Browsing by subject : Exhibits from the Collection of Rich Breiman

Frontispieces: An Exhibit of Atlas Title Pages

An exhibit of title pages from the collection of Rich Breiman.keyword: richbreiman

17th Century Vignette Maps

These 17th century maps, while beautiful and informative, are enhanced by vignettes that depict inhabitants in their native costumes from areas included on the maps as well as city maps or biblical scenes. From the collection of Rich Breiman. keyword: richbreiman

Colossi Maps

These colossi are cartographic curiosities as they were included along with two other images of colossal figures in Matthaus Seutter’s Atlas Novus published in 1728 and 1730. Four additional maps from this atlas are included in the exhibit because of their elaborate and artistic cartouches.Matthaus Seutter the elder (1678-1757) was an engraver, globe maker and map publisher based in Augsburg, Germany. He apprenticed with Johann Baptist Homann in Nuremberg and was awarded the title of Imperial Geographer by Karl VI in 1731. By 1732, Seutter was one of the most prolific publishers of his time and was honored by the German Emperor Charles VI with the title of “Imperial Geographer”. He continued to publish until his death in 1757.From the collection of Rich Breiman.keyword: richbreiman

Captain Cook Engravings and Maps

Various maps and engravings that were among the illustrations included in the publications of Captain Cook's journals that served as a first hand account of the experiences of Cook and the crew on each of his three 18th century voyages. These voyages resulted in monumental discoveries of previous unknown lands, people, animals and plants. They were responsible for changing conceptions off the world, particularly the Pacific Ocean from Australia to North America. The official British Admiralty authorized journal publications in total include 8 volumes of text, maps and engravings (3 volumes for the 1st and 3rd voyages and 2 volumes for the 2nd voyage and an atlas of engravings that accompanied the journal of the 3rd voyage).From the collection of Rich Breiman.keyword: richbreiman

Etching, Engraving and Printing

Richard S. Breiman, MD, retired in October 2011 after 10 years of service to the Department of Radiology and Biomedical Imaging. Breiman received his medical degree from UCSF in 1973. He completed a Diagnostic Radiology residency at Stanford University in 1979, followed by CT and Ultrasound fellowships, also at Stanford University, in 1976 and 1978. From 1979-1981, Breiman was an assistant professor of radiology at Duke University, Durham, North Carolina, and a Clinical Instructor of Radiology at UC Berkeley from 1982-1994. Concurrently he served as volunteer clinical faculty at UCSF from 1984-1987. He worked in private practice as a radiologist and partner at Pacific Imaging Consultants from 1989-2001. He was appointed assistant clinical professor in the Department of Radiology and Biomedical Imaging in July 2001, became an associate clinical professor in 2003, and was promoted to a clinical professor in 2007. He served as director of the Henry I. Goldberg Center for Advanced Imaging Education, and more recently on the faculty at San Francisco General Hospital. “Dr. Breiman joined the Radiology faculty here at SFGH at a time of need for our department. His willingness to cover several niches helped us navigate through a rocky period and to emerge as strong as ever,” said Mark Wilson, MD, chief of Radiology at SFGH. ”His warm demeanor, consummate professionalism, and dedication to radiology education will be greatly missed at SFGH.” Breiman will return to the department part-time on a recall appointment to provide clinical coverage at the UCSF Ambulatory Care Center.UCSFkeyword: richbreiman

The Images of William Hogarth

William Hogarth images from the collection of Rich and Leslie Breiman.keyword: richbreiman

