Posts Tagged ‘Nature’

Image from page 63 of “Man’s location in nature, and other anthropological essays” (1904)

Sunday, March 27th, 2016

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Image from web page 63 of “Man’s spot in nature, and other anthropological essays” (1904)
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Identifier: mansplaceinnatur01huxl
Title: Man’s location in nature, and other anthropological essays
Year: 1904 (1900s)
Authors: Huxley, Thomas Henry, 1825-1895
Subjects: Human beings Apes Ethnology Indo-Europeans
Publisher: New York, J. A. Hill and company
Contributing Library: The Library of Congress
Digitizing Sponsor: The Library of Congress

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yftPAfESLEV. Fig. 12.—Butchers Shop of the Anziques Anno 1598. M. Du Chaillus account of the Fans accords most singularly withwhat Lopez right here narrates of the Anziques. He speaks of their smallcrossbows and small arrows, of their axes and knives, ingeniouslysheathed in snake skins. They tattoo themselves far more than any othertribes I have met north of the equator. And all the world knows what 44 MANS Place IN NATURE

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e o OfSS rO +* ^- 00 o oe CO to :^ or la site Si :^ 00 o to ^ ?so *^ o ? =0fS -Ks -K* M. Du Chaillu says of thetr cannibalism — Presently we passed awoman who solved all doubt. She bore with her a piece of the thigh ofa human body, just as we ought to go to market place and carry thence a roastor steak. M. Du Chaillus artist can’t generally be accused of anywant of courage in embodying the statements of his author, and it is tobe regretted that, with so good an excuse, he has not furnished us witha fitting companion to the sketch of the brothers De Bry. RELATIONS OF MAN TO THE Lower ANIMALS n. ON THE EELATIONS OF MAN TO THE LOWEE ANIMALS. Multis videri poterit, majorem esse differentiam Simise et Hominis, quamdiei et noctis verum tamen hi, comparatione instituta inter summosEuropse Heroes et Hottentottes ad Caput bonse spei degentes, difficillimesibi persuadebunt, has eosdem habere natales vel si virginem nobilemaulicam, maxime comtam et humanissimam, conferre vellent cumhomine sylvestri

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Calaca #123,456,789. #art #design #sketch #skull #tattoo #drawing
Cartoon Tattoos

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Nature morte (Fernand Léger, 1938)

Thursday, February 4th, 2016

Some cool Sports Tattoos images:

Nature morte (Fernand Léger, 1938)
Sports Tattoos

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CAM Collection, Calouste Gulbenkian Foundation, Lisbon, Portugal

Oil on Canvas
Inv. PE 127

From Wikipedia

Joseph Fernand Henri Léger (French: [leʒe] February 4, 1881 – August 17, 1955) was a French painter, sculptor, and filmmaker. In his early works he created a private kind of cubism which he steadily modified into a a lot more figurative, populist style. His boldly simplified remedy of modern topic matter has triggered him to be regarded as a forerunner of pop art.

Biography

Léger was born in Argentan, Orne, Lower Normandy, exactly where his father raised cattle. Fernand Léger initially educated as an architect from 1897 to 1899, before moving in 1900 to Paris, exactly where he supported himself as an architectural draftsman. Soon after military service in Versailles, Yvelines, in 1902–1903, he enrolled at the School of Decorative Arts right after his application to the École des Beaux-Arts was rejected. He nonetheless attended the Beaux-Arts as a non-enrolled student, spending what he described as &quotthree empty and useless years&quot studying with Gérôme and other people, whilst also studying at the Académie Julian.[1] He started to operate seriously as a painter only at the age of 25. At this point his operate showed the influence of impressionism, as noticed in Le Jardin de ma mère (My Mother’s Garden) of 1905, 1 of the couple of paintings from this period that he did not later destroy. A new emphasis on drawing and geometry appeared in Léger’s work right after he saw the Cézanne retrospective at the Salon d’Automne in 1907.[two]

