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Posts Tagged 'Frederick Evans
European photographic research tour: V&A Photography Centre, London
Categories: American, american photographers, beauty, black and white photography, colour photography, digital photography, documentary photography, English artist, existence, gallery website, intimacy, landscape, light, London, memory, New York, photographic series, photography, portrait, psychological, quotation, reality, sculpture, space, street photography, surrealism, time, video, Walker Evans and works on paper
Tags: 8 x 10 inch view camera, A Series of Twenty Photographic Views by Francis Frith, African Negro Art, Alberto Giacometti's Left Eye, albumen print, Alfred Stieglitz, Alfred Stieglitz Camera Work, Alice's Adventures in Wonderland, alvin langdon coburn, Alvin Langdon Coburn at the Opening of His One-Man Exhibition the Royal Photographic Society, Alvin Langdon Coburn Frederick Holland Day, Alvin Langdon Coburn Kensington Gardens, Alvin Langdon Coburn Vortograph, american artist, american photographer, American photographers, American Vogue, Annie Wardrope Brigman, Annie Wardrope Brigman The Spirit of Photography, Arc de Triomphe de l'Etoile, Balaclava from Guard's Hill, Bauhaus school in Dessau, Benjamin Brecknell Turner, Benjamin Brecknell Turner Hedgerow Trees Clerkenleap, Berenice Abbott, Berenice Abbott Changing New York, Berenice Abbott Hardware Store, Bernard Eilers, Bernard Eilers Reguliersbreestraat Amsterdam, Bewegungsstudie, Bill Brandt, Bill Brandt Dubuffet's Right Eye, British photographer, British photography, Calotype negative, Camera work, Changing New York, Charles Lutwide Dodgson, Charles Lutwide Dodgson Tea Merchant (Off Duty), Charles Lutwide Dodgson Tea Merchant (On Duty), Charles Lutwide Dodgson Tea Merchant (On Duty) and Tea Merchant (Off Duty), Christ Carrying his Cross, Dubuffet's Right Eye, early photographic processes, early photography, Edward Steichen, Edward Steichen Portrait – Lady H, edward weston, Edward Weston Valentine to Charis, Federal Art Project, foto-chroma Eilers, Francis Frith, Francis Frith The Pyramids of Dahshoor [Dahshur], Francis James Mortimer, Francis James Mortimer Alvin Langdon Coburn, Francis James Mortimer Alvin Langdon Coburn at the Opening of His One-Man Exhibition the Royal Photographic Society, Francois Rude, Francois Rude The Marseillaise, Frederick Evans, Frederick Holland Day, Fredrick Holland Day, Fredrick Holland Day Head of a Girl Hampton, French photographer, French photography, german photographer, German photography, Gertrude Käsebier, Gertrude Käsebier The Letter, Graham Smith, Graham Smith What she wanted & who she got, Gustave Le Gray, Gustave Le Gray Pavilion Richelieu Louvre, Gustave Le Gray Solar Effect in the Clouds – Ocean, Gustave Le Gray The Imperial Yacht La Reine Hortense, Gustave Le Gray The Marseillaise (The Departure of the Volunteers of 1792), Gustave Le Gray The Road to Chailly Forest of Fontainebleau, Hampton Institute in Virginia, Hardware Store, Head of a Girl Hampton, Head of St John the Baptist on a Charger, Hedgerow Trees Clerkenleap, Heliograph, Heliograph on pewter plate, Herbert Bayer, Herbert Bayer Shortly Before Dawn, Hill and Adamson, Hill and Adamson The Adamson Family, Horst P. Horst, Horst P. Horst Portrait of Gabrielle ('Coco') Chanel, Jan Kempenaers, Jan Kempenaers Spomenik #3, Jan Kempenaers Spomenik #4, Josef Sudek, Josef Sudek Simple Still Life Egg, Joseph Nicéphore Niépce, Joseph Nicéphore Niépce Christ Carrying his Cross, Julia Margaret Cameron, Julia Margaret Cameron Lucia, Julia Margaret Cameron Pomona, Kensington Gardens, La Reine Hortense, Le Havre, Lewis Carroll, Louise Nevelson's Eye, Luminogram, Mark Cohen, Mark Cohen True Color, Max Ernst's Left Eye, Movement Study, Museum of Modern Art African Negro Art, New York, Nickolas Muray, Nickolas Muray Women with headscarf McCall's Cover, Oscar Gustaf Rejlander, Oscar Gustaf Rejlander Head of St John the Baptist on a Charger, Otto Steiner, Otto Steiner Luminogram, Parian Vase Grapes and Silver Cup, paul strand, Paul Strand New York, Pavilion Richelieu Louvre, Photograph of African mask, Photograph of Allied War exhibition Serbian Section, Pictorialist photographers, Pomona, Portrait – Lady H, Portrait of Gabrielle ('Coco') Chanel, Reguliersbreestraat Amsterdam, Roger Fenton, Roger Fenton Balaclava from Guard's Hill, Roger Fenton Parian Vase Grapes and Silver Cup, Roger Fenton Still Life with Fruit and Decanter, Rudolph Koppitz, Rudolph Koppitz Bewegungsstudie, Rudolph Koppitz Movement Study, Scottish photography, Shortly Before Dawn, Simple Still Life Egg, Solar Effect in the Clouds – Ocean, South Kensington Museum, Spomenik #3, Spomenik #4, Still Life with Fruit and Decanter, Tea Merchant (Off Duty), Tea Merchant (On Duty), Tea Merchant (On Duty) and Tea Merchant (Off Duty), The Adamson Family, The Haystack, The Imperial Yacht, The Imperial Yacht La Reine Hortense, The Letter, The Marseillaise, The Marseillaise (The Departure of the Volunteers of 1792), The Pyramids of Dahshoor [Dahshur], The Road to Chailly Forest of Fontainebleau, The Spirit of Photography, True Color, Valentine to Charis, Vortograph, Walker Evans, Walker Evans Photograph of African mask, What she wanted & who she got, Wiles-Barre Pennsylvania, William Henry Fox Talbot, William Henry Fox Talbot The Haystack, Women with headscarf McCall's Cover
Visited October 2019 posted May 2020
Photograph of Allied War exhibition, Serbian Section, V&A (installation view)
The Royal Photographic Society Collection at the V&A Museum
Photo: Marcus Bunyan
The older I grow, the more exponentially I appreciate and love these early photographs. Imagine having a collection like this!
Wonderful to see Edward Steichen's Portrait – Lady H (1908, below) as I have a copy of Camera Work 22 in my collection.
All iPhone images by Dr Marcus Bunyan. Please click on the photographs for a larger version of the image.
The V&A has been collecting photographs since 1856, the year the Museum was founded, and it was one of the first museums to present photography exhibitions. Since then the collection has grown to be one of the largest and most important in the world, comprising around 500,000 images. The V&A is now honoured to have added the Royal Photographic Society (RPS) collection to its holdings, which contains around 270,000 photographs, an extensive library, and 6,000 cameras and pieces of equipment associated with leading artists and photographic pioneers.
Take a behind-the-scenes look at our world class photography collection following the transfer of the Royal Photographic Society (RPS) Collection, which has enabled a dramatic reimagining of the way photography is presented at the V&A. The photographs curators introduce a series of five highlights that are on display in the new Photography Centre, which opened on 12th October 2018. The first phase of the centre will more than double the space dedicated to photography at the Museum.
Text from the V&A and YouTube websites
The V&A has been collecting and exhibiting photographs since the 1850s. This image shows part o a photographic exhibition held over 100 years ago in the same galleries you are standing in today. The exhibition presented a densely packed display of images depicting the Allied Powers during the First World War.
Installation views of the V&A Photography Centre, London
Photos: Marcus Bunyan
Joseph Nicéphore Niépce (French, 1765-1833)
Christ Carrying his Cross (installation views)
Heliograph on pewter plate
The French inventor Niépce made the earliest surviving photographic images, which he called 'heliographs' or 'sun-writing'. Only 16 are thought to still exist. Although Niépce experimented with light-sensitive plates inside a camera, he made most of his images, including this one, by placing engravings of works by other artists directly onto a metal plate. He would probably have had the resulting heliographs coated in ink and printed.
Christ Carrying his Cross (installation view)
David Octavius Hill (Scottish, 1802-1870) and Robert Adamson (Scottish, 1821-1848)
The Adamson Family (installation view)
The partnership between Scottish painter Hill and chemist Adamson merged the art and science of photography. The pair initially intended to create preliminary studies for Hill's paintings, but soon recognised photography's artistic potential. With Hill's knowledge of composition and lighting, and Adamson's considerable sensitivity and dexterity in handling the camera, together they produced some of the most accomplished photographic portraits of their time.
William Henry Fox Talbot (British, 1800-1877)
From The Pencil of Nature
Benjamin Brecknell Turner (British, 1815-1894)
Hedgerow Trees, Clerkenleap (installation views)
Albumen print; Calotype negative
Turner took out a licence to practice 'calotype' photography from Talbot in 1848. He contact-printed positive images from paper negatives. The negative (below) and its corresponding positive (above) are reunited here to illustrate this process, but the pairing as you see them would not have been the photographer's original intention for display. Although unique negatives were sometimes exhibited in their own right, only showing positive prints was the norm.
Hedgerow Trees, Clerkenleap (installation view)
Gustave Le Gray (French, 1820-1884)
The Road to Chailly, Forest of Fontainebleau (installation view)
Albumen print from a collodion glass negative
Bequeathed to the V&A by Chauncey Hare Townshend
The Marseillaise (The Departure of the Volunteers of 1792), by Francois Rude, 1833-35, Arc de Triomphe de l'Etoile, Paris (installation view)
Parian Vase, Grapes and Silver Cup (installation view)
Fenton was one of the most versatile and technically brilliant photographers of the 19th century. He excelled at many subjects, including war photography, portraiture, architecture and landscape. He also made a series of lush still lives. Here, grapes, plums and peaches are rendered in exquisite detail, and the silver cup on the right reflects a camera tripod.
Parian Vase, Grapes and Silver Cup (installation view detail)
Still Life with Fruit and Decanter
Oscar Gustaf Rejlander (British, born Sweden 1813-1875)
Head of St John the Baptist on a Charger (installation view)
Rejlander probably intended this photograph to be part of a larger composition telling the biblical story of Salome, in which the severed head of John the Baptist was presented to her on a plate. Rejlander never made the full picture, however, and instead produced multiple prints of the head alone.
Francis Frith (British, 1822-1898)
The Pyramids of Dahshoor [Dahshur], from the East, from Egypt, Sinai, and Jerusalem: A Series of Twenty Photographic Views by Francis Frith (installation view)
1858 (published 1860 or 1862)
Frith's photographs were popular and circulated widely, both because of their architectural interest and because they often featured sites mentioned in the Bible. Photographs of places described in biblical stories brought a new level of realism to a Christian Victorian audience, previously only available through the interpretations of a painter or illustrator.
The Pyramids of Dahshoor [Dahshur], from the East, from Egypt, Sinai, and Jerusalem: A Series of Twenty Photographic Views by Francis Frith
Installation view of the V&A Photography Centre, London
Solar Effect in the Clouds – Ocean (installation view)
Solar Effect in the Clouds – Ocean
Creative Commons Zero (CC0)
The Imperial Yacht, La Reine Hortense, Le Havre (installation view)
The Imperial Yacht, La Reine Hortense, Le Havre
Pavilion Richelieu, Louvre, Paris (installation view)
Balaclava from Guard's Hill, the Crimea (installation view)
Roger Fenton (British, 1819-69)
Julia Margaret Cameron (British, born India, 1815-1879)
Lucia (installation view)
Charles Lutwide Dodgson (also known as Lewis Carroll)(British, 1832-1898)
Tea Merchant (On Duty) and Tea Merchant (Off Duty) (installation view)