Bernhard Siegfried Albinus, 1696 - 1770, German anatomist

Images of the human body from the mid-1700's by Bernhard Siegfried Albinus, 1696 - 1770, a German anatomist. From the collection of Richard Breiman.https://en.wikipedia.org/wiki/Bernhard_Siegfried_A...------------------7/21/24Bernhard Siegfried Albinus (originally Weiss), born on February 24, 1697, in Frankfurt an der Oder, Germany, was a prominent anatomist who made significant contributions to the field of anatomy during the 18th century. He passed away on September 9, 1770, in Leiden, Netherlands.Education and CareerAlbinus began his studies at the University of Leiden at the young age of 12, influenced by notable figures such as Herman Boerhaave and Govert Bidloo. After further training in Paris, he returned to Leiden in 1719, where he became a lecturer in anatomy and surgery. By 1721, he succeeded his father as a professor at the University of Leiden, where he remained throughout his career, eventually becoming a professor of medicine in 1745[1][2][3].Major ContributionsAlbinus is best known for his artistic and scientifically significant work, Tabulae sceleti et musculorum corporis humani (1747), which translates to "Tables of the Skeleton and Muscles of the Human Body." This work featured exquisite engravings created in collaboration with the artist Jan Wandelaar, employing innovative techniques to enhance the accuracy of anatomical illustrations. Albinus used a grid system to ensure precision in the drawings, moving away from the single-specimen approach that characterized earlier anatomical art[1][2][3][5].In addition to Tabulae, Albinus published numerous other works, including Historia musculorum corporis human (1734) and Icones ossium foetus humani (1737). He also edited the works of significant anatomists like Andreas Vesalius and William Harvey, further contributing to the advancement of anatomical knowledge[1][3][5].LegacyAlbinus's approach to anatomy emphasized the idea of "homo perfectus," an idealized human model from which all variations are derived. His work laid the groundwork for future anatomical studies and significantly influenced the field of medical illustration. Despite facing criticism for some artistic choices in his illustrations, he remained a respected figure in anatomy and education, shaping the practices of anatomical study for generations to come[1][2][3].Source: Perplexity.ai--Gabrielle Ly keyword: richbreiman

Tabulae Sceleti - Bernhard Siegfried Albinus - 1749

5/28/2023 I shot these images with my friend Rich Breiman (@rbreiman) in early 2020, just before the pandemic, when we were beginners at image collection. Despite the uneven lighting, I love and appreciate the beauty and intricacy of the images. Tom Paper (@tomadmin) 5/21/2023Bernhard Siegfried Albinus (originally Weiss; 24 February 1697 – 9 September 1770) was a German-born Dutch anatomist. He served a professor of medicine at the University of Leiden like his father Bernhard Albinus (1653–1721). He also published a large-format artistic atlas of human anatomy, with engravings made by Jan Wandelaar.Wikipedia-------7/21/24Tabulae Sceleti et Musculorum Corporis Humani (Tables of the Skeleton and Muscles of the Human Body) was a groundbreaking anatomical atlas published in 1747 by Bernhard Siegfried Albinus, a renowned Dutch physician and anatomist[1][4]. This work is considered the pinnacle of anatomical illustration in the 18th century, known for its exceptional accuracy and artistic beauty[4].Key aspects of this work include:1. Collaboration: The atlas was the result of a remarkable partnership between Albinus and artist Jan Wandelaar, who worked together for over 25 years[4].2. Innovative techniques: Albinus and Wandelaar developed a novel method using grids of small cords to ensure accurate proportions and transfer of anatomical details to the drawings[4].3. Artistic quality: The plates are renowned for their "cool, elegant aesthetic" and scientific precision[4]. Wandelaar placed the anatomical figures in carefully chosen landscape settings, creating visually striking compositions[4].4. Structure: The atlas contains 40 plates in total, including finished representations of the skeleton, complete musclemen, and detailed illustrations of specific muscles[4].5. Unique features: Albinus introduced an innovative solution for including keys without obscuring the artwork. He had Wandelaar create exact outline copies of the figures, which were used to provide the anatomical information[3].6. Impact: This work revolutionized people's understanding of the human body and set a new standard for anatomical atlases[3]. It became highly influential, with its techniques adopted by other atlas authors[3].7. Publication: The atlas was originally published in Leiden by Johan & Hermann Verbeek[4]. An English translation was later published in London in 1749[5].Tabulae Sceleti et Musculorum Corporis Humani remains a testament to the exceptional collaboration between science and art, showcasing Albinus's anatomical expertise and Wandelaar's artistic skill[3][4].Source: Perplexity.ai--Gabrielle Lykeyword: richbreiman medhist