1909–1914

A painting of smokers
Les Fumeurs (The Smokers), 1911-12, oil on canvas, 129.2 x 96.five cm, Solomon R. Guggenheim Museum, New York
A painting of a lady in blue
La Femme en Bleu (Woman in Blue), 1912, oil on canvas, 193 x 129.9 cm (76 x 51 1/eight inches), Kunstmuseum Basel. Exhibited at the 1912 Salon d’Automne, Paris
Painting of a nude
Nude Model in the Studio (Le modèle nu dans l’atelier), 1912-13, oil on burlap, 128.six x 95.9 cm, Solomon R. Guggenheim Museum, New York
In 1909 he moved to Montparnasse and met such leaders of the avant-garde as Archipenko, Lipchitz, Chagall, Joseph Csaky and Robert Delaunay. His significant painting of this period is Nudes in the Forest (1909–10), in which Léger displays a individual type of Cubism that his critics termed &quotTubism&quot for its emphasis on cylindrical forms.[3]

In 1910 he exhibited at the Salon d’Automne in the same room (salle VIII) with Jean Metzinger and Henri Le Fauconnier. In 1911 the hanging committee of the Salon des Indépendants placed together the painters that would quickly be identified as ‘Cubists’. Metzinger, Gleizes, Le Fauconnier, Delaunay and Léger have been accountable for revealing Cubism to the general public for the 1st time as an organized group.

The following year he once again exhibited at the Salon d’Automne and Indépendants with the Cubists, and joined with several artists, including Henri Le Fauconnier, Jean Metzinger, Albert Gleizes, Francis Picabia and the Duchamp brothers, Jacques Villon, Raymond Duchamp-Villon and Marcel Duchamp to type the Puteaux Group—also known as the Section d’Or (The Golden Section).

Léger’s paintings, from then until 1914, became increasingly abstract. Their tubular, conical, and cubed types are laconically rendered in rough patches of principal colors plus green, black and white, as observed in the series of paintings with the title Contrasting Forms. Léger made no use of the collage approach pioneered by Braque and Picasso.[4]

1914–1920

Dans L’Usine, 1918, oil on canvas, 56 x 38 cm (22 x 15 in)

The City, 1919, oil on canvas, The Philadelphia Museum of Art, A. E. Gallatin Collection
Léger’s experiences in Planet War I had a considerable effect on his function. Mobilized in August 1914 for service in the French Army, he spent two years at the front in Argonne.[five] He made numerous sketches of artillery pieces, airplanes, and fellow soldiers although in the trenches, and painted Soldier with a Pipe (1916) although on furlough. In September 1916 he nearly died soon after a mustard gas attack by the German troops at Verdun. Throughout a period of convalescence in Villepinte he painted The Card Players (1917), a canvas whose robot-like, monstrous figures reflect the ambivalence of his knowledge of war. As he explained:

…I was stunned by the sight of the breech of a 75 millimeter in the sunlight. It was the magic of light on the white metal. That is all it took for me to forget the abstract art of 1912–1913. The crudeness, selection, humor, and downright perfection of certain men about me, their precise sense of utilitarian reality and its application in the midst of the life-and-death drama we were in … made me want to paint in slang with all its colour and mobility.

This work marked the beginning of his &quotmechanical period&quot, during which the figures and objects he painted have been characterized by sleekly rendered tubular and machine-like forms. Beginning in 1918, he also made the first paintings in the Disk series, in which disks suggestive of visitors lights figure prominently.[7] In December 1919 he married Jeanne-Augustine Lohy, and in 1920 he met Le Corbusier, who would stay a lifelong buddy.

1920

Nevertheless Life with a Beer Mug, 1921, oil on canvas, the Tate
The &quotmechanical&quot functions Léger painted in the 1920s, in their formal clarity as nicely as in their subject matter—the mother and child, the female nude, figures in an ordered landscape—are typical of the postwar &quotreturn to order&quot in the arts, and link him to the tradition of French figurative painting represented by Poussin and Corot.[8] In his paysages animés (animated landscapes) of 1921, figures and animals exist harmoniously in landscapes produced up of streamlined types. The frontal compositions, firm contours, and smoothly blended colors of these paintings regularly recall the performs of Henri Rousseau, an artist Léger significantly admired and whom he had met in 1909.

