Artist Unknown, Title Unknown, (Strange Waves)
Strange Waves
Year: 2019
Nella Foresta
Artist Unknown, “Nella Foresta (In the Forest)”
“We walked always in beauty, it seemed to me. We walked and looked about, or stood and looked. Sometimes, less often, we would sit down. We did not often speak. The place spoke for us and was a kind of speech. We spoke to each other in the things we saw.”
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Ansel Adams: “The Intimate Aspects of Nature”
Photographers Unknown, The Black and White Collection: WP Photo Set Two
“Both the grand and the intimate aspects of nature can be revealed in the expressive photograph. Both can stir enduring affirmations and discoveries, and can surely help the spectator in his search for identification with the vast world of natural beauty and wonder surrounding him.”
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Johnny Warangkula Tjupurrula
Johnny Warangkula Tjupurrula, “Water Dreaming Tjikari”, 1998, Acrylic on Linen, 121 x 182 cm
Johnny Warangkula Tjupurrula was born 1925 at Mintjilpirri, north-west of the Kangaroo Dreaming site of Ilpili waterhole. He was one of the founding members of the Western desert Aboriginal art movement. He was an extremely innovative artist who depicted traditional ceremonial ground designs as abstract depictions on canvas and board.
Warangkula’s painting career began after working as a labourer for many years building airstrips and settlements in Haasts Bluff. In return for his work building and labouring, he was remunerated with consumable goods. After moving from Haasts Bluff to Papunya, Warangkula served on the Papunya Council along with Mick Namarai, Limpi Tjapangati and Kingsley Tjumgarrayi.
During the 1960’s, Warangkula’s rapidly developed a distinctive style of his own which came to be known as ‘overdotting’. He uses several layers of dots to depict his dreaming’s, which consist of water, yam, fire and egret stories. This more painterly approach signified his expanding encounter with the outside world, creating effects that art patron Geoffrey Bardon called ‘tremulous illusion’. Warangkula’s artworks are strictly Aboriginal stories without conscious European influence, they remain of major significance and are of considered of modern aesthetic.
Bruno Barbey, “Capoeira Percussioner”
Bruno Barbey, “Capoeira Percussioner”, 2007, Salvador da Bahia, Brazil
David Seidner
David Seidner, Title Unknown, “Dancers” Series, 1993, Gelatin Silver Print
American photographer David Seidner was known for his portraits and fashion photography. He had his first cover photo published at the age of nineteen; and at the age of twenty-one he had the first of many solo exhibitions of his work in Paris. He was under contract for Yves Saint Laurent in the 1980s and his work included fashion shoots for the French and Italian editions of leading magazines such as Vogue, Vanity Fair among others.
Seidner’s immense cultural knowledge influenced his timeless images. His nudes evoked Greek classical sculpture; his mid-1990s portraits were inspired by John Singer Sargent, Boldini and Valazquez; his portraits of artists recalled classical busts of Roman emperors. In its evolution, his work became more simple and pure, ending in his “Orchid” series shot with an auto-focus camera and color negative film.
David Seidner’s portrait of Helena Carter was selected for the millennial exhibition at the National Portrait Gallery in London, as one of the 100 great photographs of the century and received the 1999 Alfred Eisenstaedt Photograph of the Year Award. He had over a dozen solo exhibitions and was in many group shows at the Whitney Museum and the Pompidou Center in Paris. David Seidner died of complications of AIDS on June 6, 1999.
Image reblogged with thanks to http://doctordee.tumblr.com
Aldous Huxley: “The Doors of Preception”
Photographers Unknown, Parva Scaena (Brief Scenes): Set Eleven
“We live together, we act on, and react to, one another; but always and in all circumstances we are by ourselves. The martyrs go hand in hand into the arena; they are crucified alone. Embraced, the lovers desperately try to fuse their insulated ecstasies into a single self-transcendence; in vain. By its very nature every embodied spirit is doomed to suffer and enjoy in solitude. Sensations, feelings, insights, fancies—all these are private and, except through symbols and at second hand, incommunicable. We can pool information about experiences, but never the experiences themselves. From family to nation, every human group is a society of island universes.”
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Edward Julius Detmold
Edward Julius Detmold, “Common Wasps”, From “Fabre’s Book of Insects”, 1935, Tudor Publishing Company
Painter, printmaker and illustrator Edward Julius Detmold was born in London in 1883 along with his twin brother Charles Maurice Detmold. Provided patronage by their uncle Edward Shuldhan, the two brothers studied painting and printmaking under the tutelage of their uncle Henry Detmold, also an artist. In 1898, at the age of 13, the twins exhibited watercolors at the Royal Academy, and issued a portfolio of color etchings that same year that quickly sold out and brought them notoriety. In 1899 Edward and Charles began illustrating books jointly, begining with “Pictures from Birdland”, which was commissioned and published by J.M. Dent. This was followed by a portfolio of watercolors inspired by Kipling’s “The Jungle Book”.