206

Civil War Maps - 1895 - Breiman Collection

Civil war maps 18957/16/24Calvin D. Cowles compiled a significant atlas of Civil War maps titled "An Atlas to Accompany the Official Records of the Union and Confederate Armies," published by the Government Printing Office from 1891 to 1895[1][2]. This atlas is considered an indispensable part of the Official Records of the Civil War and stands as the most comprehensive collection of maps pertaining to the conflict[1].The atlas consists of three large folio volumes containing 175 double-folio plates with 821 colored maps and charts, 106 tinted lithographs based on original photographs, and 209 line drawings of equipment, uniforms, insignia, and flags[1]. The maps are remarkably detailed, often printed in several colors, and include battlefield maps specifying troop positions and movements[1].Key features of the Cowles atlas include:1. Four main sections, with the largest focusing on military operations in the field[1].2. Sections covering general topography, delineation of military divisions and departments, and other miscellaneous topics[1].3. Reproduction of maps drawn during the war by engineers, draftsmen, and sometimes even generals for actual military use[2].4. Tactical and strategic maps indicating troop disposition, defense lines, redoubts, and fortifications[2].5. Terrain maps often showing picket positions, signal stations, and lines of march[2].The atlas provides a wealth of information, with its index referencing campaigns, battles, geographical features, infrastructure, and various military-related locations[2]. It serves as an invaluable resource for understanding the geographical and strategic aspects of the American Civil War.It's worth noting that this atlas was part of a larger project to compile and publish the official records of the Civil War, which began with a joint resolution of Congress on May 19, 1864[1]. The atlas itself was not reprinted until 1958, making original editions particularly valuable[2].Source: Perplexity.aiGabrielle Lykeywords: richbreiman

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Various Rich Breiman Images - shot June 10, 2023

various images from the collection of Rich Breiman keyword: richbreiman

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Various Rich Breiman images - shot July 1, 2023

...keyword: richbreiman

Audubon Animals - shot 2023-07-29

from the collection of Rich Breiman7/16/24John James Audubon (1785-1851) was a French-American ornithologist, naturalist, and artist who made significant contributions to the field of ornithology and wildlife art[2]. He is best known for his ambitious project to document and illustrate all the bird species of North America, which resulted in his seminal work "The Birds of America" (1827-1839)[1][2].Audubon's importance stems from several key factors:1. Artistic and scientific contributions: His detailed, life-size illustrations of North American birds in their natural habitats set a new standard for wildlife art and ornithological documentation[2]. "The Birds of America" is considered one of the finest ornithological works ever completed[2].2. Discovery of new species: Audubon identified 25 new bird species and 12 new subspecies, contributing to the scientific understanding of North American avifauna[2][3].3. Influence on ornithology: His work inspired many later ornithologists and naturalists, including Charles Darwin, who quoted Audubon in "On the Origin of Species"[2][4].4. Conservation legacy: Although Audubon himself did not establish it, the National Audubon Society, founded in 1905 and named in his honor, has become a major force in bird conservation and environmental protection[2][3].5. Cultural impact: Audubon's name has become synonymous with bird conservation and study in North America, with numerous places, organizations, and institutions bearing his name[2].It's important to note that while Audubon made significant contributions to ornithology and art, his legacy is complicated by his personal history. He enslaved people, held racist views, and was critical of emancipation[1][3]. This has led to ongoing discussions about his place in history and the use of his name by conservation organizations[3].Despite these controversies, Audubon's artistic and scientific work remains highly influential in the fields of ornithology and wildlife art, cementing his place as a significant figure in the history of American natural science.Source: Perplexity.aiGabrielle LyKeyword: richbreiman