Lewis Carroll is best known as the author of Alice's Adventures in Wonderland, but he was also an accomplished amateur photographer. Approximately half of his photographs are portraits of children, sometimes wearing foreign costumes or acting out scenes. Here, Alexandra 'Xie' Kitchen, his most frequent child sitter, poses in Chinese dress on a stack of tea chests.
Tea Merchant (On Duty) (installation view)
Tea Merchant (Off Duty) (installation view)
Pomona (installation view)
The South Kensington museum (now the V&A) was the only museum to collect and exhibit Julia Margaret Cameron's during her lifetime. This is one of several studies she made of Alice Liddell, who as a child had modelled for the author and photographer Lewis Carroll and inspired his novel Alice's Adventures in Wonderland. Cameron, Carroll and Liddell moved in overlapping artistic and intellectual circles. Here, surrounded by foliage, a grown-up Alice poses as the Roman goddess of orchards and gardens.
Alvin Langdon Coburn (American 1882-1966)
Frederick Holland Day (installation view)
Gum platinum print
The British-American photographer Alvin Langdon Coburn enjoyed success on both sides of the Atlantic. Active in the early 20th century, he gained recognition from a young age as a talented photographer. His style ranged from the painterly softness of Pictorialism to the unusual vantage points and abstraction of Modernism. As well as being a practising photographer, Coburn was an avid collector. In 1930 he donated over 600 photographs to the Royal Photographic Society. The gift included examples of Coburn's own work alongside that of his contemporaries, many of whom are now considered to be the most influential of their generation. Coburn also collected historic photographs, and was among the first in his time to rediscover and appreciate the work of 19th-century masters like Julia Margaret Cameron and Hill and Adamson.
Fredrick Holland Day (American, 1864-1933)
Head of a Girl, Hampton, Virginia (installation view)
Day made this portrait when he visited the Hampton Institute in Virginia, which was founded after the American Civil War as a teacher-training school for freed slaves. The institute's camera club invited Day to visit the school and critique the work of its students. Day's friend and fellow photographer, Frederick Evans, donated this strikingly modern composition to the Royal Photographic Society in 1937.
Head of a Girl, Hampton, Virginia
Gertrude Käsebier (American, 1852-1934)
Käsebier studied painting before opening a photography studio in New York. Her Pictorialist photographs often combine soft focus with experimental printing techniques. These sisters were dressed in historic costume for a ball, but their pose transforms a society portrait into a narrative picture. In a variant image, they turn to look at the framed silhouette on the wall.
Francis James Mortimer (British, 1874-1944)
Alvin Langdon Coburn at the Opening of His One-Man Exhibition the Royal Photographic Society, London (installation view)
Annie Wardrope Brigman (American, 1869-1950)
The Spirit of Photography
Kensington Gardens (installation view)
Cover of Camera Work Number XXVI (installation view)
Edward Steichen (American, 1879-1973)
Portrait – Lady H (installation view)
Camera Work 22
Portrait – Lady H
Paul Strand (American, 1890-1976)
New York (installation view)
Alfred Stieglitz (American, 1864-1946) was an American photographer, publisher, writer and gallery owner. From 1903-1917, he published the quarterly journal Camera Work, which featured portfolios of exquisitely printed photogravures (a type of photograph printed in ink), alongside essays and reviews. Camera Work promoted photography as an art form, publishing the work of Pictorialist photographers who drew inspiration from painting, and reproducing 19th-century photographs. It also helped to introduce modern art to American audiences, including works by radical European painters such as Matisse and Picasso.
Vortograph (installation view)
Bromide print
Rudolph Koppitz (American, 1884-1936)
Bewegungsstudie (Movement Study)
Koppitz was a leading art photographer in Vienna between the two World Wars, as well as a master of complex printing processes, including the pigment, gum and broccoli process of transfer printing. Tis dynamic and sensual composition captures dancers from the Vienna State Opera Ballet frozen mid-movement.
Herbert Bayer (Austrian American, 1900-85)
Shortly Before Dawn (installation view)
Bayer had a varied and influential career as a designer, painter, photographer, sculptor, art director and architect. He taught at the Bauhaus school in Dessau, Germany, and later began to use photomontage, both in his artistic and advertising work. Using this process, he combined his photographs with found imagery, producing surreal or dreamlike pictures.
Bernard Eilers (Dutch, 1878-1951)
Reguliersbreestraat, Amsterdam (installation view)
Foto-choma Eilers
Given by Joan Luckhurst Eilers
In the 1930s, the Dutch photographer Bernard Eilers developed an experimental new photographic colour separation process known as 'Foto-chroma Eilers'. Although the process was short-lived, Eilers successfully used this technique to produce prints like this of great intensity and depth of colour. Here, the misty reflections and neon lights create an atmospheric but modern view of a rain-soaked Amsterdam at night.
Edward Weston (American, 1886-1958)
Valentine to Charis (installation view)
When Weston met the model and writer Charis Wilson in 1934, he was immediately besotted. This valentine to her contains a cluster of objects arranged as a still life, including the photographer's camera lens and spectacles. Some of the objects seem to hold a special significance that only the lovers could understand. The numbers on the right possibly refer to their ages – there were almost thirty years between them.
Horst P. Horst (German-American, 1906-1999)
Portrait of Gabrielle ('Coco') Chanel
Variant, American Vogue, 1 December 1937, p. 86: 'Fashion: Mid-Season Prophecies'
Caption reads: Chanel in her fitted, three-quarters coat / Mademoiselle Chanel, in one of her new coats that are making the news – a three quarters coat buttoned tightly and trimmed with astrakham like her cap. 01/12/1937
Nickolas Muray (American, 1892-1965)
Women with headscarf, McCall's Cover, July 1938 (installation view)
Tricolour carbro print
Berenice Abbott (American, 1898-1991)
Hardware Store (installation view)
Between 1935 and 1939, the Federal Art Project emptied Abbott to make a series of photographs entitled Changing New York, documenting the rapid development and urban transformation of the city. This picture shows the facade of a downtown hardware store, its wares arranged in a densely-packed window display with extend onto the pavement.
Walker Evans (American, 1903-75)
Photographs of African masks, from an exhibition entitled African Negro Art at the Museum of Modern Art, New York (installation view)
In 1935, the Museum of Modern Art commissioned Evans to photograph objects in its major exhibition of African art. Using his 8 x 10 inch view camera, he highlighted the artistry and detail of the objects, alternating between front, side and rear views. In total, Evans produced 477 images, and 17 complete sets of them were printed. Several of these sets were donated to colleges and libraries in America, and the V&A bought one set in 1936 to better represent African art in its collection.
The term 'negro' is given here in its original historical context.
Photograph of African mask, from an exhibition entitled African Negro Art at the Museum of Modern Art, New York (installation view)
Bill Brandt (British, 1904-1983)
Dubuffet's Right Eye
Alberto Giacometti's Left Eye
Louise Nevelson's Eye
Max Ernst's Left Eye (installation view)
Bill Brandt (British, 1904-83)
Dubuffet's Right Eye (installation view)
German-born Brandt moved to London in the 1930s. In his long and varied career, he made many compelling portraits of people including Ezra Pound, Dylan Thomas, the Sitwell family, Robert Graves and E.M. Forster. For this series he photographed the eyes of well-known artists over several years, creating a substantial collection of intense and unique portraits. The pictures play upon ideas of artistic vision and the camera lens, which acts as a photographer's 'mechanical eye'.
Josef Sudek (Czech, 1896-1976)
Simple Still Life, Egg (installation view)
Throughout his career, Sudek used various photographic styles but always conveyed an intensely lyrical vision of the world. Here, his formal approach to a simple still life presents a poetic statement, and evokes an atmosphere of contemplation. Sudek's motto and advice to his students – 'hurry slowly' – encapsulates his legendary patience and the sense of meditative stillness in his photographs.
Otto Steiner (German, 1915-1978)
Luminogram (installation view)
Mark Cohen (American, b. 1943)
True Color (installation views)
Portfolio of thirty dye transfer prints, printed in 2007
American Friends of the V&A through the generosity of The Michael G. and C. Jane Wilson 2007 Trust
Known for his dynamic street photography, Cohen's work presents a fragmented, sensory image of his hometown of Wiles-Barre, Pennsylvania. This set of pictures was taken at a time when colour photography was just beginning to be recognised as a fine art. Until the 1970s, colour had largely been associated with other advertising or family snapshots, and was not thought of as a legitimate medium for artists. Cohen and other photographers like William Eggleston transferred this perception using the dye-transfer printing process. Although complicated and time-consuming, the technique results in vibrant and high quality colour prints.
True Color (installation view detail)
Graham Smith (British, b. 1947)
What she wanted & who she got (installation view)
Since the 1980s, Graham Smith has been photographing his hometown of South Bank near Middlesbrough. His images convey his deep sensitivity towards the effects of changing working conditions on the former industrial north-east. In this photograph, despite the suggested humour of the title, we are left wondering who the couple are and what the nature of their relationship might be.
Jan Kempenaers (Belgian, b. 1968)
Spomenik #3
The Kosmaj monument in Serbia is dedicated to soldiers of the Kosmaj Partisan detachment from World War II.
This monument, authored by sculptor Miodrag Živković, commemorates the Battle of Sutjeska, one of the bloodiest battles of World War II in the former Yugoslavia.
Kempenaers toured the balkans photographing 'Spomeniks' – monuments built in former Yugoslavia in the 1960s and '70s on the sites of Second World War battles and concentration camps. Some have been vandalised in outpourings of anger against the former regime, while others are well maintained. In Kempenaers' photographs, the monuments appear otherworldly, as if dropped from outer space into a pristine landscape.
SW7 2RL
Daily 10.00 – 17.30
V&A website
V&A Photography Centre website
Exhibition: 'Flatlands: photography and everyday space' at the Art Gallery of New South Wales (AGNSW), Sydney
Categories: American, american photographers, Australian artist, black and white photography, colour photography, digital photography, documentary photography, exhibition, existence, gallery website, landscape, light, memory, photographic series, photography, psychological, quotation, reality, space, surrealism and time
Tags: A long time between drinks, AGNSW, american photographer, American photography, Art Gallery of New South Wales, Australian artist, Australian photographer, Australian photography, Christine Godden, Daido Moriyama, David Moore, David Moore Light pattern camera in motion, David Stephenson, David Stephenson Domes, David Stephenson Sant'ivo alla Sapienza 1645-50 Rome, definitions of space, emotion memory and desire, environments, everyday space, Fiona Hall, Fiona Hall Leura, Flatlands, Flatlands: photography and everyday space, Franz Roh, Frederick Evans, Geoff Kleem, German cultural theorist Walter Benjamin, Harold Cazneaux, Ingeborg Tyssen, Josef Sudek, Justine Varga, Leonie Reisberg, Light pattern camera in motion, Melvin Vaniman, minor white, Minor White Windowsill daydreaming, Modernist Photography, natural and artificial, Olive Cotton, Olive Cotton Skeleton Leaf, optical unconscious, optical unconscious of reality, Pat Brassington, photography and everyday space, photography fragments, photography's monocular vision, public and private, real and dreamed, Robert Rauschenberg, sacred and profane, Sant'ivo alla Sapienza 1645-50 Rome, Simryn Gill, Simryn Gill A long time between drinks, Skeleton Leaf, space, the perception of the individual, Walter Benjamin, Walter Benjamin optical unconscious, William Buckle, Windowsill daydreaming