They also share traits with the function of Le Corbusier and Amédée Ozenfant who with each other had founded Purism, a style intended as a rational, mathematically primarily based corrective to the impulsiveness of cubism. Combining the classical with the modern day, Léger’s Nude on a Red Background (1927) depicts a monumental, expressionless woman, machinelike in form and color. His still life compositions from this period are dominated by steady, interlocking rectangular formations in vertical and horizontal orientation. The Siphon of 1924, a still life based on an advertisement in the well-liked press for the aperitif Campari, represents the higher-water mark of the Purist aesthetic in Léger’s work.[9] Its balanced composition and fluted shapes suggestive of classical columns are brought together with a quasi-cinematic close-up of a hand holding a bottle.

As an enthusiast of the contemporary, Léger was significantly attracted to cinema, and for a time he deemed giving up painting for filmmaking.[ten] In 1923–24 he designed the set for the laboratory scene in Marcel L’Herbier’s L’Inhumaine (The Inhuman One particular). In 1924, in collaboration with Dudley Murphy, George Antheil, and Man Ray, Léger created and directed the iconic and Futurism-influenced film, Ballet Mécanique (Mechanical Ballet). Neither abstract nor narrative, it is a series of photos of a woman’s lips and teeth, close-up shots of ordinary objects, and repeated photos of human activities and machines in rhythmic movement.[11]

In collaboration with Amédée Ozenfant he established a cost-free college where he taught from 1924, with Alexandra Exter and Marie Laurencin. He developed the very first of his &quotmural paintings&quot, influenced by Le Corbusier’s theories, in 1925. Intended to be incorporated into polychrome architecture, they are amongst his most abstract paintings, featuring flat places of colour that seem to advance or recede.[12]

1930s

Beginning in 1927, the character of Léger’s work steadily changed as organic and irregular types assumed greater importance.[13] The figural style that emerged in the 1930s is fully displayed in the Two Sisters of 1935, and in several versions of Adam and Eve.[14] With characteristic humor, he portrayed Adam in a striped bathing suit, or sporting a tattoo.

In 1931, Léger made his first pay a visit to to the United States, where he traveled to New York City and Chicago.[15] In 1935, the Museum of Modern day Art in New York City presented an exhibition of his function. In 1938, Léger was commissioned to decorate Nelson Rockefeller’s apartment.[16]

The War years

For the duration of Planet War II Léger lived in the United States. He taught at Yale University, and found inspiration for a new series of paintings in the novel sight of industrial refuse in the landscape. The shock of juxtaposed organic forms and mechanical elements, the &quottons of abandoned machines with flowers cropping up from inside, and birds perching on best of them&quot exemplified what he named the &quotlaw of contrast&quot.[17] His enthusiasm for such contrasts resulted in such works as The Tree in the Ladder of 1943–44, and Romantic Landscape of 1946. A main operate of 1944, Three Musicians (Museum of Modern day Art, New York), reprises a composition of 1930. A folk-like composition reminiscent of Rousseau, it exploits the law of contrasts in its realistic juxtaposition of the three males and their instruments.

Upon his return to France in 1945, he joined the Communist Celebration.[18] For the duration of this period his function became much less abstract, and he made a lot of monumental figure compositions depicting scenes of well-liked life featuring acrobats, builders, divers, and country outings. Art historian Charlotta Kotik has written that Léger’s &quotdetermination to depict the widespread man, as nicely as to develop for him, was a outcome of socialist theories widespread amongst the avant-garde both just before and right after World War II. Nevertheless, Léger’s social conscience was not that of a fierce Marxist, but of a passionate humanist&quot.[19] His varied projects integrated book illustrations, murals, stained-glass windows, mosaics, polychrome ceramic sculptures, and set and costume designs.