Audubon Birds - Rich Breiman Collection - Curated by Katharine Griswold

April 2024 - From the collection of Rich Breiman. (shot 2023-07-29)John James "JJ" Audubon was a French-American artist and naturalist, most known for his work in ornithology, published in various editions of “Birds of America.” Born in Haiti, raised in France, Audubon spent his childhood fascinated with birds, and once he headed to the states at 18, his interests only grew. His father had given him an estate in Pennsylvania, where he began a series of drawings of American birds: he would observe the birds’ habitat and behavior, then would shoot and hang it and draw it as close to life as possible. He was never too concerned with making money, remarking in his diary: “birds were birds then as now, and my thoughts were ever and anon thinking toward them as the objects of my greatest delight. I shot, I drew, I looked on nature only; my days were happy beyond human conception, and beyond this I really cared not.” He abandoned or failed at most business ventures; he and his wife spent their young adulthood in poverty, and Audubon even spent some time in debtor prison. He began to spend months at a time in the woods, hunting, drawing, and writing biographies. With a large collection, but just a fraction of what he would come to produce, Audubon sailed to England in search of a friendlier market for his work. His American bird series sold well, and he was able to find a printer for his work in London, as well as a collaborator in William MacGillivray, an ornithologist who assisted him in the descriptions of each bird. Audubon’s work was becoming pretty popular, but the huge folios he was producing were not accessible to everyone. The octavo edition, which is a smaller edition that was meant to be more accessible, was produced in Philadelphia beginning in 1840. Most of the prints in this collection are from the first two editions of the octavo “Birds of America.” In his work, Audubon made use of his extensive research, and of his from-life models. The majority of his images are exactly true to life, with every feather and limb being placed meticulously. To recount his process, he would use wire to pose the birds in positions that would have been the most natural in the wild, while also considering what parts of the bird should be visible to the viewer. There is an obvious compositional effort in the pieces, as well: no bird is alone on the canvas, and while some are more intricate than others, Audubon does his best to place each bird within a fitting habitat. Whether these scenes are real or imagined is indeterminate―it’s probably a bit of both.Audubon’s legacy is fairly complicated for a number of reasons. While he was not the first to do what he did, not even in America, he was the most influential by far. Often praised in his life for his artistic ability, Audubon’s works were beautiful and lifelike. He was respected enough as an ornithologist and natural historian that the Audubon Society, a non-profit that works towards the conservation and habitat preservation of endangered birds, was named after him. But there are also rumors of fraud and theft, for example, that he drew imaginary birds. It's true that there are some birds that he drew that are unidentified, some think that he drew hybrids or was forced to draw in some cases from memory, and some think this was more intentional. There is a controversy regarding his plate of the Bird of Washington, for example, which Audubon claimed to be a new species closely related to the bald eagle, but seems to be just a youngling of that species. This is a fascinating read, and it is linked below. He also in his field notes describes the taste of many of the species he records. In his hunting, it seems, he also killed many more birds than were necessary just for survival and for drawing. Most important to mention was his lifetime of opposition to the abolition movement. He produced writings against emancipation, and he himself bought enslaved people for his estate when he still owned it, and for his expeditions before setting off to England. Despite the importance of his art, and the good that has come from his legacy, it is important to recognize that the man behind them was imperfect, to say the least. For more information:The Myth of John James AudubonJohn James Audubon(Audubon Society)John James Audubon(Britannica)Five Mystery Birds Among Audubon's PaintingsAudubon's Bird of Washington: unravelling the fraud that launched the Birds of AmericaAudubon and his JournalsAll About BirdsBirds of AmericaAudubon Society: Guide to North American BirdsAuthored by Katharine GriswoldKeyword: richbreiman

157

Harper's Weekly Folio Pages - Rich Breiman collection

7/8/24Harper's Weekly was an American political magazine published in New York City from 1857 to 1916[1]. It was founded by Fletcher Harper of Harper & Brothers publishing company and quickly became one of the most widely read journals in the United States during the mid-19th century, particularly during the American Civil War era[1].The magazine was published in folio format (large pages) for several reasons:1. To accommodate large illustrations: Harper's Weekly was known for its high-quality illustrations, including political cartoons, depictions of current events, and artwork by renowned illustrators like Thomas Nast and Winslow Homer[1]. The large folio pages allowed these illustrations to be presented in detail and with impact.2. To provide comprehensive coverage: The folio format allowed for extensive articles on foreign and domestic news, fiction, essays, and humor to be presented alongside the illustrations[1].3. To match contemporary publishing trends: Many newspapers and magazines of the time were published in folio format, as it was considered suitable for presenting a wide range of content.4. To create a prestigious appearance: The large format gave the publication a substantial and authoritative look, befitting its subtitle "A Journal of Civilization"[3].The folio format typically measured around 39.5 cm (15.5 inches) in height[2], which allowed for a striking visual presentation of both text and images. This format was particularly effective for the magazine's extensive coverage of the American Civil War, including many detailed illustrations of war events[1].Harper's Weekly's large format and comprehensive content made it an influential publication of its time, serving as a significant source of news, entertainment, and political commentary for American readers throughout its 59-year run[1].Source: Perplexity.aiCurated by Gabrielle LyKeyword: richbreiman

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Harper's Weekly - Loose Pages - Rich Breiman collection

