/page/2
Nathan Lerner, Kiyoko [Lerner] and Curtain, Canada, 1983  [+]
from Brooklyn Museum

Nathan Lerner, Kiyoko [Lerner] and Curtain, Canada, 1983  [+]

from Brooklyn Museum

Harry Callahan, Untitled (Eleanor), ca 1941

Without formal training, Harry Callahan became one of the twentieth century’s most influential photographers through his investigation of light, shadow, texture, and multiple exposures. In images of cities, landscapes, and intimate portraits (mostly of his wife, Eleanor, and his daughter, Barbara), he often experimented with graphic abstraction, always infused with a personal expression. This early portrait of Eleanor combines his exploration of light with his interest in line and form. Eleanor’s face is seen in profile against the trunk of a tree. Shadows of foliage overlay her face, and the stark contrasts contribute to the flatness of the image.

photo and text from Brooklyn Museum

Harry Callahan, Untitled (Eleanor), ca 1941

Without formal training, Harry Callahan became one of the twentieth century’s most influential photographers through his investigation of light, shadow, texture, and multiple exposures. In images of cities, landscapes, and intimate portraits (mostly of his wife, Eleanor, and his daughter, Barbara), he often experimented with graphic abstraction, always infused with a personal expression. This early portrait of Eleanor combines his exploration of light with his interest in line and form. Eleanor’s face is seen in profile against the trunk of a tree. Shadows of foliage overlay her face, and the stark contrasts contribute to the flatness of the image.

photo and text from Brooklyn Museum

Nusch Éluard, ca 1935 - by Dora Maar

L’extase
Je suis devant ce paysage fémininComme un enfant devant le feuSouriant vaguement et les larmes aux yeuxDevant ce paysage où tout remue en moiOù des miroirs s’embuent où des miroirs s’éclairentReflétant deux corps nus saisons contre saisons
J’ai tant de raison de me perdreSur cette terre sans chemins et sous ce ciel sans horizonBelle raison que j’ignorais hierEt que je n’oublierai jamaisBelles clés des regards clés filles d’elles-mêmesDevant ce paysage où la nature est mienne
Devant le feu le premier feuBonne raison maîtresse
Étoile identifiéeEt sur la terre et sous le ciel hors de mon cœur et dans mon cœurSecond bourgeon première feuille verteQue la mer couvre de ses ailesEt le soleil au bout de tout venant de nous
Je suis devant ce paysage fémininComme une branche dans le feu.
— Paul Éluard, in Le Temps déborde (1947)

chagalov:

Nusch Éluard, ca 1935 - by Dora Maarvia RMN

Nusch Éluard, ca 1935 - by Dora Maar

L’extase

Je suis devant ce paysage féminin
Comme un enfant devant le feu
Souriant vaguement et les larmes aux yeux
Devant ce paysage où tout remue en moi
Où des miroirs s’embuent où des miroirs s’éclairent
Reflétant deux corps nus saisons contre saisons

J’ai tant de raison de me perdre
Sur cette terre sans chemins et sous ce ciel sans horizon
Belle raison que j’ignorais hier
Et que je n’oublierai jamais
Belles clés des regards clés filles d’elles-mêmes
Devant ce paysage où la nature est mienne

Devant le feu le premier feu
Bonne raison maîtresse

Étoile identifiée
Et sur la terre et sous le ciel hors de mon cœur et dans mon cœur
Second bourgeon première feuille verte
Que la mer couvre de ses ailes
Et le soleil au bout de tout venant de nous

Je suis devant ce paysage féminin
Comme une branche dans le feu.