Exhibition dates: 13th September 2012 – 3rd February 2013
David Moore (Australia, 1927-2003)
Light pattern, camera in motion
c. 1948, printed 1997
Gift of Karen, Lisa, Michael and Matthew Moore, 2004
This posting contains one of my favourite early works by Fiona Hall, Leura, New South Wales (1974, below) which is redolent of all the themes that would be expressed in the later work – an alien landscape that examines "the relationship between humankind and nature and the symbolic role of the [fecund] garden in western iconography." In her work the "nature" of things (plants, money, videotape, plumbing fittings, birds nests, etc…) are re/classified, re/ordered and re/labelled.
Another stunning photograph in this posting is Minor White's Windowsill daydreaming (1958, below). It is one of my favourite images of all time: because of the power of observation (to be able to recognise, capture and present such a manifestation!); because of the images formal beauty; and because of its metaphysical nature – a poetry full of esoteric allusions, one that addresses a very profound subject matter that is usually beyond ordinary knowledge or understanding. This alien presence, like the structure of an atom, is something that lives beyond the edges of our consciousness, some presence that hovers there, that we can feel and know yet can never see. Is it our shadow, our anima or animus? This is one of those rare photographs that will always haunt me.
Many thankx to the Art Gallery of New South Wales for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. All text accompanying photographs © Art Gallery of New South Wales Photography Collection Handbook, 2007.
Cecil Bostock (Australia, 1884-1939)
Gift of Max Dupain 1980
Bostock remains an enigmatic personality in Australian pictorial and early modernist photography. This is at least in part due to his body of work being scattered on his death in 1939 as it was auctioned to cover his debts. Fortunately Phenomena was left to his former assistant Max Dupain who had worked with him from 1930 to 1933.
Phenomena was one of 11 photographs Bostock exhibited with the Contemporary Camera Groupe and it was placed in the window at David Jones along with other photographs such as Plum blossom 1937 by Olive Cotton and Mechanisation of art by Laurence Le Guay. Phenomena is a wonderful modernist work with its plays of light and dark and disorienting shapes and curving lines. It is impossible to tell exactly how the shapes are made or where the light is coming from, nor what the objects are. It could easily be exhibited upside down where the viewer could be looking down on objects arranged on a flat surface. Phenomena is a tribute to Bostock's restless, inventive and exacting abilities.
Fiona Hall (Australia, b. 1953)
Leura, New South Wales
© Fiona Hall
The rich tones and fine detail of Leura, New South Wales were made possible by Hall's use of a large-format nineteenth-century view camera. The antiquated technology, once used by colonial photographers to document nature and the taming of the Australian landscape, here records instead the verdant foliage of a floral-patterned couch and carpet. Made at the beginning of Hall's career, it demonstrates her burgeoning interest in the representation of nature. The relationship between humankind and nature and the symbolic role of the garden in western iconography has since been a recurrent theme in her work, which ranges across photography, sculpture and installation. Leura… differs from Hall's other photographs in that it documents a "found" object. Hall's later works, such as The Antipodean suite 1981 and her large-format polaroids of 1985, are of her own constructions and sculptures. Her Paradisus terrestris series 1989-1990, 1996, 1999, of aluminium repousse sculptures takes the garden of Eden as its subject and treats it as an Enlightenment florilegium, wherein nature is classified, ordered and labelled. This kind of botanical transcription, like photography, was the process through which the alien Australian landscape was 'naturalised' by its colonists – a process which Hall wryly comments on in this acutely observed encounter within a domestic interior.
Simryn Gill (Singapore/Malaysia/Australia, b. 1959)
From A long time between drinks
Portfolio of 13 offset prints
© Simryn Gill
Among Simryn Gill's multi-disciplinary explorations of identity and belonging, investigations of suburban locations carry a particular resonance due to their often autobiographical nature. A long time between drinks 2009 is an intensely focused look at suburban Adelaide which was the artist's first experience of Australia when she arrived in 1987 from Kuala Lumpur, and the city where she first exhibited. Gill returned to Adelaide in 2005 to revisit this early point of contact, producing an evocative series of 13 images.
The photographs impart an ostensible sense of alienation and isolation that corresponds to the artist's position as an outsider looking in. Gill's viewpoint of these empty streets that seem to lead nowhere is forensic and detached. But surprisingly, as repetitious compositions and details culminate across the photographs, the prosaic subject matter becomes increasingly surreal, abstract and even poetic.
As Sambrani Chaitanya has stated, "Gill's work is an investigation of the limits of categorisation,"1 and this group of works, just as in Gill's examination of Marrickville (where she now lives) in May 2006, emphasises the difficulty of defining an idea of place through mere description. Memory, time and pure invention are required to fill in the gaps. The eerie, yet evocative environment in these photographic prints is further enhanced by their presentation in a square box emulating those of sets of vinyl LP recordings.
1. Sambrani, C. "Other realties, someone else's fictions: the tangled art of Simryn Gill," [Online], Art and Australia Vol. 42, No. 2, Summer 2004, p. 220.
David Stephenson (USA/Australia, b. 1955)
Sant'ivo alla Sapienza 1645-50 Rome, Italy
From the series Domes 1993-2005
Type C photograph
Art Gallery of New South Wales, Sydney purchased with funds provided by Joanna Capon and the Photography Collection Benefactors Program 2002
© David Stephenson
With poetic symmetry the Domes series considers analogous ideas. It is a body of work which has been ongoing since 1993 and now numbers several hundred images of domes in countries including Italy, Spain, Portugal, Turkey, England, Germany and Russia. The typological character of the series reveals the shifting history in architectural design, geometry and space across cultures and time, demonstrating how humankind has continually sought meaning by building ornate structures which reference a sacred realm.2 Stephenson photographs the oculus – the eye in the centre of each cupola. Regardless of religion, time or place, this entry to the heavens – each with unique architectural and decorative surround – is presented as an immaculate and enduring image. Placed together, the photographs impart the infinite variations of a single obsession, while also charting the passage of history, and time immemorial.
2. Hammond, V. 2005, "The dome in European architecture," in Stephenson, D. 2005, Visions of heaven: the dome in European architecture, Princeton Architectural Press, New York p. 190.
A new exhibition, Flatlands: photography and everyday space, examines photography's role in transforming the way we perceive, organise and imagine the world. The 39 works by 23 Australian and international artists included in the exhibition have been drawn from the Gallery's permanent collection of 20th century and contemporary photography.
Definitions of space have always depended on the scientific, social and cultural aspects of the human experience. At its birth in the 19th century, photography's monocular vision was seen as the ultimate tool for representation and classification. Elusive phenomena such as distance, depth and emptiness seemed within grasp. Yet, limited to freezing single moments or viewpoints in time, the photograph's ability to objectively represent the world was under question by the turn of the 20th century. Technological advancements, such as faster exposure times transformed the potential of the medium to not only show things that escaped the eye but new ways of seeing them as well.
Embracing partiality and ambivalence, modernist photography sought to capture the fragments, details and blurred boundaries in the expanses we call personal space. What the photograph began to reveal were dimensions which German cultural theorist Walter Benjamin described in 1931 as the 'optical unconscious' of reality. The works of photographers such as Melvin Vaniman, Frederick Evans, Harold Cazneaux, William Buckle, Franz Roh, Olive Cotton, David Moore, Josef Sudek, Minor White and Robert Rauschenberg explore the intangible in spaces which define our physical and spiritual relationship with reality. Windows, doorways, ceilings, staircases – these mundane and ordinary passageways suddenly acquire a centrality and metaphysical depth normally denied to them.
The edges between sacred and profane, public and private, natural and artificial, real and dreamed environments became further entangled in the subjective visions of late 20th century and contemporary photographic work. For Daido Moriyama, Fiona Hall, Pat Brassington, Simryn Gill, Christine Godden, Geoff Kleem, Leonie Reisberg, Ingeborg Tyssen, David Stephenson and Justine Varga, space is seen to be a product of the perception of the individual. Photographs are able to reveal realms outside of the scientific – that is those created by emotion, memory and desire.
As Fiona Hall commented in 1996, "our belief might be maintained, for at least as long as the image can hold our attention, in the possibility of inhabiting a world as illusory as the two-dimensional one of the photograph." Collectively, these images destabilise naturalised certainties while activating the imaginary dimension and the unsettling, albeit poetic potential of photography to impact and alter our view of the world.
Press release from the AGNSW website
Olive Cotton (Australia, 1911-2003)
By my window
Skeleton Leaf
Art Gallery of New South Wales, Sydney purchased with funds provided by the Photography Collection Benefactors' Program 2006
© artist's estate
Minor White (America, 1908-1976)
Christmas ornament, Batavia, New York, January 1958
From the portfolio Sound of one hand 1960-1965
Gelatin silver photograph mounted on card
Gift of Patsy Asch 2005
Reproduction with permission of the Minor White Archive
© Princeton University Art Museum
Windowsill daydreaming
Rochester, New York, July 1958
© Princeton University Museum of Art
Informed by the esoteric arts, eastern religion and philosophy, Minor White's belief in the spiritual qualities of photography made him an intensely personal and enigmatic teacher, editor and curator. White's initial experience with photography was through his botanical studies at the University of Minnesota where he learned to develop and print photomicrography images, a view of life that he saw as akin to modern art forms. White advocated Stieglitz's concept of 'Equivalence' in which form directly communicated mood and meaning, that 'darkness and light, objects and spaces, carry spiritual as well as material meanings'.1 White disseminated his photographic theories through the influential quarterly journal Aperture, which he edited and co-founded with his contemporaries Ansel Adams, Dorothea Lange, Beaumont Newhall and others.