7/8/24Harper's Weekly was a prominent American illustrated magazine published by Harper & Brothers from 1857 to 1916. It was known for its extensive coverage of political, military, social, and cultural events, particularly during the Civil War and the Reconstruction era.Key Features and Historical Context- Founding and Popularity: Harper's Weekly began publication in 1857 and quickly gained popularity due to its high-quality illustrations and editorial content. By the end of 1861, it had a circulation of 120,000, making it one of the leading magazines of the Civil War period[2].- Illustrations and Artists: The magazine featured illustrations by notable artists such as Winslow Homer, Thomas Nast, and Mathew Brady. These illustrations played a significant role in its appeal and influence[1].- Civil War Coverage: Harper's Weekly was widely read by Union soldiers and provided extensive coverage of the Civil War. It supported the Lincoln administration and the Union cause, although it maintained a less strident tone compared to some of its contributors like Thomas Nast[2][3].- Political Influence: The magazine's influence peaked during the 1870s, particularly through Nast's cartoons attacking New York's Tammany Hall and political figures like William Tweed. These cartoons gained national attention and were especially favored by Republicans[2].- Decline and Cessation: The magazine began to lose favor in 1884 due to its opposition to the Republican presidential nominee, James G. Blaine. This led to a decline in circulation and ongoing conflicts within the editorial team. Thomas Nast left the magazine in 1887, and Harper's Weekly eventually ceased publication in 1916[2].Content and Legacy- Content Variety: Harper's Weekly included a mix of news, literary content, poems, humor, and serialized stories, such as Charles Dickens's "Great Expectations." It also featured significant historical documents and illustrations, like President Lincoln's proclamation of war and the bombing of Fort Sumter[3].- Legacy: Despite its cessation in 1916, Harper's Weekly left a lasting legacy in American journalism and illustration. It set a standard for illustrated magazines and played a crucial role in shaping public opinion during significant historical events.For more detailed information, you can explore the archives and historical analyses available through various academic and library resources[1][2][3][4].Source: Perplexity.aiCurated by Gabrielle LyKeyword: richbreiman

117

Audubon animals shot 2023-08-12

7/16/24John James Audubon (1785-1851) was a French-American ornithologist, naturalist, and artist who made significant contributions to the field of ornithology and wildlife art[2]. He is best known for his ambitious project to document and illustrate all the bird species of North America, which resulted in his seminal work "The Birds of America" (1827-1839)[1][2].Audubon's importance stems from several key factors:1. Artistic and scientific contributions: His detailed, life-size illustrations of North American birds in their natural habitats set a new standard for wildlife art and ornithological documentation[2]. "The Birds of America" is considered one of the finest ornithological works ever completed[2].2. Discovery of new species: Audubon identified 25 new bird species and 12 new subspecies, contributing to the scientific understanding of North American avifauna[2][3].3. Influence on ornithology: His work inspired many later ornithologists and naturalists, including Charles Darwin, who quoted Audubon in "On the Origin of Species"[2][4].4. Conservation legacy: Although Audubon himself did not establish it, the National Audubon Society, founded in 1905 and named in his honor, has become a major force in bird conservation and environmental protection[2][3].5. Cultural impact: Audubon's name has become synonymous with bird conservation and study in North America, with numerous places, organizations, and institutions bearing his name[2].It's important to note that while Audubon made significant contributions to ornithology and art, his legacy is complicated by his personal history. He enslaved people, held racist views, and was critical of emancipation[1][3]. This has led to ongoing discussions about his place in history and the use of his name by conservation organizations[3].Despite these controversies, Audubon's artistic and scientific work remains highly influential in the fields of ornithology and wildlife art, cementing his place as a significant figure in the history of American natural science.Source: Perplexity.aiGabrielle Lykeyword: richbreiman