— Paul Éluard, in Le Temps déborde (1947)

chagalov:

Nusch Éluard, ca 1935 - by Dora Maar
via RMN

Dora Maar, The Years Lie in Wait for You, 1936  [+]

The portrait, this time without cobweb, accompanied the poem Extase in which Éluard praises and mourns his wife: Je suis devant ce paysage fémininComme un enfant devant le feu […]
(read more)

from SIP

Dora MaarThe Years Lie in Wait for You, 1936  [+]

The portrait, this time without cobweb, accompanied the poem Extase in which Éluard praises and mourns his wife: 
Je suis devant ce paysage féminin
Comme un enfant devant le feu […]

(read more)

from SIP

Heinz Hajek-Halke, Waiting!, 1928-1932  [+]

The composition in the photograph presented here is centered on a portrait of a female figure, probably Katharina Berger, a theater actress and the artist’s first wife.  [read more]

from SIP

Heinz Hajek-Halke, Waiting!, 1928-1932  [+]

The composition in the photograph presented here is centered on a portrait of a female figure, probably Katharina Berger, a theater actress and the artist’s first wife.  [read more]

from SIP

Val Telberg, Portrait of Dick Barks, 1946  [+]
from SIP

Val TelbergPortrait of Dick Barks, 1946  [+]

from SIP

Arthur Siegel, Study of Negative/Positive Profiles, 1937 
from SIP

Arthur Siegel, Study of Negative/Positive Profiles, 1937 

from SIP

Lucian Freud, London, 1997 -by Henri Cartier-Bresson  [+] [+]
entregulistanybostan:

Lucian Freud by Henri Cartier-Bresson
Bromide print, 1997© Henri Cartier-Bresson / Magnum PhotosNPG P724

Lucian Freud, London, 1997 -by Henri Cartier-Bresson  [+] [+]

entregulistanybostan:

Lucian Freud by Henri Cartier-Bresson

Bromide print, 1997
© Henri Cartier-Bresson / Magnum Photos
NPG P724

Lucian Freud, London, 1974 -by Harry Diamond
entregulistanybostan:

Lucian Freud by Harry Diamond
Vintage bromide print, 1974© Harry Diamond / National Portrait Gallery, LondonNPG x135769; 

Lucian Freud, London, 1974 -by Harry Diamond

entregulistanybostan:

Lucian Freud by Harry Diamond

Vintage bromide print, 1974
© Harry Diamond / National Portrait Gallery, London
NPG x135769; 

Nathan Lerner, Kiyoko [Lerner] and Curtain, Canada, 1983  [+]
from Brooklyn Museum

Nathan Lerner, Kiyoko [Lerner] and Curtain, Canada, 1983  [+]

from Brooklyn Museum

Harry Callahan, Untitled (Eleanor), ca 1941

Without formal training, Harry Callahan became one of the twentieth century’s most influential photographers through his investigation of light, shadow, texture, and multiple exposures. In images of cities, landscapes, and intimate portraits (mostly of his wife, Eleanor, and his daughter, Barbara), he often experimented with graphic abstraction, always infused with a personal expression. This early portrait of Eleanor combines his exploration of light with his interest in line and form. Eleanor’s face is seen in profile against the trunk of a tree. Shadows of foliage overlay her face, and the stark contrasts contribute to the flatness of the image.

photo and text from Brooklyn Museum

Harry Callahan, Untitled (Eleanor), ca 1941

Without formal training, Harry Callahan became one of the twentieth century’s most influential photographers through his investigation of light, shadow, texture, and multiple exposures. In images of cities, landscapes, and intimate portraits (mostly of his wife, Eleanor, and his daughter, Barbara), he often experimented with graphic abstraction, always infused with a personal expression. This early portrait of Eleanor combines his exploration of light with his interest in line and form. Eleanor’s face is seen in profile against the trunk of a tree. Shadows of foliage overlay her face, and the stark contrasts contribute to the flatness of the image.

photo and text from Brooklyn Museum

Nusch Éluard, ca 1935 - by Dora Maar

L’extase
Je suis devant ce paysage fémininComme un enfant devant le feuSouriant vaguement et les larmes aux yeuxDevant ce paysage où tout remue en moiOù des miroirs s’embuent où des miroirs s’éclairentReflétant deux corps nus saisons contre saisons
J’ai tant de raison de me perdreSur cette terre sans chemins et sous ce ciel sans horizonBelle raison que j’ignorais hierEt que je n’oublierai jamaisBelles clés des regards clés filles d’elles-mêmesDevant ce paysage où la nature est mienne
Devant le feu le premier feuBonne raison maîtresse
Étoile identifiéeEt sur la terre et sous le ciel hors de mon cœur et dans mon cœurSecond bourgeon première feuille verteQue la mer couvre de ses ailesEt le soleil au bout de tout venant de nous
Je suis devant ce paysage fémininComme une branche dans le feu.
— Paul Éluard, in Le Temps déborde (1947)

chagalov:

