Middledistance hi-res stock photography and images

JAN PERSSON Sweden Mälarhöjden IF middledistance runner 1987 Stock Photo

RM2M0GB5F–JAN PERSSON Sweden Mälarhöjden IF middledistance runner 1987

Casual tattooed man with crossed arms standing confidently on a sunny city street. Stock Photo

RF2X9B4X8–Casual tattooed man with crossed arms standing confidently on a sunny city street.

RMD5NE01–Mel Sheppard [sports] (LOC)

Smithsonian miscellaneous collections . Plate 5 Upper: Looking down Chaco Canyon from Pueblo del Arroyo. The irregular mass ofPenasco Blanco is seen on the horizon at left center. At the right a sunlit cliff in the middledistance marks the mouth of Rincon del Camino; between it and the standing figure are thebroken walls of Ruin No. 8. Lower: A newly fallen section of bank immediately west of Pueblo del Arroyo. (Photographs by O. C. Havens, 1925.) Stock Photo

RM2AJD9GB–Smithsonian miscellaneous collections . Plate 5 Upper: Looking down Chaco Canyon from Pueblo del Arroyo. The irregular mass ofPenasco Blanco is seen on the horizon at left center. At the right a sunlit cliff in the middledistance marks the mouth of Rincon del Camino; between it and the standing figure are thebroken walls of Ruin No. 8. Lower: A newly fallen section of bank immediately west of Pueblo del Arroyo. (Photographs by O. C. Havens, 1925.)

city, town, bathrobe, blurred, contemporary, coffee, computers, computer, Stock Photo

RFJ8C51R–city, town, bathrobe, blurred, contemporary, coffee, computers, computer,

Meissonier, his life and his art . -ness will protect it, if need be. Now, my dear Sir, let me end by offering you my portrait.You wished to have it, and I have had great pleasure in painting itmyself for you. It will speak to you of me more intimately thanI can do, and will remind you how sincerely I am yours, E. Meissonier.i They are wheeling, they are about to march past the Emperor.This whirlwind circles round him. I exhausted all the riches ofmy palette in the rendering of this manoeuvre, and yet, the dominantnote in the picture is the figure of the Emperor in the middledistance. In /So/, Stock Photo

RM2AX4KHY–Meissonier, his life and his art . -ness will protect it, if need be. Now, my dear Sir, let me end by offering you my portrait.You wished to have it, and I have had great pleasure in painting itmyself for you. It will speak to you of me more intimately thanI can do, and will remind you how sincerely I am yours, E. Meissonier.i They are wheeling, they are about to march past the Emperor.This whirlwind circles round him. I exhausted all the riches ofmy palette in the rendering of this manoeuvre, and yet, the dominantnote in the picture is the figure of the Emperor in the middledistance. In /So/,

woman, laugh, laughs, laughing, twit, giggle, smile, smiling, laughter, Stock Photo

RFJ8KA9E–woman, laugh, laughs, laughing, twit, giggle, smile, smiling, laughter,

The Gardeners' chronicle : a weekly illustrated journal of horticulture and allied subjects . of prospects, which for picturesqueness andrichness of effect cannot be surpassed. Standing onany of the lofty ridges in the centre of the district,northward may be seen on the horizon the longsweeping, somewhat barren undulations of the chalkhills forming the backbone of Kent. In the middledistance the steep escarpments of the Greensand,more irregular in outline and more thickly wooded,arrest the eye. Then comes the seeming flat plain ofthe Weald clay, rich in autumn with the superbclusters of the Ho Stock Photo

RM2AKCR5E–The Gardeners' chronicle : a weekly illustrated journal of horticulture and allied subjects . of prospects, which for picturesqueness andrichness of effect cannot be surpassed. Standing onany of the lofty ridges in the centre of the district,northward may be seen on the horizon the longsweeping, somewhat barren undulations of the chalkhills forming the backbone of Kent. In the middledistance the steep escarpments of the Greensand,more irregular in outline and more thickly wooded,arrest the eye. Then comes the seeming flat plain ofthe Weald clay, rich in autumn with the superbclusters of the Ho