E396 Audubon birds - shot 2023-08-12

From the collection of Rich Breiman. John James "JJ" Audubon was a French-American artist and naturalist, most known for his work in ornithology, published in various editions of “Birds of America.” Born in Haiti, raised in France, Audubon spent his childhood fascinated with birds, and once he headed to the states at 18, his interests only grew. His father had given him an estate in Pennsylvania, where he began a series of drawings of American birds: he would observe the birds’ habitat and behavior, then would shoot and hang it and draw it as close to life as possible. He was never too concerned with making money, remarking in his diary; “birds were birds then as now, and my thoughts were ever and anon thinking toward them as the objects of my greatest delight. I shot, I drew, I looked on nature only; my days were happy beyond human conception, and beyond this I really cared not.” He abandoned or failed at most business ventures; he and his wife spent their young adulthood in poverty, and Audubon even spent some time in debtor prison. He began to spend months at a time in the woods, hunting, drawing, and writing biographies. With a large collection, but just a fraction of what he would come to produce, Audubon sailed to England in search of a friendlier market for his work. His American bird series sold well, and he was able to find a printer for his work in London, as well as a collaborator in William MacGillivray, an ornithologist who assisted him in the descriptions of each bird. Audubon’s work was becoming pretty popular, but the huge folios he was producing were not accessible to everyone. The octavo edition, which is a smaller edition that was meant to be more accessible, was produced in Philadelphia beginning in 1840. Most of the prints in this collection are from the first two editions of the octavo “Birds of America.” In his work, Audubon made use of his extensive research, and of his from-life models. The majority of his images are exactly true to life, with every feather and limb being placed meticulously. To recount his process, he would use wire to pose the birds in positions that would have been the most natural in the wild, while also considering what parts of the bird should be visible to the viewer. There is an obvious compositional effort in the pieces, as well: no bird is alone on the canvas, and while some are more intricate than others, Audubon does his best to place each bird within a fitting habitat. Whether these scenes are real or imagined is indeterminate―it’s probably a bit of both.Audubon’s legacy is fairly complicated for a number of reasons. While he was not the first to do what he did, not even in America, he was the most influential by far. Often praised in his life for his artistic ability, Audubon’s works were beautiful and lifelike. He was respected enough as an ornithologist and natural historian that the Audubon Society, a non-profit that works towards the conservation and habitat preservation of endangered birds, was named after him. But there are also rumors of fraud and theft, for example, that he drew imaginary birds. It's true that there are some birds that he drew that are unidentified, some think that he drew hybrids or was forced to draw in some cases from memory, and some think this was more intentional. There is a controversy regarding his plate of the Bird of Washington, for example, which Audubon claimed to be a new species closely related to the bald eagle, but seems to be just a youngling of that species. This is a fascinating read, and it is linked below. He also in his field notes describes the taste of many of the species he records. In his hunting, it seems, he also killed many more birds than were necessary just for survival and for drawing. Most important to mention was his lifetime of opposition to the abolition movement. He produced writings against emancipation, and he himself bought enslaved people for his estate when he still owned it, and for his expeditions before setting off to England. Despite the importance of his art, and the good that has come from his legacy, it is important to recognize that the man behind them was imperfect, to say the least; these actions of his should not be forgotten or excused. For more information: The Myth of John James AudubonJohn James Audubon(Audubon Society)John James Audubon(Britannica)Five Mystery Birds Among Audubon's PaintingsAudubon's Bird of Washington: unravelling the fraud that launched the Birds of AmericaAudubon and his JournalsAll About BirdsBirds of AmericaAudubon Society: Guide to North American Birds keyword: richbreiman

Smith's Astronomy - 1865

9/30/23 - Thanks again to Rich Breiman, for sharing the digital images of this school textbook published, for the first time, before the Civil War. The author, Asa Smith, was a professor at Dartmouth. Smith's Illustrated Astronomy is a book that was published in 18651. Here are some historical facts about the book:The book was part of the study of meteors and their origins1.Smith's Illustrated Astronomy was used as a textbook in high schools2.The book was first published in 1852, and there were subsequent editions in 1860 and 18653.Smith's Illustrated Astronomy contained maps of the planets and the solar system3.The book was written by Asa Smith, who was a professor of natural philosophy and astronomy at Dartmouth College4.Smith's Illustrated Astronomy was part of a series of books that included Smith's Atlas of Modern and Ancient Geography6.An abridged version of the book was designed for use in junior classes in public or common schools5.Overall, Smith's Illustrated Astronomy was an important educational resource in the mid-19th century, used to teach students about astronomy and the solar system. Asa Dodge Smith was an American Presbyterian preacher and the seventh president of Dartmouth College from 1863 until his death in 187723. He was born on September 21, 1804, in Amherst, New Hampshire, and died on August 16, 1877, in Hanover, New Hampshire2. Smith graduated from Dartmouth College in 1830 and later attended Andover Theological Seminary3. He was a cosmopolitan man, whose reputation as a preacher and public speaker had won him many friends and admirers1. Smith was appointed as the president of Dartmouth College in 1863, after a long career as a minister3. During his presidency, he oversaw the annexation of the Chandler Scientific School, America's first specialized school of engineering5. Smith was also a prolific writer and authored several books, including Letters to a Young Student, in the First Stage of a Liberal Education (1832) 4. Asa Dodge Smith is buried at Dartmouth College Cemetery, Hanover, New Hampshire4.keyword: richbreiman, Minadealmeida