Like Stieglitz, White also worked in sequences that through abstraction, expression and metaphor emphasised his mystical interpretation of the visual world. The sequences allow for a dialogue to continue through and in-between the images, engaging the viewer in a visual poem rather than any strict or formal narrative. The series, Sound of one hand, exemplifies White's study of Zen and esoteric philosophies, reflecting his meditation of the Zen koan from which he saw rather than heard any sound. The first of the series, Metal ornament, Pultneyville, New York, October 1957 presents an abstracted form that is both sensual and elusive, slipping in and out of ocular register. The ambiguous graduated tones and reflected light pull the eye into the centre of the image before vicariously dragging it back. This broken semi-elliptical shape is mirrored in Windowsill daydreaming, Rochester, New York, July 1958 as the gently moving curtains play with the light and shadows of White's flat, creating abstracted organic forms. Abstracted forms of nature were of great interest to White as can be seen in the rest of the series that capture the frosted window of his flat with its crystallised ice, condensation and glimpses of the outside world.
1. Rice, S. 1998, "Beyond reality," in Frizot, M. (ed.,). A new history of photography, Könemann, Cologne pp. 669-673.
Art Gallery of New South Wales
Art Gallery Road, The Domain
Open every day 10am – 5pm
except Christmas Day and Good Friday
Art Gallery of New South Wales website
Exhibition: 'TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945' at George Eastman House, New York
Categories: American, american photographers, beauty, black and white photography, documentary photography, Edward Steichen, exhibition, existence, gallery website, intimacy, light, memory, New York, photographic series, photography, pictorialism, portrait, reality, space, time and works on paper
Tags: "Lily" Brayton, Actress Elizabeth 'Lily' Brayton, alfred steiglitz, Alfred Steiglitz Snapshot - In the New York Central Yards, Alfred Stieglitz, Alfred Stieglitz Spring Showers, Alvin Coburn The Tunnel Builders, alvin langdon coburn, Alvin Langdon Coburn Fifth Avenue from the St. Regis, Alvin Langdon Coburn St. Paul's and Other Spires, Alvin Langdon Coburn The Tunnel Builders, Alvin Langdon Coburn Wapping, american photographer, Anne Brigman, Anne Brigman The Heart of the Storm, Anne Brigman The Pine Sprite, architectural photographer, Australasian Photo-Review, Australian fine art photography, Australian landscape, Australian landscape photography, Australian photographer, Australian Photographic Journal, Australian photography, Australian Pictorial Photography – Seeing The Light, Australian Pictorialism, Australian Pictorialist photography, Australian Pictorialists, Émile Joachim Constant Puyo, black and white photography, British Pictorialism, Camera work, Cecil W. Bostock, Cecil W. Bostock Nude Study, early American photography, early photographic processes, Ebony and Ivory, Edward Steichen, Edward Steichen Grand Prix at Longchamp, Edward Steichen The Pond - Moonlight, eva watson schutze, Eva Watson Schutze Woman with Lilly, Eva Watson Schutze Young girl seated on bench, Eva Watson-Schütz, Eva Watson-Schütz Woman with Lilly, exhibition, F. Holland Day, F. Holland Day Ebony and Ivory, Fifth Avenue from the St. Regis, fine art photography, Frederick Evans, Frederick Evans Kelmscott Manor Attics, Frederick Evans York Minster: In Sure and Certain Hope, Fredrick Holland Day, Fredrick Holland Day I Thirst, French Pictorial movement, Gael Newton, Gael Newton Australian Pictorial Photography – Seeing The Light, gallery website, George Davison The Onion Field, george eastman house, Getrude Käsebier, Getrude Käsebier Woman seated under a tree, Grand Prix at Longchamp, Grass at sundown, gum bichromate, Harold Cazneaux, Harold Cazneaux Slag Dump Newcastle, Harold Cazneaux The Orphan Sisters, Harrington's Photographic Journal, Henry Peach Robinson, Henry Peach Robinson Carolling, I Thirst, In the New York Central Yards, Jack Cato, Jack Cato Snorky, Jack Cato The Story of the Camera in Australia, John Eaton, John Eaton Wet Day in Melbourne, John Kauffmann, John Kauffmann The Silent Watcher, John Kauffmann Waterlily, John Kauffmann Waterlily Nymphaea Alba, Julia Margaret Cameron, Julia Margaret Cameron Prayer, Kelmscott Manor, Kelmscott Manor: Attics, London Salon of Photography, May and Mina Moore, May and Mina Moore Actress Elizabeth 'Lily' Brayton, May and Mina Moore Portrait of an Actress, Melbourne Camera Club, New York, Nude study, Olive Cotton, Olive Cotton Grass at sundown, Peter Henry Emerson, Peter Henry Emerson Polling the Marsh Hay, Photo-Secession, photography, photogravure, pictorialism, Pictorialism and the Photograph as Art, Pictorialist photography, Pictorialists of today, platinum paper, Polling the Marsh Hay, Portrait of an actress, printmaking stage of the photographic process, robert demachy, Robert Demachy Une Balleteuse, Slag Dump Newcastle, Snapshot - In the New York Central Yards, Snorky, Spring Showers, St. Paul's and Other Spires, Sydney Camera Circle, symbolist imagery, The Heart of the Storm, The Linked Ring, The Onion Field, The Orphan Sisters, The Pine Sprite, the Poet of the Australian landscape, The Pond - Moonlight, The Silent Watcher, The Story of the Camera in Australia, The Tunnel Builders, transition from Pictorialism to Modernism in Australia, TruthBeauty, TruthBeauty: Pictorialism and the Photograph as Art, Une Balleteuse, Waterlily Nymphaea Alba, Wet Day in Melbourne, Woman seated under a tree, Woman with Lilly, York Minster - In Sure and Certain Hope, Young girl seated on bench
Exhibition dates: 7th February 2009 – 31st May 2009
George Davison (English, 1854-1930)
The Onion Field
George Davison (19 September 1854 – 26 December 1930) was an English photographer, a proponent of impressionistic photography, a co-founder of the Linked Ring Brotherhood of British artists and a managing director of Kodak UK. He was also a millionaire, thanks to an early investment in Eastman Kodak.
Pictorialism was simultaneously a movement, a philosophy, an aesthetic, and a style, resulting in some of the most spectacular photographs in the history of the medium. This exhibition shows the rise of Pictorialism in the late 19th century from a desire to elevate photography to an art form equal to painting, drawing, and watercolour, and extends the historical period generally associated with it by including its influential precursors, its persistent practitioners, and its seminal effect on photographic Modernism.
With 130 masterworks from such well-known photographers as Alvin Langdon Coburn, Edward Steichen, Alfred Stieglitz, Robert Demachy, Frederick Evans, and F. Holland Day, this remarkable exhibition will illustrate the Pictorialism movement's progression from its early influences to its lasting impact on photography and art.
Text from the George Eastman House website
Many thankx to George Eastman House for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.
In this video, Phillips Collection curator Elsa Smithgall introduces special exhibition TruthBeauty: Pictorialism and the Photograph as Art, 1845-1945, on view at The Phillips Collection Oct. 9, 2010 through Jan. 9, 2011.
Julia Margaret Cameron (British born India, 1815-1879)
Peter Henry Emerson (British, 1856-1936)
Polling the Marsh Hay
Henry Peach Robinson (English, 1830-1901)
Carolling
"I Thirst"
Frederick Holland Day (American, 1864-1933)
Alfred Stieglitz (American, 1864-1946)
Spring Showers
Alfred Steiglitz (American, 1864-1946)
Snapshot – In the New York Central Yards
Negative 1903; Printed 1910
This photograph of a train departing from Grand Central Terminal was probably made from the 48th Street foot bridge, which crossed over the railroad yard.
The Pond – Moonlight
Negative 1904; print 1906
The Pond – Moonlight (also exhibited as The Pond – Moonrise) is a pictorialist photograph by Edward Steichen. The photograph was made in 1904 in Mamaroneck, New York, near the home of his friend art critic Charles Caffin. The photograph features a forest across a pond, with part of the moon appearing over the horizon in a gap in the trees. The Pond – Moonlight is an early photograph created by manually applying light-sensitive gums, giving the final print more than one colour. Only three known versions of The Pond – Moonlight are still in existence and, as a result of the hand-layering of the gums, each is unique.
Grand Prix at Longchamp, After the Races
Photographic Pictorialism, an international movement, a philosophy, and a style, developed toward the end of the 19th century. The introduction of the dry-plate process, in the late 1870s, and of the Kodak camera, in 1888, made taking photographs relatively easy, and photography became widely practiced. Pictorialist photographers set themselves apart from the ranks of new hobbyist photographers by demonstrating that photography was capable of far more than literal description of a subject. Through the efforts of Pictorialist organisations, publications, and exhibitions, photography came to be recognised as an art form, and the idea of the print as a carefully hand-crafted, unique object equal to a painting gained acceptance.
The forerunners of Pictorialism were early photographers like Henry Peach Robinson and Julia Margaret Cameron. Robinson found inspiration in genre painting; Cameron's fuzzy portraits and allegories were inspired by literature. Like Robinson and Cameron, the Pictorialists made photographs that were more like paintings and drawings than the work of commercial portraitists or hobbyists. Pictorialist images were heavily dependent on the craft of nuanced printing. Some photographers, like Frederick H. Evans, a master of the platinum print, presented their work like drawings or watercolours, decorating their mounts with ruled borders filled with watercolour wash, or printing on textured watercolour paper, like Austrian photographer Heinrich Kühn. Kühn achieved painterly effects by using an artist's brush to manipulate watercolour pigment, instead of silver or platinum, mixed with light-sensitised gum arabic.
The idea that the primary purpose of photography was personal expression lay behind Pictorialism's "Secessionist" movement. Alfred Stieglitz's "Photo-Secession" was the best-known secessionist group. Stieglitz and his magazine, Camera Work, with its high-quality photogravure illustrations, advocated for the acceptance of photography as a fine art.
Early in the 20th century, Pictorialism began losing ground to modernism: in 1911, Camera Work published drawings by Rodin and Picasso, and its final issue, in 1917, featured Paul Strand's modernist photographs. Nevertheless, Pictorialism lived on. A second wave of Pictorialists included Clarence H. White, whose students included such photographers as Margaret Bourke-White, Paul Outerbridge, and Dorothy Lange. White's colleague, Paul Anderson, continued the pictorial tradition until his death in 1956. Five prints of his Vine in Sunlight, 1944, display five different printing techniques, demonstrating how each process subtly shapes the viewer's response to the image.
Organised by George Eastman House International Museum of Photography and Film, and Vancouver Art Gallery.
Text from the Phillips Collection website Nd [Online] Cited 10/06/2022
Alvin Langdon Coburn (American-born British, 1882-1966)
Fifth Avenue from the St. Regis
Gum bichromate and platinotype on paper
Alvin Langdon Coburn (American, 1882-1966)
St. Paul's and Other Spires
The Tunnel Builders
Eva Watson Schutze (American, 1867-1935)
Woman with Lilly
Eva Watson-Schütze (American, 1867-1935)
Eva Watson-Schütze (1867-1935) was an American photographer and painter who was one of the founding members of the Photo-Secession. …