The theory and practice of landscape painting in water-colours Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts . his disposition of the masses is also shown in the morning effectat the head of the section; in which example, as in the accompanyingfigure, the deepest shadow is neither placed in the foreground, nor at thecorners of the picture, nor yet in the extreme distance, but in the middledistance; neither does the greatest light occur in the corners, though themodern school, more frequently than the old masters, has those portions ofthe subject Stock Photo

RM2AJ462N–The theory and practice of landscape painting in water-colours Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts . his disposition of the masses is also shown in the morning effectat the head of the section; in which example, as in the accompanyingfigure, the deepest shadow is neither placed in the foreground, nor at thecorners of the picture, nor yet in the extreme distance, but in the middledistance; neither does the greatest light occur in the corners, though themodern school, more frequently than the old masters, has those portions ofthe subject

. Electrical world. !.—Apparatus in Electrotvping UspARrMuXT. ELECTRICAL WORLD and ENGINEER. Vol. XLIII, No. 3. classed as back numbers. .Muchworthy of more recent construction. in their arrangement quite -MISCELLANEOUS PRIXTIXG OFFICE WORK. So much for press drive. While it constitutes the more importantside of the plant operations and constitutes the greatest per cent.. FIG. yj.— MOTOR-DRIVEX STITCHERS. connected to and mounted on the same base with 35-hp Crocker-Wheeler iTiotors. On the left-hand side of the picture in the middledistance and the e.xtreme rear are two so-called dipping machi Stock Photo

RM2AG2JWR–. Electrical world. !.—Apparatus in Electrotvping UspARrMuXT. ELECTRICAL WORLD and ENGINEER. Vol. XLIII, No. 3. classed as back numbers. .Muchworthy of more recent construction. in their arrangement quite -MISCELLANEOUS PRIXTIXG OFFICE WORK. So much for press drive. While it constitutes the more importantside of the plant operations and constitutes the greatest per cent.. FIG. yj.— MOTOR-DRIVEX STITCHERS. connected to and mounted on the same base with 35-hp Crocker-Wheeler iTiotors. On the left-hand side of the picture in the middledistance and the e.xtreme rear are two so-called dipping machi

Paris past & present . in memory ofthe earliest inhabitants, the place was namedParis. Let me here attempt to picture the site ofthis great and ancient town, as seen from thehigh teiTace of St. Cloud, whereon the Lanternede Demosthene stood previous to the war withGermany in 1870. Before us opens a plaindominated on every side, near or in the middledistance, by heights and hills. Those farthestoif, beginning on our left and going all the wayaround to where we stand, are: the low col-lines of Gennevilliers with Mt. Valerian boldlyprominent; St. Germain and its magnificentteriace ; Poissy, and t Stock Photo

RM2AX6CYM–Paris past & present . in memory ofthe earliest inhabitants, the place was namedParis. Let me here attempt to picture the site ofthis great and ancient town, as seen from thehigh teiTace of St. Cloud, whereon the Lanternede Demosthene stood previous to the war withGermany in 1870. Before us opens a plaindominated on every side, near or in the middledistance, by heights and hills. Those farthestoif, beginning on our left and going all the wayaround to where we stand, are: the low col-lines of Gennevilliers with Mt. Valerian boldlyprominent; St. Germain and its magnificentteriace ; Poissy, and t

Art . LANDSCAPE IN NEUTRAL VALUES 201 the laws of good composition, using a liackground of hill ngaiust a sky, a middledistance of Avoods, and a meadow or field in the foreground. He may also, withbrush and ink washes prepared before the class, show the result desired, doing asimple landscape in the following manner: A rectangle of good proportions is drawn on the paper and the arrangement ofareas lightly indicated to suggest a hilly slope, an irregular mass of distant trees,and between the observer and the woods a meadow or field. Then with plenty of Stock Photo

