Tag: silhouette

Nude among dunes by Iwase

Yoshiyuki Iwase, also Iwase Ioshiyouki :: Untitled, ca. 1955 | src Sotheby's
Yoshiyuki Iwase, also Iwase Ioshiyouki :: Untitled, ca. 1955 | src Sotheby’s

Seeley’s tree silhouettes, ca. 1917

George H. Seeley :: Silhouettes of trees before a lake, ca. 1917. Platinum print. Lee Gallery. | src Luminous Lint LL/24559
George H. Seeley :: Three tree silhouettes, ca. 1917. Platinum print. Courtesy Lee Gallery. | src Luminous Lint LL/24558
George H. Seeley :: Three tree silhouettes, ca. 1917. Platinum print. Courtesy Lee Gallery. | src Luminous Lint LL/24558
George H. Seeley :: Silhouettes of trees before a lake, ca. 1917. Platinum print. Lee Gallery. | src Luminous Lint LL/24559
George H. Seeley :: Silhouettes of trees before a lake, ca. 1917. Platinum print. Lee Gallery. | src Luminous Lint LL/24559

Ruth Van Valey Blaine, 1920s

Ella McBride :: Ruth Van Valey Blaine, 1920s. Gelatin silver print. Inscriptions on recto; handwritten: “With deepest Love Ruth Van Valey Baine”; photographer’s blind-stamp: McBride Studio Seattle. | src MutualArt

Dancing with Helen Möller, 1918

“The race, adapted from the classic Greek games, is useful in dance interpretations combining grace and swiftness of movement. The silhouettes compare fantastic with natural grace of movement.” From ‘Dancing with Helen Moller’, 1918. Page 106. University of California Libraries. | src internet archive
“Drigo’s Serenade — showing how modem music of this character inspires the creation of dance movements and figures adapted from the purest Greek models. The beginning of the interpretation is shown in the small plate.” From ‘Dancing with Helen Moller’, 1918. Page 74. University of California Libraries. | src internet archive
“A playful Spring movement — flowers and ribbons, and lightness of movement which seems almost to defy the force of gravitation. The small Tanagra figures suggest the same spirit.” From ‘Dancing with Helen Moller’, 1918. Page 42. University of California Libraries. | src internet archive
“Here the dancer, erect and recumbent, realizes in living movement the classic sculptor’s sense of the aesthetic value of simple draperies.” From ‘Dancing with Helen Moller’, 1918. Page 48. University of California Libraries. | src internet archive
“The ocean beach, upon which the surf rolls rhythmically, or is broken upon half submerged rocks, incites to the most open free and vital dancing expression.” From ‘Dancing with Helen Moller’, 1918. Page 86. University of California Libraries. | src internet archive
“Reacting to the breath of Spring — the most compelling of all impulses to dance, and provocative of the most joyous physical expression.”
Helen Möller and Curtis Dunham :: From ‘Dancing with Helen Moller; her own statement of her philosophy and practice and teaching formed upon the classic Greek model, and adapted to meet the aesthetic and hygienic needs of to-day’, 1918. Page 88. University of California Libraries. | src internet archive

ACKNOWLEDGMENT: Many of the photographs reproduced in this book were taken by the author herself. For the privilege of reproducing other fine examples of the photographer’s art, she desires to express her grateful acknowledgments to Moody, to Maurice Goldberg, to Charles Albin and to Underwood and Underwood; also to Arnold Genthe for the plate [lost plate] on Page 36; and to Jeremiah Crowley for his admirable arrangement of the entire series of illustrative art plates. [quoted from source]

The Niagara Falls, ca. 1855

Platt D. Babbitt :: [Niagara Falls], ca. 1855. Daguerreotype in leather case. | src MFAH · Museum of Fine Arts Houston
Platt D. Babbitt (American, active 1840s–70s) :: The Niagara Falls, ca. 1850. Daguerreotype | src The Met
Platt D. Babbitt (American, active 1840s–70s) :: The Niagara Falls, ca. 1850. Daguerreotype in leather case | src The Met
Platt D. Babbitt (American, 1823 – 1879) :: [Scene at Niagara Falls]; about 1855. Daguerreotype.

In the 1800s Prospect Point at Niagara Falls was a popular destination for travelers in search of a transcendent encounter with nature. The falls were revered as a sacred place that was recognized by the Catholic Church in 1861 as a “pilgrim shrine,” where the faithful could contemplate the landscape as an example of divine majesty.

Platt D. Babbitt would customarily set up his camera in an open-sided pavilion and photograph groups of tourists admiring the falls without their knowledge, as he appears to have done here. Later he would sell the unsuspecting subjects their daguerreotype likenesses alongside the natural wonder. | quoted from Getty Museum

Platt D. Babbitt :: [Scene at Niagara Falls], ca. 1855. Daguerreotype | src Getty Museum Collection

Two well-dressed couples are seen from behind as they stand on the shore downstream from the falls, gazing at its majestic splendor. The silhouetted forms–women wearing full skirts and bonnets and carrying umbrellas and men in stovepipe hats–are sharply outlined against the patch of shore and expansive, white foam. | quoted from Getty Museum

Platt D. Babbitt :: Photograph shows men in morning coats and top hats standing at the side of Niagara Falls [ca. 1854]
Platt D. Babbitt :: [Niagara Falls] [ca. 1854] whole-plate ambrotype on case | src Library of Congress
Photograph shows men in morning coats and top hats standing at the side of Niagara Falls.

Silhouette from back, ca. 1965

Sanne Sannes :: Silhouette of a Woman Wearing a Coat, Standing Behind a Wooden Fence, ca. 1964-1967. (description: Silhouette of a woman, dressed in a jacket, standing behind a wooden fence, lifting her long hair with both hands.) Part of the photobook: Dummy of Dagboek van een erotomaan (Dummy or Diary of an Erotomaniac) | src Rijksmuseum
Sanne Sannes :: Blurry image of a standing figure in a wide coat with arms raised, ca. 1964-1967. Part of the photobook: Dummy of Dagboek van een erotomaan (Dummy or Diary of an Erotomaniac) | src Rijksmuseum