Paintings from the Musée du Louvre, Paris France. 

  1. Peter Paul Rubens - Arrival (or Disembarkation) of Marie de Medici at Marseilles, 1621-25. Oil on canvas
  2. Eugène Delacroix - Scene of the massacre at Chios; Greek families awaiting death or slavery, 1824. Oil on canvas 
  3. Louvre Gallery Interior
  4. Caravaggio - Death of the Virgin, 1605-06. Oil on canvas 
  5. Jacques-Louis David - The Oath of the Horatii, 1784. Oil on canvas
Thomas Struth - The Restorers at San Lorenzo Maggiore, Naples, 1988. Chromogenic print From the Metropolitan Museum of Art, NYC: The working method Struth devised for The Restorers, one of his first portraits, would become his standard procedure: photographing only subjects he could get to know over an extended period and collaborate with on how they wished to be seen. He also decided to focus on couples or groups defined by a shared history—often familial—or a communality of purpose, as with this portrait of four art restorers he befriended in Naples.The setting they chose was the restorers’ current work place—the former refectory of a church then being used as a staging area for paintings from the surrounding area that had been damaged in a recent earthquake. The almost hypnotic effect achieved in this picture is due not only to the artist’s intimacy with his subjects and their own understanding of his aims but also to his technical choices. Struth uses a large-format view camera on a tripod, which, with its oversize negatives and slow exposure time allows for a tremendous amount of detail, and the shallow depth of field subtly pushes the four figures into the space of the viewer.
Pop-upView Separately

Thomas Struth - The Restorers at San Lorenzo Maggiore, Naples, 1988. Chromogenic print

From the Metropolitan Museum of Art, NYC:

The working method Struth devised for The Restorers, one of his first portraits, would become his standard procedure: photographing only subjects he could get to know over an extended period and collaborate with on how they wished to be seen. He also decided to focus on couples or groups defined by a shared history—often familial—or a communality of purpose, as with this portrait of four art restorers he befriended in Naples.

The setting they chose was the restorers’ current work place—the former refectory of a church then being used as a staging area for paintings from the surrounding area that had been damaged in a recent earthquake. The almost hypnotic effect achieved in this picture is due not only to the artist’s intimacy with his subjects and their own understanding of his aims but also to his technical choices. Struth uses a large-format view camera on a tripod, which, with its oversize negatives and slow exposure time allows for a tremendous amount of detail, and the shallow depth of field subtly pushes the four figures into the space of the viewer.

Source: fckyeaharthistory

Andy Warhol’s Silver Factory, 1962-98. Photography by Billy Name, William John Kennedy and Warhol himself. 

The Silver Factory, also known as The Factory was Andy Warhol’s original New York City studio from 1962 to 1968. The Silver Factory was located on the fifth floor at 231 East 47th Street, in Midtown Manhattan. It was the hip hangout for artsy types, amphetamine users, and the Warhol superstars. It was famed for its groundbreaking parties. In the studio, Warhol’s workers would make silkscreen, lithographs and film movies.

Source: fckyeaharthistory