RM2AWW1CJ–Art . LANDSCAPE IN NEUTRAL VALUES 201 the laws of good composition, using a liackground of hill ngaiust a sky, a middledistance of Avoods, and a meadow or field in the foreground. He may also, withbrush and ink washes prepared before the class, show the result desired, doing asimple landscape in the following manner: A rectangle of good proportions is drawn on the paper and the arrangement ofareas lightly indicated to suggest a hilly slope, an irregular mass of distant trees,and between the observer and the woods a meadow or field. Then with plenty of

The ancient cities of the New World : being travels and explorations in Mexico and Central America from 1857-1882 . ofEl Frailc, as yet wrapped in nocturnal mists, showed gray againsta transparent blue sky, whilst its base, shrouded by a deep fringeof funeral pines, gradually emerged from their gloom at the sunsmagic touch. To the eist the plain of Puebla, and far away on thehorizon the imposing cone of Orizaba, whilst in the middledistance the severe outline of Malinche seemed to divide thesky. The city de los Angeles, with her square massive build-ings, her steejjles, cupolas, the towers of Stock Photo

RM2AKA0D0–The ancient cities of the New World : being travels and explorations in Mexico and Central America from 1857-1882 . ofEl Frailc, as yet wrapped in nocturnal mists, showed gray againsta transparent blue sky, whilst its base, shrouded by a deep fringeof funeral pines, gradually emerged from their gloom at the sunsmagic touch. To the eist the plain of Puebla, and far away on thehorizon the imposing cone of Orizaba, whilst in the middledistance the severe outline of Malinche seemed to divide thesky. The city de los Angeles, with her square massive build-ings, her steejjles, cupolas, the towers of

. Illustrated catalogue of the private collection of valuable paintings by the old masters and early English artists formed by the late Leon Hirsch of New York. 1851 CATHEDRAL IN RUINS ^ (Water Color)Height, 11 inches; width, 8 inches Projecting into the picture from the right, in the middledistance, is the broken mass of a Gothic cathedral, a lessercorner tower standing, with adjacent walls and gaping win-dows. The structure is roofless, and the distant walls arevisible across the vast interior through a wide breach andthrough the tall openings of windows and doors. The earth isuneven about t Stock Photo

RM2AFNTTG–. Illustrated catalogue of the private collection of valuable paintings by the old masters and early English artists formed by the late Leon Hirsch of New York. 1851 CATHEDRAL IN RUINS ^ (Water Color)Height, 11 inches; width, 8 inches Projecting into the picture from the right, in the middledistance, is the broken mass of a Gothic cathedral, a lessercorner tower standing, with adjacent walls and gaping win-dows. The structure is roofless, and the distant walls arevisible across the vast interior through a wide breach andthrough the tall openings of windows and doors. The earth isuneven about t

Nearly three hundred valuable paintings of the American and foreign schools . Ralph Albert Blakelock, N.A. American : 1847— ^S—EARLY EJEXING Height, 16 Indies; length, 24* inches Fields, a little stream on the left, some trees and a red-roofedhouse, are the elements composing the foreground and middledistance, while beyond, stretching the whole way across thecanvas, is a range of blue hills. The important feature of thepicture, however, is the sky, which rises from grayish-pinktints at the horizon through various gradations of warm whiteto pale qualified blue at the top. The brilliancy of the Stock Photo

RM2AX7W8E–Nearly three hundred valuable paintings of the American and foreign schools . Ralph Albert Blakelock, N.A. American : 1847— ^S—EARLY EJEXING Height, 16 Indies; length, 24* inches Fields, a little stream on the left, some trees and a red-roofedhouse, are the elements composing the foreground and middledistance, while beyond, stretching the whole way across thecanvas, is a range of blue hills. The important feature of thepicture, however, is the sky, which rises from grayish-pinktints at the horizon through various gradations of warm whiteto pale qualified blue at the top. The brilliancy of the