Around the 1890s Watson began to develop a passion for photography, and soon she decided to make it her career. Between 1894 and 1896 she shared a photographic studio with Amelia Van Buren another Academy alumna in Philadelphia, and the following year she opened her own portrait studio. She quickly became known for her Pictorialist style, and soon her studio was known as a gathering place for photographers who championed this aesthetic vision.
In 1897 she wrote to photographer Frances Benjamin Johnston about her belief in women's future in photography: "There will be a new era, and women will fly into photography."
In 1898 six of her photographs were chosen to be exhibited at the first Philadelphia Photographic Salon, where she exhibited under the name Eva Lawrence Watson. It was through this exhibition that she became acquainted with Alfred Stieglitz, who was one of the judges for the exhibit.
In 1899 she was elected as a member of the Photographic Society of Philadelphia. Photographer and critic Joseph Keiley praised the work she exhibited that year, saying she showed "delicate taste and artistic originality".
The following year she was a member of the jury for the Philadelphia Photographic Salon. A sign of her stature as a photographer at that time may be seen by looking at the other members of the jury, who were Alfred Stieglitz, Gertrude Kasebier, Frank Eugene and Clarence H. White.
In 1900 Johnston asked her to submit work for a groundbreaking exhibition of American women photographers in Paris. Watson objected at first, saying "It has been one of my special hobbies – and one I have been very emphatic about, not to have my work represented as 'women's work'. I want [my work] judged by only one standard irrespective of sex." Johnston persisted, however, and Watson had twelve prints – the largest number of any photographer – in the show that took place in 1901.
In 1901 she married Professor Martin Schütze, a German-born and -trained lawyer who had received his Ph.D. in German literature from the University of Pennsylvania in 1899. He took a teaching position in Chicago, where the couple soon moved.
That same year she was elected a member of The Linked Ring. She found the ability to correspond with some of the most progressive photographers of the day very invigorating, and she began to look for similar connections in the U.S.
In 1902 she suggested the idea of forming an association of independent and like-minded photographers to Alfred Stieglitz. They corresponded several times about this idea, and by the end of the year she joined Stieglitz as one of the founding members of the famous Photo-Secession.
About 1903 Watson-Schütze began to spend summers in Woodstock at the Byrdcliffe Colony in the Catskill Mountains of New York. She and her husband later bought land nearby and built a home they called "Hohenwiesen" (High Meadows) where she would spend most of her summer and autumn months from about 1910 until about 1925.
In 1905 Joseph Keiley wrote a lengthy article about her in Camera Work saying she was "one of the staunchest and sincerest upholders of the pictorial movement in America.
Young girl seated on bench
Anne Brigman (American, 1869-1960)
The Heart of the Storm
The Pine Sprite
Frederick Evans (British, 1853-1943)
York Minster: In Sure and Certain Hope
Frederick H. Evans (British, 1853-1943)
Frederick H. Evans (26 June 1853, London – 24 June 1943, London) was a British photographer, primarily of architectural subjects. He is best known for his images of English and French cathedrals. Evans began his career as a bookseller, but retired from that to become a full-time photographer in 1898, when he adopted the platinotype technique for his photography. Platinotype images, with extensive and subtle tonal range, non glossy-images, and better resistance to deterioration than other methods available at the time, suited Evans' subject matter. Almost as soon as he began, however, the cost of platinum – and consequently, the cost of platinum paper for his images – began to rise. Because of this cost, and because he was reluctant to adopt alternate methodologies, by 1915 Evans retired from photography altogether.
Evans' ideal of straightforward, "perfect" photographic rendering – unretouched or modified in any way – as an ideal was well-suited to the architectural foci of his work: the ancient, historic, ornate and often quite large cathedrals, cloisters and other buildings of the English and French countryside. This perfectionism, along with his tendency to exhibit and write about his work frequently, earned for him international respect and much imitation. He ultimately became regarded as perhaps the finest architectural photographer of his, or any, era – though some professionals privately felt that the Evans' philosophy favouring extremely literal images was restrictive of the creative expression rapidly becoming available within the growing technology of the photographic field.
Evans was also an able photographer of landscapes and portraits, and among the many notable friends and acquaintances he photographed was George Bernard Shaw, with whom he also often corresponded. Evans was a member of the Linked Ring photographic society.
Kelmscott Manor: Attics
Getrude Käsebier (American, 1852-1934)
Woman seated under a tree
The hauntingly beautiful works of the Pictorialist movement are among the most spectacular photographs ever created. Beginning in the late nineteenth century, Pictorialist artists sought to elevate photography – until then seen largely as a scientific tool for documentation – to an art form equal to painting. Adopting a soft-focus approach and utilizing dramatic effects of light, richly coloured tones and bold technical experimentation, they opened up a new world of vision expression in photography. More than a hundred years later, their aesthetic remains highly influential.
Truth Beauty contains 121 stunning works by the form's renowned artists, including Julia Margaret Cameron, Alvin Langdon Coburn, Robert Demachy, Peter Henry Emerson, Gertrude Käsebier, Heinrich Kühn, Edward Steichen and Alfred Stieglitz. Together, the collected works trace the evolution of Pictorialism over the three decades in which it predominated.
This is the only collection of Pictorialist photographs by artists from North America, the United Kingdom, continental Europe, Japan and Australia in a single publication. Scholarly essays, and a selection of historic texts by Pictoralist artists, complete this rich overview of the first truly international art movement.
Text from the Amazon website Nd [Online] Cited 10/06/2022
Robert Demachy (French, 1859-1936)
Une Balleteuse
Gum bichromate print
Demachy was, with Émile Joachim Constant Puyo, the leader of the French Pictorial movement in France. His aesthetic sophistication and skill with the gum bichromate technique, which he revived in 1894 and pressed into the service of fine art photography, were internationally renowned. With the gum medium, he was able to achieve the appearance of a drawing or printmaking process-in this photograph, he has added marks characteristic of etching during intermediate stages of development-in order to advocate photography's membership in the fine arts by revealing the intervention of the photographer's hand in the printmaking stage of the photographic process. The result attested to Demachy's mastery of his medium, but also proved his ability to unify a composition and select significant details from the myriad of facts available in his negatives. In this picture, Demachy has gently elided the background and erased the features of the left third of the image in order to emphasise the grace and delicacy of the ballet dancer that is its subject.
Text from the Metropolitan Museum of Art website
John Kauffmann (Australian, 1864-1942)
Waterlily, Nymphaea Alba
John Kauffmann was born in South Australia in 1865 and initially trained as an architect. In 1887 he travelled to Europe and became well connected to London's artistic set, including the young Frank Brangwyn RA. In London and later Vienna, Kauffmann painted and learnt to take and print photographs, exhibiting in various salons and working with a number of important studios. In Austria, he became an enthusiast of Pictorialist photography and pursued studies in photographic chemistry. He returned to Adelaide in 1897 and was championed as the pioneer of Pictorialism in Australia. By 1914, Kauffmann had moved to Melbourne and established his own studio in Collins Street. Kauffmann died in South Yarra, Melbourne in 1942.
Text from the Monash Gallery of Art website
The Silent Watcher
Plate in in John Kauffmann, The Art of John Kauffmann
Melbourne: Alexander McCubbin, 1919 tipped-in plate (halftone)
National Gallery of Australia Research Library, Canberra
Pictorialism in Australia was established when photographic journals, such as the Australian Photographic Journal (APJ), launched in 1892, and the Australasian Photo-Review (APR), begun in 1894, appeared.1
In addition to providing technical advice the magazines covered the controversies in Britain and other centres over the new art photography. Articles on poetic picture making by British artists Henry Peach Robinson and Alfred Horsley Hinton, whose names were often cited by Australian Pictorialist photographers as major influences, were also included.
These magazines featured work by both professional and amateur photographers, and their editors took pride in the artistic quality of their reproductions; they also encouraged and supported the growth of new societies devoted to art photography.
The Photographic Society of New South Wales was duly established in Sydney in 1894, joining the older South Australian Photographic Society in Adelaide at the forefront of Pictorialism. The next decades saw a remarkable level of activity in the growing Pictorialist circles. …
In the years leading up to the war there was growing sentiment that Australian photographers were overly reliant on British models and had failed to advance the art of pictorial photography within an Australian context. A number of the more prominent Australian photographers and art commentators were also increasingly vocal about what they felt to be a decline in the quality of artistic practice despite the feverish activity of exhibitions and proliferation of camera clubs.
In 1916 a group of artists including Cazneaux, Cecil W. Bostock, a graphic artist who had recently set up a photography studio in Sydney, and James Stening formed the Sydney Camera Circle. They signed a pledge "to advance pictorial photography and to show our own Australia in terms of sunlight rather than those of greyness and dismal shadows."10 …
Although it had largely waned in Europe and the United States by then, Pictorialism continued in Australia during the 1920s and 1930s. There was a new generation of artists showing their work alongside that of their more established colleagues in two large Pictorialist salons held in Sydney in 1924 and 1926 accompanied by catalogues called Cameragraphs (designed by Bostock). Perhaps because of the Depression, these salons did not continue.
Beginning in the 1920s Pictorialist and Modernist photography existed side by side with the professional photographers bridging both movements. Pictorialist photography would remain popular, particularly with the amateur members of the camera clubs up to the 1940s, ironically becoming increasingly conservative and backward looking in subject and execution.
However, the ascendancy of Modernist photography was now evident, even in the work of Cazneaux and Bostock, who would become active in the 1920s in commercial spheres.
Extract from Gael Newton. "Australian Pictorial Photography – Seeing The Light," in TruthBeauty – Pictorialism and the Photograph as Art, 1845-1945. Essay originally published in the 2008 catalogue for the Vancouver Art Gallery exhibition [Online] Cited 12/06/2022
Cecil W. Bostock (Australian born England, 1884-1939)
Nude Study
Cecil Westmoreland Bostock (1884-1939) was born in England. He emigrated to New South Wales, Australia, with his parents in 1888. His father, George Bostock, was a bookbinder who died a few years later in 1892.