Nusch Éluard, ca 1935 - by Dora Maarvia RMN

Nusch Éluard, ca 1935 - by Dora Maar

L’extase

Je suis devant ce paysage féminin
Comme un enfant devant le feu
Souriant vaguement et les larmes aux yeux
Devant ce paysage où tout remue en moi
Où des miroirs s’embuent où des miroirs s’éclairent
Reflétant deux corps nus saisons contre saisons

J’ai tant de raison de me perdre
Sur cette terre sans chemins et sous ce ciel sans horizon
Belle raison que j’ignorais hier
Et que je n’oublierai jamais
Belles clés des regards clés filles d’elles-mêmes
Devant ce paysage où la nature est mienne

Devant le feu le premier feu
Bonne raison maîtresse

Étoile identifiée
Et sur la terre et sous le ciel hors de mon cœur et dans mon cœur
Second bourgeon première feuille verte
Que la mer couvre de ses ailes
Et le soleil au bout de tout venant de nous

Je suis devant ce paysage féminin
Comme une branche dans le feu.

— Paul Éluard, in Le Temps déborde (1947)

chagalov:

Nusch Éluard, ca 1935 - by Dora Maar
via RMN

Dora Maar, The Years Lie in Wait for You, 1936  [+]

The portrait, this time without cobweb, accompanied the poem Extase in which Éluard praises and mourns his wife: Je suis devant ce paysage fémininComme un enfant devant le feu […]
(read more)

from SIP

Dora MaarThe Years Lie in Wait for You, 1936  [+]

The portrait, this time without cobweb, accompanied the poem Extase in which Éluard praises and mourns his wife: 
Je suis devant ce paysage féminin
Comme un enfant devant le feu […]

(read more)

from SIP

Heinz Hajek-Halke, Waiting!, 1928-1932  [+]

The composition in the photograph presented here is centered on a portrait of a female figure, probably Katharina Berger, a theater actress and the artist’s first wife.  [read more]

from SIP

Heinz Hajek-Halke, Waiting!, 1928-1932  [+]

The composition in the photograph presented here is centered on a portrait of a female figure, probably Katharina Berger, a theater actress and the artist’s first wife.  [read more]

from SIP

Val Telberg, Portrait of Dick Barks, 1946  [+]
from SIP

Val TelbergPortrait of Dick Barks, 1946  [+]

from SIP

Arthur Siegel, Study of Negative/Positive Profiles, 1937 
from SIP

Arthur Siegel, Study of Negative/Positive Profiles, 1937 

from SIP

Lucian Freud, London, 1997 -by Henri Cartier-Bresson  [+] [+]
entregulistanybostan:

Lucian Freud by Henri Cartier-Bresson
Bromide print, 1997© Henri Cartier-Bresson / Magnum PhotosNPG P724

Lucian Freud, London, 1997 -by Henri Cartier-Bresson  [+] [+]

entregulistanybostan:

Lucian Freud by Henri Cartier-Bresson

Bromide print, 1997
© Henri Cartier-Bresson / Magnum Photos
NPG P724

Lucian Freud, London, 1974 -by Harry Diamond
entregulistanybostan:

Lucian Freud by Harry Diamond
Vintage bromide print, 1974© Harry Diamond / National Portrait Gallery, LondonNPG x135769; 

Lucian Freud, London, 1974 -by Harry Diamond

entregulistanybostan:

Lucian Freud by Harry Diamond

Vintage bromide print, 1974
© Harry Diamond / National Portrait Gallery, London
NPG x135769; 

About:

a little of this, a little of that...
Mostly photography, litterature, cinema...

The main point here is Photographic Portrait

You can reach me through the Question? box. Since I don't accept the Anonymous messages anymore, those who are not registered with tumblr. can leave a message to:
sam.chagalov [at] gmail [dot] com

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