Illustrated notes upon the pictures in the Dramatic Fine Art Gallery, 1880. . varies considerably in merit, and this not so much throughunequal talent as through lack of painstaking care. Hissketch No. 52 is one of the best of the water-colours exhibited.It is bright, clear, and fresh. The sunset scene Evening,14, is an effective subject well rendered. 8 BOUGH, SAM. There is a splendid example of this artists work 92 A Land-scape. The treatment of the mass of trees in the middledistance is grand.. BUCKSTONE, FRED. Through the Cornfield, 89, is a bright and clever production.The atmosphere is g Stock Photo

RM2AJMAM9–Illustrated notes upon the pictures in the Dramatic Fine Art Gallery, 1880. . varies considerably in merit, and this not so much throughunequal talent as through lack of painstaking care. Hissketch No. 52 is one of the best of the water-colours exhibited.It is bright, clear, and fresh. The sunset scene Evening,14, is an effective subject well rendered. 8 BOUGH, SAM. There is a splendid example of this artists work 92 A Land-scape. The treatment of the mass of trees in the middledistance is grand.. BUCKSTONE, FRED. Through the Cornfield, 89, is a bright and clever production.The atmosphere is g

RM2AWW168–Art . LANDSCAPE IN NEUTRAL VALUES 201 the laws of good composition, using a liackground of hill ngaiust a sky, a middledistance of Avoods, and a meadow or field in the foreground. He may also, withbrush and ink washes prepared before the class, show the result desired, doing asimple landscape in the following manner: A rectangle of good proportions is drawn on the paper and the arrangement ofareas lightly indicated to suggest a hilly slope, an irregular mass of distant trees,and between the observer and the woods a meadow or field. Then with plenty of. DECORATIVE COMPOSITION OF FKTUT IN UNACCE

Light and lighting . nting(Fig. 3) with greenish-blue rays added tothe uncoloured artificial light. The effect of quality of light on apainting is well illustrated in Fig. 2by means of a specially painted picture. 4^ S I N / / / X ->/X x > Fig. 4.—Showing details of arrangement of reflector and lights ; specially coloured lights are selected for each picture. Under an orange coloured illuminationthe mountain and objects in middledistance have completely disappeared.In many paintings the effect of injectingrays of proper colour gives the picturean atmosphere quite lacking und Stock Photo

RM2AJ0XA3–Light and lighting . nting(Fig. 3) with greenish-blue rays added tothe uncoloured artificial light. The effect of quality of light on apainting is well illustrated in Fig. 2by means of a specially painted picture. 4^ S I N / / / X ->/X x > Fig. 4.—Showing details of arrangement of reflector and lights ; specially coloured lights are selected for each picture. Under an orange coloured illuminationthe mountain and objects in middledistance have completely disappeared.In many paintings the effect of injectingrays of proper colour gives the picturean atmosphere quite lacking und

Nearly three hundred valuable paintings of the American and foreign schools . Adolf Selireyer German: 1828—1899 158—^ HEAVY LOAD Height, 31% inches; length, 58^ inches A TEAM of seven horses, with mounted driver, pulhng a heavilyloaded wagon through a wet place on a road, leading into theforeground from neighboring slopes, which fill the middledistance. At the head of the team, on the right, is a lad mountedon a black horse, urging forward the three leaders. A wideshadow crosses the foreground; the middle distance is in sun-light, and the gray-blue sky contains some pink-tinted clouds. Signed Stock Photo

RM2AX6PDP–Nearly three hundred valuable paintings of the American and foreign schools . Adolf Selireyer German: 1828—1899 158—^ HEAVY LOAD Height, 31% inches; length, 58^ inches A TEAM of seven horses, with mounted driver, pulhng a heavilyloaded wagon through a wet place on a road, leading into theforeground from neighboring slopes, which fill the middledistance. At the head of the team, on the right, is a lad mountedon a black horse, urging forward the three leaders. A wideshadow crosses the foreground; the middle distance is in sun-light, and the gray-blue sky contains some pink-tinted clouds. Signed