1950

Stained-glass window at the Central University of Venezuela, 1954
After the death of his wife in 1950, Léger married Nadia Khodossevitch in 1952. In his final years he lectured in Bern, made mosaics and stained-glass windows for the Central University of Venezuela in Caracas, Venezuela, and painted Nation Outing, The Camper, and the series The Huge Parade. In 1954 he began a project for a mosaic for the São Paulo Opera, which he would not live to finish. Fernand Léger died at his residence in 1955 and is buried in Gif-sur-Yvette, Essonne.

Legacy

Léger wrote in 1945 that &quotthe object in contemporary painting have to turn out to be the principal character and overthrow the topic. If, in turn, the human form becomes an object, it can significantly liberate possibilities for the contemporary artist.&quot He elaborated on this concept in his 1949 essay, &quotHow I Conceive the Human Figure&quot, exactly where he wrote that &quotabstract art came as a complete revelation, and then we have been able to take into account the human figure as a plastic worth, not as a sentimental value. That is why the human figure has remained willfully inexpressive throughout the evolution of my perform&quot.[20] As the very first painter to take as his idiom the imagery of the machine age, and to make the objects of customer society the subjects of his paintings, Léger has been named a progenitor of Pop art.[21]

He was active as a teacher for numerous years. Amongst his pupils were Nadir Afonso, Robert Colescott, Paul Georges, Charlotte Gilbertson, Hananiah Harari, Asger Jorn, Michael Loew, Beverly Pepper, Victor Reinganum, Marcel Mouly, George L. K. Morris, René Margotton, Erik Olson, Saloua Raouda Choucair and Charlotte Wankel.

In 1952, a pair of Léger murals was installed in the General Assembly Hall of the United Nations headquarters in New York, New York.[22]

In 1960, the Musée Fernand Léger was opened in Biot, Alpes-Maritimes, France.

In May possibly 2008, his painting, Étude pour la femme en bleu (1912-13) sold for ,241,000 (hammer price with buyer’s premium) United States dollars.[23]

In August 2008, 1 of Léger’s paintings owned by Wellesley College’s Davis Museum and Cultural Center, Mother and Kid, was reported missing. It is believed to have disappeared some time between April 9, 2007 and November 19, 2007. A ,000 reward is being supplied for information that leads to the safe return of the painting.[24]

Léger’s perform was featured in the exhibition &quotLéger: Contemporary Art and the Metropolis&quot from October 14, 2013, by means of January five, 2014, at the Philadelphia Museum of Art.[25]

33.RT.CrystalCity.VA.27may06
Sports Tattoos

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Rolling Thunder . Arriving at Crystal City Sports Pub . www.crystalcitysportspub.net/ . 529 23rd Street . Crystal City . Arlington VA . Saturday afternoon, 27 May 2006 . Elvert Xavier Barnes Photography

Image from web page 640 of “Nature” (1869)

Tuesday, December 30th, 2014

Check out these Skull Tattoos images:

Image from page 640 of “Nature” (1869)
Skull Tattoos

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Identifier: nature7319051906lock
Title: Nature
Year: 1869 (1860s)
Authors: Lockyer, Norman, Sir, 1836-1920. edt
Subjects: Science Science Sciences Biologie Physique Natuurwetenschappen CIENCIA All-natural HISTORY BIOLOGY SCIENCE
Publisher: [London, and so on., Macmillan Journals Ltd., and so forth.]

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Text Appearing Prior to Image:
go, .ire amixture of Indonesians and Proto-Malays a few aredistinctly narrow-headed, about three occasions as manyare broad-headed, .and somewhat, much less than two-thirdsate intermediate. The typical stature of the menis 5 feet 4 inches the women average almost 7 inchesshorter. There is no tr.no of Negrito blood. The 1 The Bontoc Igorot. Bv Alhert Ernest Jenks. Division of theInterior. Ethnological Survey Publications, vol. i. (Manila, 1005.) Negritos of Zamabales By William Allan Reed. Ibid., vol. ii.,part i. (Manila, 1Q04.) The Nabaloi Dialect. By Otto Scbeerer. Ibid., vol. ii., components ii., iii.(Manila, ,905.) The Bataks of Palawan. By Edward V. Miller. (Bureau of PublicPrinting.) NO J 903. VOL. 73] April 19, 1906] NATURE 58 settlement of Bontoc is divided into thirteen wardsor political divisions, referred to as ato every has its separategoverning council, which can declare war or makepeace. Every ato consists of 3 kinds of buildings :—(1) public edifices, fawi and pabafituan, for males and