Bostock had an important influence on the development of photography in Australia, initiating a response to the strong sunlight. He presided over the transition from Pictorialism to Modernism and was a mentor to several famous Australian photographers: notably Harold Cazneaux and Max Dupain.
The Sydney Camera Circle
On 28 November 1916, a group of six photographers met at Bostock's 'Little Studio in Phillip Street' to form the Pictorialist "Sydney Camera Circle". This initially included Cecil Bostock, James Stening, W. S. White, Malcolm McKinnon and James Paton, and they were later joined by Henri Mallard.
A "manifesto" was drawn up by Cecil and signed by all six attendees who pledged "to work and to advance pictorial photography and to show our own Australia in terms of sunlight rather than those of greyness and dismal shadows". This established what was known as the 'sunshine school' of photography. The style of Pictorialism practiced by Australians was "concerned with the play of light, sunshine and shadow, and the attention to nature and the landscape, and had an affinity with the Heidelberg School of painters."
Jack Cato (Australian, 1889-1971)
Jack Cato (1889-1971) was born in Tasmania and was introduced to photography by his cousin, renowned photographer John Watt Beattie. Cato trained and worked as a photographer in Launceston from 1901 to 1906 before establishing his own business in Hobart. He travelled to Europe in 1908 and worked in London as a theatre and society photographer from 1909 to 1914. He then spent six years photographing in South Africa. Cato received a fellowship at the Royal Photographic Society in 1917. He returned to Tasmania in 1920 and re-opened his portrait studio in Hobart. He moved his studio to Melbourne in 1927 and became known as a leader in Australian photography. Cato is particularly known for his pictorial portraits.
Olive Cotton (Australia 1911-2003) worked at Max Dupain's Bond Street studio from 1934 to 1940. During this time she produced some of her best-known photographs. Her subjects ranged from nature to the built environment as well as still-life and portraiture. Cotton's often geometric compositions reflect the modernist photographic styles of the time and illustrate her interest in light and shadow. She was included in the London Salon of Photography in 1935 and 1937, and in 1942 returned to the Bond Street studio as manager. She stayed until 1945 before moving to Koorawatha in country New South Wales where she raised her family. From 1964 to 1980, Cotton ran a small photographic studio in Cowra, New South Wales.
John B. Eaton (Australian born England, 1881-1966)
Wet Day in Melbourne
John Eaton (b. 1881 England, arrived 1888 Australia, d. 1966) is the most prolific Pictorialist photographer to be based in Melbourne during the early twentieth century. He worked in his father's picture framing business from a young age and expanded the family business to include fine art prints as his amateur interest in photography developed. He began exhibiting his work in 1917 and was frequently commended for his contributions to international photography exhibitions throughout his life. Eaton is most well-known for his 'portraits' of gum trees and his appreciation of the bucolic Victorian countryside.
John Bertram Eaton was born in England and migrated to Australia with his family eight years later. His father ran a small gallery and framing shop in Melbourne, where Eaton began work. In the early 1920s his photographs were included in local and international exhibitions and in 1921 he joined the Victorian Pictorial Workers Society. Four years later he held a solo exhibition of 124 photographs, nearly all of them landscapes. At this time Cazneaux called him 'a fairly new man amongst the Pictorialists of today'.1 He became a foundation member of the Melbourne Camera Club and remained a prolific exhibitor into the late 1940s.
Jack Cato called Eaton 'the Poet of the Australian landscape'.2 Among his contemporaries he was considered one of the most gifted interpreters of the landscape. When this photograph was exhibited at the Victorian Salon in 1936, the reviewer claimed that it already was a 'picture too well known to need description'.3 Eaton's reputation as an interpreter of the Australian landscape extended overseas, with one English reviewer noting, 'when it comes to Australian landscape, we in England regard John B Eaton as its interpreter'.4 Like the painter Elioth Gruner, Eaton frequently depicts wide, expansive landscapes, denuded of trees, with low receding hills in the distance. He was very skilled at rendering atmosphere and it was probably his aerial, rather than linear, perspective – that sense of distance given by atmosphere which seems to veil and lighten certain parts of the landscape – which appealed so strongly to his admirers here and overseas.
1. Cazneaux, H. 1925, 'Review of the pictures', in Harrington's Photographic Journal, 1 Apr p. 20
2. Cato, J. 1955, The story of the camera in Australia, Georgian House, Melbourne p. 156
3. Baillot, L. A. 1936, 'The sixth international exhibition of the Victorian Salon of Photography', in Australasian Photo-Review, 1 May p. 226
4. Dudley, Johnston J. 1936, 'London news and doings', in Australasian Photo-Review, 2 Nov p 541
© Art Gallery of New South Wales Photography Collection Handbook, 2007 [Online] Cited 11/06/2022
Harold Cazneaux (Australian born New Zealand, 1878-1953)
Slag Dump, Newcastle (NSW)
Harold Cazneaux (b. New Zealand 1878; a. Australia 1889; d. 1953) was a key figure of the Pictorialist movement in Australia. His career began in photographic studios, first in Adelaide, then Sydney. In Sydney, Cazneaux exhibited in local photographic competitions and held his first solo exhibition in 1909. His photographs, which were mostly portraits, city views and landscapes, show his interest in natural light and reflect his belief that photography should be used as a form of artistic expression. He was a founding member of the Sydney Camera Circle and through his photography, writing and teaching made a significant contribution to Australian photography in the early twentieth century.
The Orphan Sisters
May Moore (New Zealand, 1881-1931) and Mina Moore (New Zealand, 1882-1957)
Portrait of an Actress ("Lily" Brayton)
May and Mina Moore were New Zealand-born photographers who made careers as professional photographers, first in Wellington, New Zealand, and later in Sydney and Melbourne, Australia. They are known for their Rembrandt-style portrait photography, and their subjects included famous artists, musicians, and writers of the era. …
After only a few years, the sisters moved their business to Australia, running separate studios in Sydney (1910-1928) and Melbourne (1913-1918). May in Sydney continued to focus on studio portraits, while Mina in Melbourne moved into theatrical photography and portraits of interview subjects. Nonetheless, they continued to often cosign the work produced by their respective studios. Their photographs were frequently published in magazines such as Home and Triad.
Their styles were very consistent, and they used dramatic lighting to get the effect of making the subject's face the centre of attention.
May in Sydney
In 1910, May took a holiday trip to Australia that resulted in her opening a new studio in Sydney. One of May's notable images from the Sydney period was a portrait of cartoonist Livingston Hopkins.
May began writing articles for the Austral-Briton in 1916. In articles like "Photography for Women", she encouraged more women to take up the medium. Her advocacy extended to her own business, where she mostly employed women. One exception to this rule was her husband, Henry Hammon Wilkes, a dentist whom she married on 13 July 1915 and who gave up his dental practice to help his wife with her photography business.
May was a member of the Lyceum Club, the Musical Association of New South Wales, the Society of Women Painters (Sydney), and the Professional Photographers' Association of Australia.
Around 1928, May was forced into retirement by illness and turned her creative energies to painting landscapes. She died of cancer in her Pittwater home on 10 June 1931; her remains are at the Manly Cemetery. Six months after her death the Lyceum Club mounted a memorial exhibition of her work.
Mina in Melbourne
In 1913, Mina joined May in Australia, setting up shop in the Auditorium Building on Collins Street in downtown Melbourne and specialising in theatrical photography. Mina also formed an alliance with a freelance journalist, agreeing to photograph whomever the journalist planned to interview. These images were typically taken during the interview itself, affording a better opportunity to capture a subject's natural expressions.
Mina married William Alexander Tainsh on 20 December 1916. When their daughter was born in 1918, Mina retired from professional photography. Her Auditorium Building studio was taken over by photographer Ruth Hollick. She came out of retirement briefly in 1927, when Shell commissioned her to do a series of portraits. At that point she was working out of a home darkroom and caring for an expanded family, so after the Shell series she decided against restarting her photography business.
Mina died in Croydon, Victoria on 30 January 1957. Her remains were cremated.
Elizabeth "Lily" Brayton (23 June 1876 – 30 April 1953) was an English actress and singer, known for her performances in Shakespeare plays and for her nearly 2,000 performances in the First World War hit musical Chu Chin Chow.
Mina and May Moore's Actress Elizabeth 'Lily' Brayton [Mrs Oscar Asche]
Sisters Annie May (May) and Minnie Louise (Mina) Moore ran photographic studios, first in Wellington and then in Sydney and Melbourne. Their work was most often jointly stamped 'May and Mina Moore' and was remarkably consistent. They portrayed their subjects in head and shoulder shots, focusing attention exclusively on the face through the use of dramatic lighting and dark backgrounds.
From the 1880s until well after the turn of the century, women in photography were more commonly employed as retouchers and hand-colourists. The number of women running photographic studios, however, increased noticeably around 1910. This was an era in which the graceful and distant Edwardian 'ladies' shown in so many paintings of the late 19th and early 20th century were being replaced by the jazz age flappers and mass media celebrities. The Moore sisters were themselves typical 'modern women' of the 1910s-1930s in seeking their independence and social mobility through new types of careers in photography. They both mixed in artistic circles and May, in particular, was interested in the theatre. Their success surprised the critics even as late as the 1930s, when the Australian Worker in 1931 stated about May: 'practically every artist, musician, critic, journalist, story-writer and poet of local celebrity was at some time or other a subject for her camera.'1
It is not clear which sister made this striking close-up of a stylish young woman (who may have been an actress or entertainer as the image was registered for copyright). She is shown in the recognisable Moore style but with particular verve as she stares straight into the camera, head slightly lowered in the femme fatale guise made popular in celebrity portraits and stills for the silent movies. Through the mass circulation of celebrity images everyone could have their favourite star for their wall.
Anne O'Hehir
The Australian Worker, 24 June 1931, p. 1.
Text © National Gallery of Australia, Canberra 2010
From: Anne Gray (ed), Australian art in the National Gallery of Australia, National Gallery of Australia, Canberra, 2002
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Q: PHP MYSQL finding row number/rank from table with order by clause This has been doing my head in for hours now. It seems so simple but i just cant find the answers.
Basically I have a MYSQL table of the following example data, NOTE there are other columns but are not necessary for this question.

