Operation Windmill Expedition Members Photographing a Seal

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Operation Windmill Expedition Members Photographing a Seal
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Image by Smithsonian Organization
Creator: As Yet Not Known

Subject: Process Windmill

Kind: Group, candid
    Exterior
    Photographic print

Date: 1947

Topic: Photography–Equipment and supplies
     Photography
     Research expeditions
     Scientific expeditions
     Snow
     Seals (Animals)
     Ice

Standard number: SIA2010-0642

Physical information: few graphics: 1 Color: Black and White; Size: 5w x 4.5h; kind of Image: Group, Candid; outdoor; Medium: Photographic printing

Records: Image situated in Robert B. Klaverkamp’s collection. Klaverkamp, an enlisted Naval Correspondent, participated in procedure Windmill. Malcolm Davis, zookeeper in the Smithsonian’s National Zoological Park, was also regarding expedition and was assigned into Icebreaker USS Edisto (AG-89) using express intent behind collecting penguins, other birds, and leopard seals

Overview: Image of four process Windmill journey members in Antarctica photographing a seal. A tripod is visible in the left and hills are visible in the back ground. Operation Windmill (1947-1948) had been an expedition established by the Chief of Naval Operations to teach personnel, test equipment, and reaffirm US interests in Antarctica

Place: Antarctica

Persistent URL:Link to information base record

Repository:Smithsonian Archives – Record Div

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Image from page 91 of “Catalogue of paintings and drawings.” (1922)
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Image by online Archive Book Images
Identifier: catpaint00worc
Title: Catalogue of paintings and drawings.
12 Months: 1922 (1920s)
Writers: Worcester Art Museum
Subjects: Art Catalogs
Publisher: Worchester, Massachusetts
Contributing Library: Whitney Museum of United States Art, Frances Mulhall Achilles Library
Digitizing Sponsor: Metropolitan New York Library Council – METRO

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HE HOLY FAMILYGIOVANNI BATTISTA TIEPOLO 74 GIOAXXwe BATTISTA TIEPOLO Ncnetian, 1696-1770THE HOLY FAMILY TIepolo may be the culmination for the art for the Venetian Renais-sance. Inside the artwork and drawing we see how much he benefitedby the impact associated with the earHer Venetians. He didn’t possessgreater characteristics than they but a technical dexterit which re-sulted in an elegance and suggestiveness of line expressed witha confidence almost precocious. Into the startling abandon of Tiepolos drawings we recognizethe wizard regarding the man. The managing associated with medium, connected as itis with strange composition, indicates movement; power becomes aspontaneous outburst, its characteristic elements revolvingupon an axis clearly believed. With a sure understanding of the ultimateresult, he composes places high in interest cleverly juxtaposinguntouched forms and shaded portions. Tiepolo was an electric,and exerted great influence on seventeenth century design. Sepia in writing, 16^ ins by 12 inchesGift of Paul J. Sachs. IS

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THE TOPERJEAN ALEXIS GRIMOU 76 JEAN ALEXIS GRIMOU French, 1680-1740IHE TOPl-.R Alexis Grimou ended up being a Swiss but decorated niucli inside styleof their French contemporary, Fragonard. In colouring andvivacity his tasks are similar to that of PVagonard, however it has actually notthe subtlety or refinement of execution. This photo, nonetheless,is painted with power and conveys substantial character and ac-tion. The still-life is a superb bit of realism, and contains anecessary commitment to the figure. The variety of reddishbrown tones is characteristic of much French art associated with the period.The composition is especially happy. One-hand holding thegoblet, therefore the other grasping the jug have actually normal convenience andspontaneity. Oil on canvas. 40 inches by 32 inches 11

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Image from page 78 of “International studio” (1897)
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Identifier: internationalstu75newy
Title: Overseas studio
Year: 1897 (1890s)
Writers:
Topics: Art Decoration and decoration
Publisher: New York
Adding Library: Robarts – University of Toronto
Digitizing Sponsor: University of Toronto

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Text Appearing Before Image:
ed atSanta Fe in 1921. Listed here is an etcher whom hasnever then followed the familiar routes of Venice, Parisand London in his progress as a worker with theburin but has-been material working in what HenryJames may have known as the adoptive scene.It is an uncommon experience to get an US etcherwithout such backgrounds. But it will notappear to have cramped either his line or their feel-ing for what comprises an etched plate. Probable-it accounts for a number of the spontaneity. What this artist features attempted to do with hisburin would be to express type through range as an alternative ofthrough the size. He uses an excellent variety ofline, makes use of it as exactly what he calls an inventional lineto create on his dish, from something he saw andnoted straight down in memory, a tree or a horse, or ahuman figure. Often the range is strong and solidbut, now and again, as in the wall surface back of sofain the lovely Nude, this has a feathery delicacythat adds perhaps not a little towards supreme charm of thisdistinctive printing. s nil MARCH 1922 m

Text Appearing After-image:
POR.TR.A1T OF MADEMOISELLE DE GOTTIGNIES ™ VAN DYIE => Bv the bequest of Edmund C. Converse, banker and art enthusiast,the Metropolitan Museum of Art has become the possessor of thissplendid example of Flemish portraiture. Its significantly like thefamous Marie Louise de Tassis, and was coated during :period, 1627-1632, following the designers go back to Antwerp from Genipreceding their stop by at England M ARCH 9 2 2 SIXI mceKiiACtonAL

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