
Inventory 2002.241
So cute these two little girls posing... :¬)
I was very impressed after see this old pictures in my father old film negatives. At the beginning I had only doubts and curiosity thinking about who could be all these people but later while I would scanning more and more negatives I though that this could be a Quilombo Community (a place where slaves who managed to escape from their owners took refuge).
Traditionally the Quilombos were in regions of large concentration of slaves, far from urban centers and in places of difficult access, inside the woods, jungles and mountains.The interesting is that even after the end of slavery in Brazil in 1888 these communities remained isolated for many decades. Even today its like this in many of them. Because of this my surprise! Because of the year they was taken, this could be rare picture, maybe historical? Who knows, as my father and uncles died has many time, I will never know. I estimate that the photos are from the end of 1930'ies or beginning of 1940'ies.
In these photos seems they wore their best clothes specially to take the pictures. :¬)
Photo taken somewhere in the State of Rio de Janeiro(?) around 1940, Brazil. (Notice: not the City of Rio de Janeiro, but the State with the same name)
According to Law 9.610/98, it is prohibited the partial or total commercial reproduction without the previous written authorization of the author (article 29). ® All rights are reserved.
____________________________________________________________________________
Fiquei muito impressionado ao ver estas fotos nos antigos negativos do meu pai. No início eram apenas dúvidas e curiosidades a respeito de quem poderiam ser estas pessoas, mas, depois, enquanto eu ia escaneando mais e mais negativos cheguei a imaginar que esta poderia ser uma Comunidade Quilombola (Quilombo era o lugar onde se refugiavam os escravos que conseguim fugir de seus donos).
Tradicionalmente, os Quilombos eram em regiões de grande concentração de escravos, afastados dos centros urbanos e em locais de difícil acesso, embrenhados nas matas, selvas ou montanhas. O interessante é que, mesmo depois da abolição da escravidão no Brasil em 1888, estas comunidades permaneceram isoladas por muitas décadas. Ainda hoje é assim com muitos deles. Por isto a minha surpresa! Por causa da época em que estas fotos foram tiradas, elas poderiam ser raras! Ou, até mesmo, históricas? Quem sabe... Como meu pai e tios já morreram faz bastante tempo, nunca saberei com certeza... Imagino que as fotos sejam do final da dácada de 1930 ou início da década de 1940.
Parece que elas vestiram suas melhores roupas para posar para as fotos. :¬)
Foto tirada em algum lugar no interior no Estado do Rio(?) por volta de 1940, Brasil.
Conforme a Lei 9.610/98, é proibida a reprodução total e parcial ou divulgação comercial ou não sem a autorização prévia e expressa do autor (artigo 29). ® Todos os direitos reservados.
Two girls we met, they were both originally from Berlin, but the one on the left now lives in Munich.
two fashionable girls on the streets of Bath
Would you like a print of my work or would you like to licence or use one of my images - why not contact me @ darryl@nethed.com or www.dazsmithphotography.com