id | x  | y
1  | 50 | 3
2  | 40 | 1
3  | 50 | 0
4  | 50 | 1
5  | 40 | 2

I want to order the table by x DESC and secondly y DESC. So I have this:

SELECT id, x, y FROM table_name ORDER BY x DESC, y DESC

Hopefully resulting in this:

id | x  | y
1  | 50 | 3
4  | 50 | 1
3  | 50 | 0
5  | 40 | 2
2  | 40 | 1

Then given a specific id stored in a variable, I want to be able to find what row number its found in given the query. ie Find where it is ranked amongst the other rows.
I know there is a RANK and DENSE_RANK, if I need to use either I need RANK. But if using that's not the best solution, or how to use RANK please help.

For the above data if my id variable $id = 4, it's rank would be 2 as it is sorted second.
And i need this value returned as a variable. Thanks

A: MySQL does not support window/analytic functions.  You can emulate it using variables or complicated subqueries.  In your case, I think this is what you want:
SELECT id, x, y, (@rn := @rn + 1) as rank
FROM table_name cross join
     (select @rn := 0) const
ORDER BY x DESC, y DESC;

EDIT:
If you just want the result for a given value, you can count the number of rows using an aggregation query:
select count(*)
from table_name t cross join
     (select t.*
      from table_name
      where id = $id
     ) id
where t.x > id.x or (t.x = id.x and t.y >= id.y)

EDIT II:
To use the first query to get a single id, put it in a subquery:
select *
from (SELECT id, x, y, (@rn := @rn + 1) as rank
      FROM table_name cross join
           (select @rn := 0) const
      ORDER BY x DESC, y DESC
     ) t
where id = $id;

A: A simple count should do the trick:
SELECT count(1)+1 FROM table_name WHERE x < ? or (x = ? and y > ?)

Where the question marks should be filled with the value of the column x of the row with id = $id. The +1 is because it counts the rows above the record, meaning that the rank = count+1.

