Pictures I like

[North Star]

I like the musical staff (stave?) that's cropping up almost everywhere courtesy of reflections - even in the lenses of the glasses - or sympathetically hinted at in the pattern of the necktie. Alternatively, if that's a classroom and someone is going to study in there, then it all gives me the impression of 'we are going to work and you are going to move forward and progress in a direct and straight and steady manner'!

Hear, hear.

Perhaps in a similar albeit less formal vein, there's some black and white work by the photographer Werner Neumeister,  which can be viewed here:

http://www.neumeister-photographie.de/contents/musicians-archive/

I'm sure some of the shots will be familiar to most of you, but I think there's a kind of value and even a fulfilling pleasure in considering a body of work viewed almost as a whole.

I didn't know the photographer before, although I have that Argerich photo at my arm's reach at the moment. Agreed, it's certainly worthwhile to see an artist's body of work. A portrait photographer whose work I admire a lot is Yousuf Karsh. The Sibelius and Churchill portraits are just two of his many iconic photos.

[NikF]

Thanks for that link. I love the photo of Klemp...and I love Jackie 

Sarge

No problem. And yeah, you picked a couple of good ones there. Another which I noticed is the shot of Celibidache. I'm so very new to classical music that I've only heard him conducting one piece, which was Ravel's PC in G with Michelangeli. It was concert footage via YouTube and so I don't really know what he looks like. But because Neumeister kmew when to release the shutter he captured an image of someone I was able to recognise even in a small thumbnail.

[NikF]

Hear, hear.

I didn't know the photographer before, although I have that Argerich photo at my arm's reach at the moment. Agreed, it's certainly worthwhile to see an artist's body of work. A portrait photographer whose work I admire a lot is Yousuf Karsh. The Sibelius and Churchill portraits are just two of his many iconic photos.

Sure, I'm very familiar with his work, but it certainly can stand many repeat viewings. And one aspect which is always apparent in what we see, is his consistency - isn't it outstanding? Also, the examples you've offered show how he seemed to most often make portraits which contained almost the epitome of the sitter. See the easy brusqueness of Hemingway? Or the demure, refined calmness of Hepburn? And while he managed to 'distill' the personality traits and emotional characteristics, he did so while successfully incorporating them within his own clearly defined signature. There's something beautiful about such an ability.

[North Star]

Sure, I'm very familiar with his work, but it certainly can stand many repeat viewings. And one aspect which is always apparent in what we see, is his consistency - isn't it outstanding? Also, the examples you've offered show how he seemed to most often make portraits which contained almost the epitome of the sitter. See the easy brusqueness of Hemingway? Or the demure, refined calmness of Hepburn? And while he managed to 'distill' the personality traits and emotional characteristics, he did so while successfully incorporating them within his own clearly defined signature. There's something beautiful about such an ability.

Agreed on all counts, except for Hemingway, he looks shy and lacking self confidence to me - but maybe both of our views is coloured by the image we have of the man, or of the story of the session as told by Karsh, and the fact that he killed himself four years after the photograph was taken.

Some more Karsh

     

[NikF]

Agreed on all counts, except for Hemingway, he looks shy and lacking self confidence to me - but maybe both of our views is coloured by the image we have of the man, or of the story of the session as told by Karsh, and the fact that he killed himself four years after the photograph was taken.

Some more Karsh

     

You could well be right regarding reasons behind the different interpretation of the Hemingway.

Again, look at that consistency. You can't buy that. And I think the reason might be that it's rooted in honesty.

[North Star]

Again, look at that consistency. You can't buy that. And I think the reason might be that it's rooted in honesty.

Yes, Karsh certainly mastered combining a recognizable style and portraying each sitter's personality.

[kishnevi]

Thanks for that link. I love the photo of Klemp...and I love Jackie 

Sarge

Loved Schuricht's hands.
But made the mistake of looking at his opera archive...bunch of productions there I an glad I never saw.

[North Star]

[North Star]

A couple of Turners


The Blue Rigi, Sunrise 1842



Venice: Looking East towards San Pietro di Castello - Early Morning 1819

[André]

Magnifique !

[Florestan]

Meet my favorite seascapes painter: Ivan Konstantinovich Aivazovsky (1817 - 1900)

Storm on the sea on a moonlit night


Venice lagoon at sunset 1873


Constantinople in the moonlight 1846


Stormy Sea 1860


Many more here: http://en.gallerix.ru/album/aivazovsky

[North Star]

Meet my favorite seascapes painter: Ivan Konstantinovich Aivazovsky (1817 - 1900)

Good stuff, and an old favourite of mine.

Here's another one:


Savrasov - Sundown over a marsh, 1871

[Florestan]

Savrasov

This one is great, too



Rustic View, 1867

[Florestan]

John Everett Millais - Christ in the House of His Parents, 1850



Sorry, Mr. Dickens: for all your harsh and prudishly off-the-mark criticism of the painting, all characters in it are much more real-life-ish, flesh-and-blood-ish than many of yours. 

[The Six]

[Todd]

[kishnevi]

John Everett Millais - Christ in the House of His Parents, 1850



Sorry, Mr. Dickens: for all your harsh and prudishly off-the-mark criticism of the painting, all characters in it are much more real-life-ish, flesh-and-blood-ish than many of yours. 

Never read what Dickens said about it, but to me Jesus looks like the spoiled self satisfied brat who is used to, and likes, being the center of attention, while  John the not yet Baptist on the right looks like he is scared of Jesus. Or else about to emulate Oliver Twist's "please, sir, may I have some more?" moment.

[Florestan]

Never read what Dickens said about it, but to me Jesus looks like the spoiled self satisfied brat who is used to, and likes, being the center of attention, while  John the not yet Baptist on the right looks like he is scared of Jesus. Or else about to emulate Oliver Twist's "please, sir, may I have some more?" moment.

You´re just as wrong as Dickens was. 

http://en.wikipedia.org/wiki/Christ_in_the_House_of_His_Parents

[Wakefield]

You´re just as wrong as Dickens was. 

http://en.wikipedia.org/wiki/Christ_in_the_House_of_His_Parents

I tend to agree with Jeffrey. I feel certain Dickensian flavor there.

Dickensian or merely the spirit of the age, I don't know.

Maybe Dickens' reaction "is the rage of Caliban seeing his own face in a glass." 

[pjme]

Some paintings by Millais have an... almost surrealistic quality. 



The blind girl

Some late Romantic / symbolist painters are completely forgotten now. I find their work often quite fascinating. Take Gaston Buissière.. a French Symbolist painter and illustrator, born in Cuisery on April 24, 1862 and died at Saulieu on October 29, 1928. Do Google him for some crazy Brunhildes and Salomes.





Or the very weird Sascha Schneider...who was both a painter, an illustrator for Karl May, a sculptor, and a gay body builder!