Roger Fenton, Lady on Horseback, MET, 1850s via
The Billiard Room, Mentmore by Roger Fenton, 1858 via
Bolton Abbey by Roger Fenton, 1850s via
Wharfe and Pool, Below the Strid, MET, by Roger Fenton, 1854 via
Queen Victoria and Prince Albert by Roger Fenton, 1854 via
Queen Victoria and Prince Albert by Roger Fenton, 1854 via
Victoria, Princess Royal and her sister Princess Alice by Roger Fenton, 1855 via
John Dillwyn Llewelyn (1810 – 1882) was a botanist and pioneer photographer. His earliest daguerreotype is dated 1840. A few of his early photogenic drawings have survived, including some cliché verre, dated 1839. When the Royal Photographic Society was founded in 1853, Llewelyn was one of those who attended the foundation meeting at the Society of Arts in London, and was, for some years, a founder Council member.
The majority of his images were taken around his estate of Penllergare, near Swansea, and around the Welsh coast. There are also a number taken in Cornwall over several years, many in Bristol including some pioneer animal and bird images in Clifton Zoo, Yorkshire, Derbyshire and a few in Scotland. His circle of photographic friends included Philip Henry Delamotte, Robert Hunt, Hugh Welch Diamond and especially his distant relative Calvert Richard Jones.
His last images would appear to date from the end of the 1850s after which it is possible that his health prevented any further photographic activity.
John Dillwyn Llewelyn, Oakley Cottage, MET, 1853–56 via
Emma Charlotte Dillwyn Llewelyn’s Album, MET, 1853–56 via
John Dillwyn Llewelyn, Birthday Group, MET, 1856 via
John Dillwyn Llewelyn, Two Women, One Kneeling and One Standing, Looking into Basket Filled with Vegetables, MET, 1853–56 via
John Dillwyn Llewelyn, Gipsies, MET, 1853–56 via
John Dillwyn Llewelyn , Thereza and the dickies, early 1850s via
John Dillwyn Llewelyn, Emma, wife of John Dillwyn Llewelyn/ The National Library of Wales from Wales/Cymru, 1852 via
Yayoi Kusama (born 1929) is a Japanese artist and writer. Throughout her career she has worked in a wide variety of media, including painting, collage, soft sculpture, performance art, and environmental installations, most of which exhibit her thematic interest in psychedelic colors, repetition, and pattern. A precursor of the pop art, minimalist and feminist artmovements, Kusama influenced her contemporaries such as Andy Warhol, Claes Oldenburg, and George Segal and exhibited works alongside the likes of them.
In 1957, she moved to the United States, settling down in New York City where she produced a series of paintings influenced by the abstract expressionist movement. Switching to sculpture and installation as her primary media, Kusama became a fixture of the New York avant-garde during the early 1960s where she became associated with the pop art movement. Embracing the rise of the hippiecounterculture of the late 1960s,
Kusama came to public attention when she organized a series of happenings in which naked participants were painted with brightly colored polka dots.
Although largely forgotten after departing the New York art scene in the early 1970s, Kusama is now acknowledged as one of the most important living artists to come out of Japan, and an important voice of the avant-garde.
Yayoi Kusama, Horse Play in Woodstock, 1967 via
Yayoi Kusama, Horse Play in Woodstock, 1967 via
Yayoi Kusama, Horse Play in Woodstock, 1967 via
A vintage circus, with acrobats riding on horses in the center ring by photographer Ben McCall (credited to Globe Photos), 1960s via
FROM THE BYGONE 
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