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Thursday in Washington
Posted on Thursday, April 4th, 2013 at 3:18 am.
Written by Michael Zehr
Thursday in Washington:
Recess Is Almost Over:
With Congress still in recess, speculation continues to build over the impact the President's budget plan will have on the appropriations process and ongoing efforts to address elements of the sequestration and other pressing fiscal matters facing the Congress.
A number of new hearings have been announced focused on energy policy issues. The House will be holding a hearing next week on legislation intended to expedite approval and construction of the Keystone XL pipeline while the Senate Energy and Natural Resources Committee announced a series of forums exploring the opportunities and challenges associated with natural gas production from shale. The House Natural Resources Committee may also be planning to hold a field hearing in SC in May on potential expansion of offshore energy production.
When the House returns to session next week, it could take up H.R. 678, which would allow hydropower development on every federal Bureau of Reclamation canal, pipeline and similar conduit in the country. The bureau identified 373 sites where hydropower could be developed and potentially generate more than 365 million kilowatt hours of energy. The House is also expected to take up H.R. 1120, which would prevent NLRB from conducting business requiring a quorum until a dispute over three recess appointments is resolved.
Other Items of Interest:
Energy Producing States Coalition Accuses DOI of "Theft" of Mineral Royalty Payments
The Energy Producing States Coalition (http://energystates.org) released a statement condemning the Department of Interior's plan to withhold $109 million in mineral royalty payments to the states. The group, which is composed of legislators from Alaska, Colorado, Mississippi, North Dakota, Ohio, Oklahoma, Texas, Utah, Wisconsin and Wyoming, is urging Congressional action to restore the funding. They also contacted the Members of the US Senate Energy and Natural Resources Committee to express their concerns. The statement and a copy of the letter sent to the Committee can be viewed here: http://energystates.org/.
House Committee to Hold Legislative Hearing on Keystone XL
On April 10th, the U.S. House Energy and Commerce Subcommittee on Energy and Power will hold a legislative hearing on H.R. 3, the Northern Route Approval Act. Rep. Lee Terry (R-NE) authored H.R. 3 to clear away all remaining roadblocks preventing construction of the Keystone XL pipeline. This bill would eliminate the need for a Presidential Permit, address all other necessary federal permits, and limit litigation that could hinder the project. Additional information about the hearing can be reviewed here: http://energycommerce.house.gov/press-release/subcommittee-hold-hearing-keystone-legislation
Senate Energy and Natural Resources to Hold Forum on Forest Service Budget
On April 16th, the Senate Energy and Natural Resources Committee to consider the president's proposed budget for the U.S. Forest Service for fiscal year 2014. The hearing will be webcast live on the committee's website, and an archived video will be available shortly after the hearing is complete. Additional information on the hearing can be found here: http://www.energy.senate.gov/public/index.cfm/hearings-and-business-meetings?ID=d8022dc1-5425-4423-8287-dd8ebb2e1649.
Senate Energy and Natural Resources to Hold Forum on Natural Gas Infrastructure and Uses
On May 16th, the Senate Energy and Natural Resources will hold a forum entitled: "Infrastructure, Transportation, Research and Innovation." The forum will explore what the next applications are for natural gas and how this new demand will be met. Pipeline infrastructure and increased use of natural gas in the transportation sector will be specific points of interest. Additional information on the forum can be found here: http://www.energy.senate.gov/public/index.cfm/2013/5/full-committee-forum-infrastructure-transportation-research-and-innovation.
Senate Energy and Natural Resources to Hold a Forum on Natural Gas Supply and Exports
On May 21st, the Senate Energy and Natural Resources will hold a forum entitled: "Domestic Supply and Exports." The forum will examine estimates of domestic supply and the potential benefits or unintended consequences caused by expansion of natural gas exports. Additional information on the forum can be found here: http://www.energy.senate.gov/public/index.cfm/2013/5/domestic-supply-and-exports
Senate Energy and Natural Resources to Hold a Forum on Shale Development Best Practices
On May 23rd, the Senate Energy and Natural Resources will hold a forum entitled: "Shale Development: Best Practices and Environmental Concerns." The forum will focus on the extraction of gas from shale. Particular topics of interest will be current best practices within the industry and environmental concerns to be addressed. Additional information on the forum can be found here: http://www.energy.senate.gov/public/index.cfm/hearings-and-business-meetings?ID=a641990d-cc27-4690-92ac-c282df9cda60
Consumer Energy Alliance to Host South Carolina Energy and Opportunity Forum
On May 1st, the Southeast Energy Alliance, a regional chapter of Consumer Energy Alliance will host the South Carolina Energy and Opportunity Forum in Myrtle Beach, SC. The event will feature Former Speaker Newt Gingrich and U.S. Rep. Tom Rice. Additional information and registration can be found here: https://scenergyopportunity.eventbrite.com/
PHMSA Imposes Conditions on Restart of Pegasus Line Following Arkansas Spill
The PHMSA order requires ExxonMobil Pipeline Co. to submit a restart plan that would include patrolling of the line and measures to confirm the integrity of any parts of the line that were damaged or suspected of being damaged. The company will have to obtain written approval from the PHMSA director before resuming operations. When operations do resume, they will be limited to 80 percent of the operating pressure that was in effect immediately prior to the spill. The pressure restriction will remain in effect until the PHMSA director gives written approval for an increase. A copy of the Corrective Action Order can be viewed here: http://www.phmsa.dot.gov/staticfiles/PHMSA/DownloadableFiles/Files/4%202013%205006H_Corrective%20Action%20Order_4%2002%2013.pdf
USGS Finds No Influence of Oil Platforms on Contaminant Levels in California Fish
The USGS in partnership with BOEM released two studies showing that fish residing near oil platforms have similar levels of contaminants as those living in other habitats. Since the underwater portion of many offshore oil and gas platforms often provides habitat to a large number of fish and invertebrates, some stakeholders have called for ocean managers to consider a "rigs-to-reefs" option during the decommissioning phase of a platform. This option would maintain some of the submerged structure to function as an artificial reef after oil and gas production has ended. The findings of these studies address questions regarding how the industrial legacy of this kind of artificial reef may affect local fish populations. Additional information and copies of the studies can be viewed here:
http://www.usgs.gov/newsroom/article.asp?ID=3546&from=rss&utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+UsgsNewsroom+%28Newsroom+-+National+Releases%29#.UVxuXZPvvfI.
New Member of the Day: US Rep. Ann Wagner (R-MO)
Committee Assignments: Financial Serices
Chief of Staff: Christian Morgan
Deputy Chief of Staff: Desiree Mowry
Legislative Director: Brian O'Shea
Twitter: @RepAnnWagner
Ann started working in the family business, a retail carpet store called Carpetime in Manchester. She graduated from the University of Missouri-Columbia and received her BSBA from the Business School with an emphasis in Logistics. After college, She went to work in the private sector and held management positions at Hallmark Cards in Kansas City and Ralston Purina in St. Louis. She served for nine years as a local committeewoman in Lafayette Township and went on to Chair the Missouri Party. She also served as Co-Chairman of the Republican National Committee during the first term of President George W. Bush. In 2005, following nomination by President Bush and confirmation by the U.S. Senate, she was sworn in as the 19th U.S. Ambassador to Luxembourg by Secretary of State Condoleezza Rice. She served as U.S. Ambassador for four years before returning to her home in Ballwin, Missouri. In 2010, Ann was asked to serve as the Chairman of Roy Blunt's successful U.S. Senate campaign in Missouri.
Rep. Wagner is an experienced political operative with a long history in both Missouri and national politics. She is a proponent of grassroots advocacy and house by house coalition building. She is smart and ambitious, and she is from a safe and affluent district providing her with the freedom and resources necessary to build political capital with her colleagues. A week before the election in 2012, Rep. Wagner was picked to give the Republican response to President Obama's weekly radio address. She won her election with over 60% of the vote. Her fellow freshmen elected her to be their liaison with the leadership. She is one of only three women in the Republican freshman class.
If you have any questions, please contact me anytime. Previous updates and new Member profiles can be viewed at: http://www.mzehrhbw.wordpress.com. Hope you all have a great day!
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Roberto Rovira will be lecturing at the University of Puerto Rico School of Architecture on Wednesday, 23 October 2013 (6pm).
ABSTRACT: Using landscape architecture as an agency of synthesis, Roberto Rovira deploys design, engineering, technology, and art, to work at various scales, ranging from installations to urban projects. Central to the work is a preoccupation with ecological processes and the means by which the inherent incompleteness of landscape architecture is uniquely suited to envisioning and shaping public space at the intersection of the built and natural environments.


We are excited to announce our new monthly Sound Bath Healing Meditation (First Saturday of each Month starting this February).
You're invited to Peta's unique evening sound bath of meditation music – a sound healing journey of peace and transformation!
Includes soothing tones, notes, vibrations and healing frequencies of beautiful and abundant high quality singing bowls PLUS gongs, chimes and native flute.
Binaural beats entrain your brainwaves down to deep relaxation states and powerful soundwaves will permeate your whole body and mind, dissolving tension, blockages and stress. All matter has electrical frequency, including human beings, and our busy, stressful lifelstyles can knock our vibrations off course. Sound healing instruments restore and recalibrate our frequencies and vibrations.
Easy meditation without dogma. Delightful healing utilising sound and ancient methods, currently gaining popularity and a growing body of evidence.
Positive music sound baths are a great stress reliever! As you relax into the present moment, and settle into stillness, all stress melts away.
Discover the art of Pranayama through the practice of ancient and modern bio-energetic breathing techniques.
Ever notice how soothing a simple sigh can be at the end of a long day? There are a variety of breathing techniques that are known to effectively benefit the mind and body.
With over 30 years experience as a practitioner and teacher, we are honoured and privileged to invite our very own teacher David Di Florio to share his wealth of knowledge and experience with offering a 3 hrs workshop on Pranayama. Davide will be accompanied by Sanjay Rakesh, another seasoned Yogi of over 30 years experience in the practise and art of Pranayama. Its not often we have the opportunity to invite such an experienced practitioner to demonstrate these techniques and guide us throughout the workshop.
This Mothers Day each asana becomes a beautiful glorification of Shakti, the Creative Divine Mother who expresses herself in you and all of being. Make each breath a devotion to her, and you will find your practice transformed into a joyful celebration of the mind, body and spirit.
Shakti is honored as the mother goddess, a universal source of energy, power, and creativity. Shakti is the divine cosmic energy that represents feminine energy and the dynamic forces that move through the universe. Shakti, who is responsible for creation and can also be an agent of change, is often manifested to destroy forces and restore balance.
Shakti is the mother energy, the source of all. We all have Shakti energy. Without it we have no power, no creativity and can feel stuck and stagnated. Yoga, Meditation and Pranayama liberates our Shakti energy and helps us shift from stuck patterns and restores balance. This beautiful Shakti Flow incorporates balances, twists, hips, backbends and Sun Salutations to lift your Shakti and stoke your inner fire. We finish with more restorative postures followed by meditation.
A monthly philosophy class that offers you the opportunity to go beyond the realms of the physical yoga practice, exploring yoga philosophy.
Each month we will delve deep focusing on a new subject relating to the history of yoga, the roots of this ancient practice and tradition.
Satsang is a word which comes from Sanskrit, meaning "to associate with true people", to be in the company of true people - sitting with a sat guru, or in a group meeting seeking that association.
Philosophy Circle - $5 Donation!
Philosophy Circle - GOLD COIN DONATION!
We are over the moon to invite you to an amazing event hosted by "Soul Motion System's" incredible talents Jo and Brendan Leonidas.
Activities will include: a group intention and philosophy, personal intention setting, pranayama, a gentle yoga practice, partner yoga, mantra, and meditation. Including a LIVE DJ set exploring various forms of downtempo music! You will also have a chance to connect with each other over some chai and vegan treats from 9pm.
Happiness is not a destination, but a state of mind. Join us on a 3 hour journey to unlock the powers of your own mind, learning different tools to help cultivate your inner peace and happiness. All the while enjoying a live DJ set, carefully created to compliment the mood of the evening.
Activities will include: a group intention and philosophy, personal intention setting, pranayama, a gentle yoga practice, partner yoga, mantra, and meditation. You will also have a chance to connect with each other over some chai and vegan treats from 9pm.
Come alone or bring a chosen partner. All mats and props will be provided.
From your Mindbody account select WORKSHOPS for bookings. Select the BOOK HERE button for direct link.


Get Well Soon Gifts Perfectly Delivered. The UK's Best Hampers to Send to Sick Patients.
We send beautiful Get Well Gifts to all addresses within the UK including Hospitals and private addresses. Get Well Gift Baskets in the UK are a fabulous and popular alternative to a bouquet of flowers. And, since we are the undisputed UK's best at designing and assembling such gifts, it simply doesn't make sense to buy your Get Well Gift anywhere else. Not only do they look and smell amazing, but the fresh fruit component means they are both healthy and uplifting. Whilst not overly dissimilar to a floral arrangement, Get Well Baskets are fresh, bright, colourful and guaranteed to improve someone's day when it arrives as a surprise at their door or hospital bed.
Whether you wish to send to a poorly patient convalescing at home, or for delivery to be made to a UK NHS or private hospital, we are here to help deliver on your behalf the ideal Gift to let them know you are thinking of them and wishing them all the best for their recovery. We fill our Baskets full of all sorts of little gifts to delight, pamper and entertain including books, puzzles and magazines, body wraps, oils to massage, lotions to revitalise or to relax and help them take it easy. Not to mention big teddy bears to hug, get well soon balloons, and a range of gadgets and puzzles to help take them mind off being sick. The Get Well gifts in this section take on several formats. At the low price option we design a mini basket fruit and possibly floral combination with some popular packets of popular munchy style foods, moving up in budget we offer our top selling Gift Basket range, which has proven to be hugely popular with customers over the many years we have been successfully delivering get well soon gifts around the UK's homes and hospitals. We have Fun & Cheerful Get Well Gifts, Colourful Fruit & Healthy Foods and when they allow it, we will attempt Hospital Delivery. Help someone special feel better with a combination of their favourite treats in a gift basket from Baskets Galore, plus little pick me ups like fruit, puzzles, books and magazines and candles.