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boys (two) similar homes, ola, for girls and youngwomen just before their permanent marriage and (3)private homes, afong, for families and widows. Thepabafunan is the home of the a variety of ato ceremonies,and is sacred to the male sex it is the mens club bvday and the unmarried mens dormitory the fawi isthe council home, and as such is frequented mainlyby old men it is also the skull-residence. Dr. Jenksadds a note on the distribution of equivalent club-housesin Eastern Asia and in Oceania. The olag is thedormitory of the girls from the age of two years untilthey marry, and where they receive their lovers. Theafong is the only primitive dwelling in the Philip-pines which is constructed on the ground, but it contains asmall upper storey, and often an attic more than this thesean- utilized as shop-rooms for cereals. The clothes,ornaments, tattooing utensils, weapons, and the likeare described and figured. Of wonderful interest are theaccounts of the ordinary domestic operations, especiallythose connected with t

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Image from page 332 of “The polar and tropical worlds : a description of man and nature in the polar and equatorial regions of the globe” (1874)

Saturday, August 2nd, 2014

Some cool Religious Tattoos images:

Image from page 332 of “The polar and tropical worlds : a description of man and nature in the polar and equatorial regions of the globe” (1874)
Religious Tattoos

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Identifier: polartropicalwor00hartuoft
Title: The polar and tropical worlds : a description of man and nature in the polar and equatorial regions of the globe
Year: 1874 (1870s)
Authors: Hartwig, G. (Georg), 1813-1880 Guernsey, Alfred Hudson, 1824-1902
Subjects: Arctic peoples Natural history Antarctica Arctic regions Tropics
Publisher: Guelph, Ont. : J.W. Lyon

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e the ani-mals inside. Holding the spear firmly with 1 hand, he requires his tomahawkfrom his belt, dashes the home to pieces, and secures the inmates. Anotliermethod employed by the Indians to cajituie the niusquash is to block up thedifferent entrances to their tunnels, and then to intercept the animals as theytry to escape. At times the gun is employed, but not extremely often, as the mus-quash is so wary that it dives at the least alarm, and darts into one particular of its holes.The trap, nonetheless, is the ordinary signifies of destruction. The soft and glossyfur of the musquash, although worth no far more than from 6d. to Of?., is nevertheless a notinconsiderable post of trade, as no much less than half a million skins are aimuallyimported into England for hat-generating nor is there any worry of the musquashbeing extirpated, in spite of its numerous enemies, as it multiplies really quick, and isfound near every swamp or lake with grassy banks as far as the confines of thePolar Sea. § THE CREE INDIANS, OR EYTHINYUWUK:. 319

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HUNTING BISON IN THE SNOW. CHAPTER XXIX. THE CREE INDIANS, OR EYTHINYUWUK, Th3 numerous Tribes of the Crses.—Their Conque&gtits and suhsequcnt Defeat.—Their Wars with the Black-feet.—Their Character.—Tattooing.-^Their Dress.—Fondness for their Young children.—The Cree Cradle.—Vapor Baths.—Games.—Their religious Suggestions.—The Cr^-e Tartarus and Elysium. T^HE numerous tribes of the Crees, or Eythinyuwuk, variety from the Rocky-^ Mountains and the plains of the Saskatchewan to the swampy shores ofHudsons Bay. Towards tlie west and north they border on the Tinne, towardsthe east and south, on the Ojibbeway or Santeurs, wlio belong like them to thegreat loved ones of the Lenni-lenape Indians, and inhabit the lands amongst LakeWinipeg and Lake Superior. About sixty years since, at the time when Xapoleou was deluging Europewith blood, the Crees likewise played the component of conquerors, and subdusd evenmore in depth, though less valuable domains. Provided Avith fire-arms, which at that tim

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One With Nature

Monday, February 24th, 2014

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