RM2AJD9DH–Smithsonian miscellaneous collections . Plate 5 Upper: Looking down Chaco Canyon from Pueblo del Arroyo. The irregular mass ofPenasco Blanco is seen on the horizon at left center. At the right a sunlit cliff in the middledistance marks the mouth of Rincon del Camino; between it and the standing figure are thebroken walls of Ruin No. 8. Lower: A newly fallen section of bank immediately west of Pueblo del Arroyo. (Photographs by O. C. Havens, 1925.). NO. 7 GEOLOGY OF CHACO CANYON—BRYAN II have developed. In the vicinity of Fajada Butte a large tributarydrainage has completely destroyed the south

Nearly three hundred valuable paintings of the American and foreign schools . ^ a sky of gray andwarm-tinted white clouds, with a space or two of blue. Signed at the lower right.Propertij of ^lu. Jrsxrs Morris, Jr. Julian Rix Americax: 1851—1903 2S—SU3IMER LANDSCAPE Height. K! incites; length. 24: inches Green meadows, a straggling stream, and a group of willowtrees on the left, are seen in the foreground. In the middledistance, a number of houses with white walls and red roofsappear near the center of the picture, and beyond is a beltof trees with a high hill rising behind them. Overhead is Stock Photo

RM2AX6HK6–Nearly three hundred valuable paintings of the American and foreign schools . ^ a sky of gray andwarm-tinted white clouds, with a space or two of blue. Signed at the lower right.Propertij of ^lu. Jrsxrs Morris, Jr. Julian Rix Americax: 1851—1903 2S—SU3IMER LANDSCAPE Height. K! incites; length. 24: inches Green meadows, a straggling stream, and a group of willowtrees on the left, are seen in the foreground. In the middledistance, a number of houses with white walls and red roofsappear near the center of the picture, and beyond is a beltof trees with a high hill rising behind them. Overhead is

Valuable pictures by foreign and American masters . No. 73ETRETAT: SUNSET BY CLAUDE MONET 1 Claude Monet French: 1840—j(j 73 ETRETAT: SUNSET Height, 24 inches; length, 31% inches Boldly from the left projects a huge ridge of darkbluish-gray rock, jutting into the sea in the middledistance, its back high against the clouds. Toward itsseaward end, near the center of the picture, the waveshave hewn a passage through it, the aperture a tall andnarrow irregular arch, from a buttress of which on itsouter side a monolithic pinnacle raises its point heaven-ward. Far off the sun is setting, a hot, ver Stock Photo

RM2AN85YP–Valuable pictures by foreign and American masters . No. 73ETRETAT: SUNSET BY CLAUDE MONET 1 Claude Monet French: 1840—j(j 73 ETRETAT: SUNSET Height, 24 inches; length, 31% inches Boldly from the left projects a huge ridge of darkbluish-gray rock, jutting into the sea in the middledistance, its back high against the clouds. Toward itsseaward end, near the center of the picture, the waveshave hewn a passage through it, the aperture a tall andnarrow irregular arch, from a buttress of which on itsouter side a monolithic pinnacle raises its point heaven-ward. Far off the sun is setting, a hot, ver

International studio . ( Iht fr.ff.ty ft i,. f t.rihhtt, £,f.) •NEAR CIIRISTCIILRCII. HAMISII IRK HY IJ. MURRAY SMI III. AK.W.S. IVatcr-CoIoiirs bv D. Mnyrav Smith, A.R.Jl.S.. BY D. MURRAY SMITH, A.R.W.S. most successful achievements. He has visuaHsedthe scene with a happy sense of composition andhas interpreted it with a simplicity of means whichreveals his mastery of the medium. Another Welsh subject, Penarth Head, Glamor-ganshire (p. 24), is possessed of sober truthful-ness. The quiet depth of tone in the middledistance is accentuated by the light on the far-offheadland. Here again we must Stock Photo