The brothers’ tandem success, however, was ended with the sudden death by suicide of Charles in 1908. Edward Detmold threw himself into his work, beginning with an illustrated ” Aesop’s Fables” that included 23 color plates and numerous pen and ink drawings. This began a decade of intense productivity, in which the Detmold’s execptional eye for the detail and complexities of nature allowed him to achieve his place among the best illustrators of the Victorian era.
Edward Detmold continued to illustrate numerous books, including Maurice Maeterlinck’s “The Life of the Bee”, Camille Lemonnier’s “Birds and Beasts”, his own “Twenty Four Nature Pieces”, and Jean-Henri Fabre’s “Book of Insects”. However by 1921, after witnessing the horrific results of World War I and feeling a disillusionment with his own art, he had reached the end of his zenith. Though Edward Detmold went on to illustrate one last edition of “The Arabian Nights” in 1924, he had effectively ended his career with the publishing of a literary book of aphorisms entitled “Life”. He retired to Montgomeryshire, England, and died in 1957, also from suicide.
Jasper Fforde: “This is the Wisdom”
Photographers Unknown, The Bath
“Okay, this is the wisdom. First, time spent on reconnaissanse is never wasted. Second, almost anything can be improved with the addition of bacon. And finally, there is no problem on Earth that can’t be ameliorated by a hot bath and a cup of tea.”
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Andreas Feininger
Andreas Feininger, “Skeleton of Gaboon Viper”, 1952, Silver Gelatin Print
Son of the late acclaimed artist Lyonel Feininger, American photographer Andreas Feininger was born in Paris in 1906, and graduated with highest honors in architecture from schools in Germany. At that time, Feininger was using a camera as his mechanical sketchbook for a reference aid in creating his building designs.
After a year’s work in France for architect Le Corbusier, followed by a struggle to find employment in Stockholm, Feininger turned his attention full-time to photography. He sold his first photos in 1932 and moved with his family to the United States in 1939. Feininger became a staff photographer in 1943 for LIFE magazine where he completed more than 430 assignments in a twenty year span.
Feininger’s works are known for their technique and panoramic grandeur. Such timeless images as the “New York Landscape Seen From Eight Miles Away in New Jersey”, taken in 1947, are notable for their harmony, balance, and grand scale. Through Feininger’s trained eye, the intricacies and beauty of both the natural and man-made world were magnified and intensified. His images revealed a new aesthetic of order and geometric perfection from the span of bridges to the symmetrical perfection of the skeleton of a carbon viper.
Truman Capote: “Any Love is Natural and Beautiful”
Photographers Unknown, Any Love is Natural and Beautiful
“Any love is natural and beautiful that lies within a person’s nature; only hypocrites would hold a man responsible for what he loves, emotional illiterates and those of righteous envy, who, in their agitated concern, mistake so frequently the arrow pointing to heaven for the one that leads to hell.”
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Luigi Bonazza
Luigi Bonazza, “Contributo dell’Operaio all’Esercito Combattente” (The Worker’s Contribution to the Army Fighter)”, 1914-1915, Oil on Board
Luigi Bonazza was an Italian artist born in the provence of Trento. He studied under Luigi Comel, a professor of drawing and painting, at the Royal Elizabethan School in Rovereto. He returned to Trento in 1912, at which time he and other artists founded the Artistic Circle Trentino. Bonazza lived in Vizzola Ticino between 1916 and 1918, working for Italian aviation pioneer Giovanni Caproni and producing watercolors and engravings of aircraft and flight. Later in his life, he decorated the Palazzo delle Poste in Trento and painted mostly landscapes and portraits.
Reblogged with thanks to http://doctordee.tumblr.com
Erik Pevernagie: “A Fleeting Moment Can Become an Eternity”
Photographers Unknown, Faces of Man: WP Photo Set One
“A fleeting moment can become an eternity. From a past encounter everything may disappear in the dungeon of forgetfulness. A few furtive flashes or innocent twinkles can survive, though. Some immaterial details may remain marked in our memory, forever. A significant look, a salient colour or a unforeseen gesture may abide, indelibly engraved in our mind.”
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Lara Zankoul
Lara Zankoul, “The Unseen” Series, 2013, Color Photograph #13
Lara Zankoul, is an interdisciplinary artist and self-taught photographer based in Beirut, Lebanon. Her work captures everyday human behavior and issues that occur within society through photographic media. The aim is to invite the viewers to come up with their own interpretation and understanding of the photographs and the stories behind them.
Lara Zankoul’s images often explore the mysteries of the human psyche, combining unusual elements with ordinary life. Her 2013 ” The Unseen” series features contemporary scenarios literally immersed in pools of water that occupy their living space, creating playful narratives. Zankoul does not use any kind of digital manipulation; all these artworks are done strictly through the sole use of camera.
Barbara Hurd: “There is Magic in This Moist World”
Photographer Unknown, Title Unknown, (The Circle)
“In a swamp, as in meditation, you begin to glimpse how elusive, how inherently insubstantial, how fleeting our thoughts are, our identities. There is magic in this moist world, in how the mind lets go, slips into sleepy water, circles and nuzzles the banks of palmetto and wild iris, how it seeps across dreams, smears them into the upright world, rots the wood of treasure chests, welcomes the body home.”
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