JOHANN GEORG MEYER VON BREMEN (Bremen, Alemanha, 28 de outubro de 1813 – Berlim, Alemanha, 04 de dezembro de 1886)
Encore une nuit magique au palais. Apogée de chaque visite d’Etat, le Banquet donné par les souverains au palais de Buckingham. Les toilettes des dames de la Cour déclinent la note féerique. …
Pretty & feminine wedding boudoir at The George in Rye Hotel. I have known stylist, Louise, for a while and have always loved working with her. She
costumed by Adrian.... I can't help but notice a resemblance between this Boudoir and Greta Garbo. I suppose it's possible she might have been the inspiration for the doll artist who modeled the original mold? I'd like to think she was anyway. The beaded fabric is a top bought in a Charity shop, soon to be made into a Flapper dress (once she has a body!)
William is a patron of the Tusk foundation and will make a speech at the end of the awards ceremony hosted by journalist Kate Silverton.
These days, we take pictures for granted. They’re in our heads, in our phones, on our computer, in our digital cameras, makeable, and erasable. We live in an ocean of photographic imagery—the world of click and snip. In this environment, it’s hard to tell what’s art and what’s not. The question of art at the dawn of the age of photography, and the decades that marched ahead, was a question that was asked with great passion and answered in infinite ways by several generations of photographers, all of them searching for ways to elevate a technical innovation into the rarefied clouds of high art. Two current exhibitions, at the National Gallery of Art and the Phillips Collection, take up the banner of that debate, how it was conducted, and the results it produced. Both exhibition titles sound like Masters of Fine Arts theses, but don’t be put off by that. If you have any interest in photography and art, photography IN art, and, for that matter, if you have a camera and use it often, you’ll find these exhibitions thought-provoking, imagination-stimulating, debate-instigating, and, with the presence of so many great works of photography, a great pleasure. The National Gallery of Art exhibition, “The Pre-Raphaelite Lens, British Photography and Painting, 1848-1875,” is, as the title suggests, narrowly focused in time and art. It successfully connects the dots between early photographers, like the remarkable Julia Cameron and Henry Peach Robinson, to the groups of artists encouraged by the English uber-critic and cultural sage, John Ruskin, led by the likes of Dante Gabriel Rossetti. The latter group was devoted to the art which preceded Raphael, hence the name they adopted. Ruskin and the Pre-Raphaelites were also keenly interested in the arrival of photography, which they tried to incorporate into their art. The Pre-Raphaelites constitute a tight group of rebels—albeit very well dressed, crusty, upper class Victorian elite rebels. Ruskin, a Renaissance man of endless expertise, was a kind of titular leader and arbiter of art and culture in England, if not Europe, at mid-century when the effects of photography were beginning to be felt. Pre-Raphaelites and photographers intersected at so many points that the connections seem almost incestuous. Artists like Rossetti believed that they should paint from and in nature, getting the very effects that photography could produce, and exacting details of landscape and dramatic details of personality, dress and features in portraits. They also loved to create illustrative paintings of scenes from poetry, literature, Shakespeare and legend—something photographers like Cameron also did, surprisingly, to much greater effect. The Pre-Raphs, in a way, rejected the modern and tried to achieve an intense romanticism, especially in their efforts at portraits. Except for a few paintings—Rossetti’s effects in color and Ruskin’s watercolors—the photographers seem almost always to trump the painters. But then the painters had no one of the stature and brilliance of Cameron in their ranks. “TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945,” at the Phillips Collection, is broader in its reach, wider in its geography, and more varied in the work on the walls. In the exhibition, the debate and comparison between photography and painting continues in the realm of photography as a vehicle for great and fine art. The photographs in this exhibition have a haunting quality. They seem touched by some sort of mist, and it’s that artful, powerful quality that pervades much of the works of the photographers in “TruthBeauty” at the Phillips. There’s an insistence that a photograph is, can, and should be more than just a photograph—a mirror to reality. Cameron, who may be a guiding, informing spirit, is represented here. But those photographer-artists who came later: Edward Steichen, Gertrude Kasebier, even the modernistic Edward Weston, and the edge-pushing F. Holland Day acknowledge the debt and direction of photography of art. In landscapes and in cityscapes, is there anything more haunting than Steichen’s “Flatiron—Evening”? Cameron in her portraiture, which seems more like Tolstoyan novels, is more of a painter than the painters. Consider, for instance, Lord Tennyson, the great Victorian of British nationalism and empire, as painted first by George Frederic Watts in somber, beautifully lit fashion. Then look at Cameron’s photo portrait (dubbed “The Dirty Monk”), where you can see some wild, inner restlessness—something of the fanatic in the face. Tennyson, by the way, much preferred “The Dirty Monk.” Still, nothing quite like Rossetti’s portrait of Jane Morris, the wife of his friend and his paramour, was achieved by the photographers. Here color and details create a miracle of hypnotic beauty. “TruthBeauty” is rich (120 images) and diverse, a best of the best in many ways, and the Phillips is the last stop on a grand international tour, which was organized by the George Eastman House and the Vancouver Art Gallery. “TruthBeauty” continues at the Phillips Gallery through January 9. “The Pre-Raphaelite Lens” continues at the National Gallery of Art through January 30. [gallery ids="99565,104793" nav="thumbs"]
Female figure in foundation garment. B&W George Stavrinos, a master of the pencil technique, set the style for Bergdorf Goodman’s eye-catching full page ads in the 70s and 80s, often using a surreal approach. Reference code: US.NNFIT.SC.187 All Special Collections access is by appointment. Researchers should e-mail a request for an appointment to [email protected] as far in advance as possible. For more info, please visit our FIT website. The Department of Special Collections and FIT Archives does not own copyright for all material held in its physical custody. It is the researcher's obligation to satisfy copyright law (www.copyright.gov/title17/92chap1.html#108) when copying or using materials (including digital materials) found in or made available from the department
Everything can be exhibited: trinkets from the Second French Empire, a collection of photographs, a boudoir from beyond the grave, a heroine famous for her beauty, her extravagance and her pitiful end. Everything can be exposed: a woman for another woman... , the fear of one's own body, a way of entering a scene, the thrill of seduction, abandonment, the reassurance of objects, a ruin. Over the course of four decades, the Countess Virginia Oldoini returned to the same Paris studio to be photographed, posing in different tableaux to mark the moments of her life, real and imagined. A fascination with 'La Castiglione' led Nathalie Leger to weave together this imaginative proto-biography. Mysterious yet over-exposed, adored and despised for her beauty in equal measure, Castiglione was a flamboyant aristocrat, mistress of Napoleon III and a rumoured spy. Examining the myths around icons past and present, Leger meditates on the half-truths of portrait photography, reframing her own family history in the process.