RM2AXH5H4–International studio . ( Iht fr.ff.ty ft i,. f t.rihhtt, £,f.) •NEAR CIIRISTCIILRCII. HAMISII IRK HY IJ. MURRAY SMI III. AK.W.S. IVatcr-CoIoiirs bv D. Mnyrav Smith, A.R.Jl.S.. BY D. MURRAY SMITH, A.R.W.S. most successful achievements. He has visuaHsedthe scene with a happy sense of composition andhas interpreted it with a simplicity of means whichreveals his mastery of the medium. Another Welsh subject, Penarth Head, Glamor-ganshire (p. 24), is possessed of sober truthful-ness. The quiet depth of tone in the middledistance is accentuated by the light on the far-offheadland. Here again we must

. Frank Brangwyn and his work. 1911 . y in Brangwynsetched work. Several plates, and notably the MarketSquare, Montreuil, and The Brewery, Bruges, showthat his hand can be as light as Whistlers, while keepingits own sign manual. Elsewhere, as in the romanticetching of Old Hammersmith, with its shadowed fore-ground where bargemen rest and talk, with its middledistance of sunlit carts, horses, and figures, there is a pro-fusion of detail treated with a Mdryon-like precision, andthe factories arainst the skv are as attractive in theirsunny magic as ancient churches. But it is not fair to pickout Stock Photo

RM2CJ4CY0–. Frank Brangwyn and his work. 1911 . y in Brangwynsetched work. Several plates, and notably the MarketSquare, Montreuil, and The Brewery, Bruges, showthat his hand can be as light as Whistlers, while keepingits own sign manual. Elsewhere, as in the romanticetching of Old Hammersmith, with its shadowed fore-ground where bargemen rest and talk, with its middledistance of sunlit carts, horses, and figures, there is a pro-fusion of detail treated with a Mdryon-like precision, andthe factories arainst the skv are as attractive in theirsunny magic as ancient churches. But it is not fair to pickout

. Illustrated catalogue of the very valuable art property belonging to the estate of the well-known connoisseur, the late James a. Garland, Esq. a former trustee of the Metropolitan Museum of Art [electronic resource]. NO. 126. ITALIAN RENAISSANCE TAPESTRY. THE NATIVITY.. On the left of the main group the landscape spreads morespaciously. There arc willow trees and water in the middledistance whence the ground rises to a knoll, covered with treesand high-gabled houses, while further back to the right theground ascends to the walls and gates of Bethlehem. Floating among the trees on the left is Stock Photo

RM2CEEGAM–. Illustrated catalogue of the very valuable art property belonging to the estate of the well-known connoisseur, the late James a. Garland, Esq. a former trustee of the Metropolitan Museum of Art [electronic resource]. NO. 126. ITALIAN RENAISSANCE TAPESTRY. THE NATIVITY.. On the left of the main group the landscape spreads morespaciously. There arc willow trees and water in the middledistance whence the ground rises to a knoll, covered with treesand high-gabled houses, while further back to the right theground ascends to the walls and gates of Bethlehem. Floating among the trees on the left is

. Illustrated catalogue of the valuable paintings and sculptures by the old and modern masters forming the famous Catholina Lambert Collection removed from Belle Vista Castle, Paterson, New Jersey . No. H)()LANDSCAPE IIV ALFRKD SrSIJ.V fc« 0 ALFRED SISLEY French: 1839—1899 160—LANDSCAPE A LANDSCAPE witli motivc typically French. The foreground is occu-pied by a field with herbage and at the left are thin-foliaged trees,one of which reaches up to the top of the canvas. In the middledistance is a stretch of country with low-lying hills. The horizon linein this picture is placed low so that the s Stock Photo

RM2CHTA2F–. Illustrated catalogue of the valuable paintings and sculptures by the old and modern masters forming the famous Catholina Lambert Collection removed from Belle Vista Castle, Paterson, New Jersey . No. H)()LANDSCAPE IIV ALFRKD SrSIJ.V fc« 0 ALFRED SISLEY French: 1839—1899 160—LANDSCAPE A LANDSCAPE witli motivc typically French. The foreground is occu-pied by a field with herbage and at the left are thin-foliaged trees,one of which reaches up to the top of the canvas. In the middledistance is a stretch of country with low-lying hills. The horizon linein this picture is placed low so that the s

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