sman

Liebe Leser
Sport-heute.ch schliesst seine Tore. Nach 11 Jahren möchte ich andere Projekte verwirklichen, auf Reisen gehen und das Leben endlich in vollen Zügen geniessen. Es waren 11 wundervolle Jahre mit Ihnen. Sport-heute.ch bleibt mindestens die nächsten Jahre als Bilderbuch noch bestehen. Doch jeder Abschied kann auch ein neuer Anfang sein. Nun ist es endgültig. Ich wünsche Ihnen eine weiterhin schöne Zeit. Ich danke Ihnen für die Lesertreue und Ihre ehrliche Begeisterung mit grosser Dankbarkeit. Danke, dass ich Sie 11 Jahre verwöhnen durfte.

Tschau und auf Wiedersehen.

Ihr
Marcel Krebs

Wer weiterhin mit mir und Sämi in Kontakt bleiben will, kann dies über meinen persönlichen Blog.
www.marcelkrebs.ch.

Dear Users
Sport-heute.ch closes its gates. After 11 years I would like to realize other projects, go on journeys and finally enjoy life to the fullest. There were 11 wonderful years with you. Sport-heute.ch will continue to exist as a picture book for at least the next few years. But every farewell can also be a new beginning. Now it is final. I wish you a good time. I would like to thank the readership and your honest enthusiasm with great gratitude. Thank you for spoiling you for 11 years.

Chess and goodbye.

you
Marcel Krebs

Anyone who wants to stay in touch with me and Sämi can do so through my personal blog.
www.marcelkrebs.ch.

 

 

Painting with Light: Art and Photography from the Pre-Raphaelites to the Modern Age

Geschrieben von SHOWONSHOW am .

Pomegranates

MINNA KEENE (1861-1943) DECORATIVE STUDY NO. 1, POMEGRANATES
c. 1906 Carbon Print 470 x 328 mm © Royal Photographic Society / National Media Museum/ Science & Society Picture Library

Painting with Light:

Art and Photography from the Pre-Raphaelites to the Modern Age

11 May – 25 September 2016
Tate Britain, Linbury Galleries
Open daily 10.00 – 18.00

This spring, Tate Britain will uncover the dynamic dialogue between British painters and photographers; from the birth of the modern medium to the blossoming of art photography. Spanning 75 years, the exhibition will bring together nearly 200 works – many for the first time – to reveal their mutual influences. From the first explorations of movement and illumination by David Octavius Hill (1802-70) and Robert Adamson (1821-48) to artful compositions at the turn-of-thecentury, the show will discover how painters and photographers redefined notions of beauty and art itself.

Pall Mall

ATKINSON GRIMSHAW (1836-93) PALL MALL c. 1880s Oil on photograph 305 x 452 mm Private collection


The dawn of photography coincided with a tide of revolutionary ideas in the arts, which questioned how pictures should be created and seen. Photography adapted the Old Master traditions within which many photographers had been trained, and engaged with the radical naturalism of JMW Turner (1775-1851), the Pre-Raphaelites, and their Realist and Impressionist successors. Turner inspired the first photographic panoramic views, and, in the years that followed his death, photographers and painters composed novel landscapes evoking meaning and emotion. The exhibition will include such examples as John Everett Millais's (1829-96) nostalgic The Woodman’s Daughter and John Brett’s (1831-1902) awe inspiring Glacier Rosenlaui. Later in the century, PH Emerson (1856-1936) and TF Goodall’s (c1856-1944) images of rural river life allied photography to Impressionist painting, while JAM Whistler (1834-1903) and Alvin Langdon Coburn (1882-1966) created smoky Thames nocturnes in both media.


The exhibition will celebrate the role of many women photographers, such as Zaida Ben Yusuf (1869-1933) and the renowned Julia Margaret Cameron (1815-79). Cameron's artistic friendships with George Frederic Watts (1817-1904) and Dante Gabriel Rossetti (1830-94) will be celebrated in a room devoted to their beautiful, enigmatic portraits of each other and shared models, where works including Cameron’s Minstrel Group and Rossetti’s Beata Beatrix will be displayed. 

Chatterton

HENRY WALLIS (1830-1916) CHATTERTON 1856 Oil paint on canvas
622 x 933 mm Tate. Bequeated by Charles Gent Clement 1899

Highlights of the show will include examples of three-dimensional photography, which incorporated the use of models and props to stage dramatic tableaux from popular works of the time, reenvisioning well-known pictures such as Henry Wallis’s (1830-1916) Chatterton. Such stereographs were widely disseminated and made art more accessible to the public, often being used as a form of after-dinner entertainment for middle class Victorian families. A previously unseen private album in which the Royal family painstakingly re-enacted famous paintings will also be shown, as well as rare examples of early colour photography.


Carol Jacobi, Curator British Art 1850-1915, Tate Britain says: “Painting with Light offers new insights into Britain’s most popular artists and reveals just how vital painting and photography were to one another. Their conversations were at the heart of the artistic achievements of the Victorian and Edwardian era.”


Painting with Light: Art and Photography from the Pre-Raphaelites to the Modern Age is curated by Dr Carol Jacobi, Curator of British Art 1850-1915 at Tate Britain, and Dr Hope Kingsley, Curator, Education and Collections, Wilson Centre for Photography, with Tim Batchelor, Assistant Curator at Tate Britain. The exhibition will be accompanied by a fully illustrated catalogue from Tate Publishing and a programme of talks and events in the gallery.

The Woodmans Daughter

JOHN EVERETT MILLAIS 1829-1896 THE WOODMAN’S DAUGHTER
1850-51 Oil paint on canvas 889 x 648 mm Guildhall Art Gallery, City of London

The Japanese Parasol

JOHN CIMON WARBURG (1867-1931) THE JAPANESE PARASOL c. 1906
Facsimile 711 x 559 mm © Royal Photographic Society / National Media Museum/ Science & Society Picture Library

Twos Company Threes None

MARCUS STONE (1840-1921) TWO’S COMPANY, THREE’S NONE
1892 Oil on canvas 311 x 561 mm Manchester Art Gallery

Proserpine

DANTE GABRIEL ROSSETTI (1828-1882) PROSERPINE
1874 Oil paint on canvas 1251 x 610 mm
Tate. Presented by W. Graham Robertson 1940

tate core 1 standard use b 2

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