Various Rich Breiman shot 2023-08-12

contained 79 images that went to E446, 447, 448, 449, 450...keyword: richbreiman

Larmessin Whimsical Costumes of Professions - Rich Breiman Collection - Curated by Gabrielle Ly

April 2024 - To view voice note transcript, scroll to the bottom. Gabrielle's text:Nicolas de Larmessin I (1632-1694) was a printmaker, known for his portraiture. Apprenticed to Jean Mathieu in 1647, de Larmessin later married the daughter of publisher Pierre Bertrand in 1654 and took over his stock in 1678. Bertrand published many of Larmessin’s works.His collection “Grotesque Costumes,” also known as Habits des meters et professions or Les costumes grotesques et les metiers, features tradesmen and tradeswomen with the wardrobe and tools of their craft. Portraying each tradesperson in the standard costume stance of the time, Larmessin’s portrait combines the influence of ballet costumes, portraying them in a fanciful documentary style. Though the costumes were first created by de Larmessin, his brother or son Nicholas de Larmessin II expanded on this idea of portraying the trades and added thirty-two plates to the collection. To have the full collection of roughly one hundred designs in one place is quite rare.These prints are “productively positioned between the fantastic and lived experience” (Pullins). Created by a tradesman like Larmessin, the portraits ought to be seen in reference to his time (representing trades, fashions, and culture of the time) and referring to the art world. The portraits walk a fine line, in tension between two opposing worlds. To the viewer, this collection deals with familiar materials of French life, though framed like an ethnography print. It lends a fantastical lens to the domestic, changing one’s preexisting perspective.Sources: https://www.britishmuseum.org/collection/term/BIOG34865https://www.martayanlan.com/pages/books/5488/nicolas-de-larmessin/les-costumes-grotesques-et-les-metiers-habits-des-metiers-et-professions?soldItem=truePrint of Louis XIV from https://blog.nationalmuseum.ch/en/2023/01/the-dancing-sun-king/ David Pullins, Techniques of the Body: Viewing the Arts and Métiers of France from the Workshop of Nicolas I and Nicolas II de Larmessin, Oxford Art Journal, Volume 37, Issue 2, June 2014, Pages 135–155, https://doi-org.stmarys-ca.idm.oclc.org/10.1093/oxartj/kcu005_____________________________________________________Katharine's TextNicolas I de Larmissin was a French engraver. Born in 1632, he produced a vast portfolio of work in his lifetime. Most of his work was portraiture, and was often in series: this exhibit features his costumes of professions. Absurdly impractical and opulent, these costumes draw attention to features of various professions in a playful and mocking way. Intricate details give insights into the professions depicted, yet there is an obviously exaggerated aspect of the pieces. Sources: British Museum, Fashion History_____________________________________________________Nicolas de Larmessin was a French engraver born in Paris in 1632. He came from a family of famous generational engravers and printers who worked in the 17th and 18th centuries. Nicolas de Larmessin is known for creating etched pictures of various artisans and skilled laborers. His work, characterized by attention to detail, is part of a series of satires and grotesques of the professions from the 1700s. Little is known about his life, but he is recognized for engraving a number of portraits. He was the elder brother of Nicolas de Larmessin II, who was also a French artist. The goal of Nicolas de Larmessin's artwork depicting artisans and skilled laborers is not fully documented.Source: Perplexity.aiVOICE NOTE TRANSCRIPT:Nicolas de Larmessin I (1632-1694) was a printmaker, known for his portraiture and his works on the different trades. He began learning the trade while apprenticing to the engraver Jean Mathieu in 1647. In 1654, de Larmessin later married the daughter of print-publisher and print-seller Pierre Bertrand, and worked for his father-in-law, taking over his stock in 1678 at Bertrand’s death. His collection “Grotesque Costumes,” also known as Habits des meters et professions or Les costumes grotesques et les metiers, features tradesmen and tradeswomen with the wardrobe and tools of their craft. Though the costumes were first created by de Larmessin, his brother or son Nicholas de Larmessin II expanded on this idea of portraying the trades and added thirty-two plates to the collection. To have a complete collection of roughly one hundred designs in one place is quite rare. Keyword: richbreiman