Is Mrs. Obama really the first black First Lady? Which US bill features a black man? You’ll be surprised at the historical figures you didn’t know were black.
In a world filled with the need to stay up to speed with the trending ways of shooting boudoir it is no surprise that it can be exhausting. However keeping up does not always mean having to change the preferred style. Knowing how to keep current with techniques yet staying true to your signature look is not as daunting as it may seem. Rex Jones, located in Saint George, Utah
MATE, the Lima, Peru museum that bears Vogue photographer Mario Testino’s name, is exhibiting the work of Hollywood legend-maker George Hurrell.
George Hurrell, Norma Shearer, 1934
Chorus Girl Singer Linda Lombard, Backstage Getting Ready For Show Photographic Print by George Silk. Find art you love and shop high-quality art prints, photographs, framed artworks and posters at Art.com. 100% satisfaction guaranteed.
Explore Chickeyonthego's 4864 photos on Flickr!
Andreas went to Switzerland to shoot the new Free People Holiday Campaign up on the mountains close to Sankt Moritz. Models Camilla Christensen and Lydia Graham where the perfect fit with there free spirit and positive attitude.
MARIA MONTEZ 1942 - Photo by GEORGE HURRELL
The mega-emotional Scotland marriage proposal of Manon and George at Glencoe in the Scottish Highlands. By The Kitcheners.
Once upon a time, there were three brothers, with the surname Barry and with the nicknames ‘Newgate ’alias Augustus, as this was said to be the only prison he had been in. Henry, known as ‘Cripple…
One photographer defined for all time the public image of many of Hollywood's greatest legends
Still Sexy At 60... Happy Birthday Kim Basinger!
This wonderful and rare lesbian boudoir art piece is an homage to George Barbier c. 1920's art deco hand painted watercolor illustration. Beautiful vibrant colors on this intimate boudoir scene between two women - note the ladies loungers and shoes. Finest details including the side board and the fish bowl. All of it just exquisite. I have included a few others works listed in the shop attributed to Mr. Barbier all original watercolors More photos available. The shine on the photos is the paint. http://etext.virginia.edu/bsuva/artdeco/lecture2.html CONDITION: The overall condition is very good but frail due to age. Rubbing to the corners and some age toning to the boards, corners are a little rubbed. The colors are quite superb, fresh and bright. There is a small 1/2 tear in the margin that does not affect the image and has been repaired, also would be hidden by a mat when framed. The shininess that you see is the paint. Buyer responsibilities: While I do my best to describe any potential flaws with equal attention to its attributes, please use the zoom feature to examine the item to make a determination if this meets your standards for vintage and antique items being offered. Email should you have any questions or require more information. . http://www.luxurytraveler.com/The_birth_of_art_deco.html More from Deco Daze Antiques: ► For more ANTIQUARIAN BOOKS https://www.etsy.com/ca/shop/DecoDazeFineVintage?section_id=18809728 ► For more ANTIQUE and VINTAGE ART: https://www.etsy.com/ca/shop/ArtDecoAntiques?section_id=11707158 ► For more ART DECO HOME DECOR: https://www.etsy.com/ca/shop/ArtDecoAntiques?section_id=11707200 ► For more ART DECO LAMPS and LIGHTING: https://www.etsy.com/ca/shop/ArtDecoAntiques?section_id=18809496 ► For more VINTAGE SILVER, CHINA and TABLEWARE: https://www.etsy.com/ca/shop/ArtDecoAntiques?section_id=11720584 ► For more VINTAGE BRACELETS: https://www.etsy.com/ca/shop/ArtDecoAntiques?section_id=11714181 ► For more VINTAGE BROOCHES: https://www.etsy.com/ca/shop/ArtDecoAntiques?section_id=18812081 ► For more VINTAGE EARRINGS: https://www.etsy.com/ca/shop/ArtDecoAntiques?section_id=11707162 ► For more VINTAGE NECKLACES: https://www.etsy.com/ca/shop/ArtDecoAntiques?section_id=18812081 ► For more VINTAGE RINGS: https://www.etsy.com/ca/shop/ArtDecoAntiques?section_id=18812109 ► For more VINTAGE MEN'S and WOMEN'S WATCHES: https://www.etsy.com/ca/shop/ArtDecoAntiques?section_id=11707164
