2009

Saturday, December 26, 2009

Dubai Best Gold Coin Shop

Iman Maleki Iranian Artist. (Tehran, 1976)

Iman Maleki (Tehran, 1976) Iranian painter. This artist is little known, but their works are works of art beautiful, for any painter is a magnificent cry to plastic art from an early age

felt the vocation for painting, graduating from the University of Art Tehran as a designer and studied with the best hyper-realistic painter of Iran, Morteza Katouzian, perfecting a technique detailed almost photographic realism. He was awarded the William Bouguereau and the "Chairman's Choice" at the Second International Competition Art Renewal Center. Some consider him the best painter of realist art in the world. His paintings m

ur simplicity of the Iranian people and the harshness of reality in that move, with occasional poetic touches and surrealist painting everyday life of the Iranian people, is considered by many as a realist with perfect touches on their strokes, perfect expressions and nuances in their work, presented their creations a reality in the painting that few painters have been able to achieve, is one of the Iranian artists with exceptional ability in the arts ..

Some consider him the best painter of realist art in the world. "His drawings compete with digital camera 10 Mega pixels ", say experts on the matter.
Others see it as a hyper-realistic painter. Realistic Art

realistic art is configured as a movement that tries to capture the reality objectively. It extends to all fields of human creation but had a special importance in the literature. In the case of the fine arts, realism achieved the maximum expression in France, almost exactly in the middle of the nineteenth century.

the birth of realism nt

Since earlier times revealed a weariness of the Romantic values \u200b\u200band the desire among the most restless artists to incorporate more direct experience and objective in their work. The process is gradual but quick, and between romanticism and realism established continuity, but their ideological and formal approaches are very different.

also establishes a complex relationship between realism and the academic, because there is still competition between the two clear. It is also true that they influence each other. Thus, while realist painters are

sample excluded from major official academic painting showed its increased attention to the direct observation of nature and reality of the moment.

realistic art Ideology

From an ideological point of view, realism is linked to socialist ideas more or less defined. Although clear differences between different authors, it is generally seen an interest in the situation of the underprivileged classes of society resulting from the Industrial Revolution. Some, adopting an attitude absolutely committed to the interests of the proletariat, participate in political events and makes a combative art. Others maintain a more moderate stance, and somehow sweeten his vision of reality.

All share an aesthetic based on the direct representation of reality. The way materializes this basic principle objective ranges from the harshness of Courbet to the graphical simplification Daumier, idealistic filter through of Mollet. In any case, all share the radicalism of the topics to the importance they attach to the romantic theme and scholarship, the realistic art understands that there is no trivial issues and that, therefore, any question may be the subject of pictorial interest.

This approach is extremely important in a time when the paint is subject to special rules of official criticism: the issues, attitudes, compositions and even the tables measures must conform to these rigid criteria. In this situation, defend a realist painter painting without argument, a simple abstraction of reality, which essentially is the way it represents the image and sound, not its narrative development.

realistic artists Gustave Courbet (1819-1877) is a realist painter who maintains a strong political commitment more personal. Like Delacroix, he believes the painting is a powerful tool in the fight to defend their ideas. However, Courbet distance very clearly from its predecessors in the way of understanding art.

Courbet rejected the reality that surrounds him, but instead of fleeing, what you do is show us in all its rawness to share with him the same feelings of rejection and, consequently, react against.

Jean-François Millet (1814-1875) is one of the most controversial figures of French realism. His painting has undeniable appeal that has won him favor with the public. However, critics and historians have accused him of betraying the true spirit of realism poruq sweetens over the life of the peasants, his great theme, to make it acceptable to bourgeois taste.

Honoré Daumier (1808-1879) is another great realistic art. He was a painter, sculptor and cartoonist, and in all its facets is shown as a keen observer of reality ready to criticize hardness, but also with a touch of tenderness.

Hyper-realism is also known as photo-realism or radical realism, the hyper-realism school of painting is the absolute realistic trend of history. The Hyper-realism aims to offer a version

minutes itis and detailed images.

Born in the West-Coast of the United States in the late 60's of XX century, the hyper-realism was promoted in Europe by the Documenta V (1972) in Kassel and was confirmed by exposure presented ULDO Kulterman Paris under that name.

hyper-realistic artists try to seek, with the most radical verismo, a transcript of reality using the technical and manipulating photographic images. Achieved with oil painting or sculpture, the same detail and offers the picture frame.

In North America, where pop art was deeply arctan, hyper-realism is working from the painted reproduction of objects of consumption and corresponding advertising images. In this line we find the manual reproduction of photographs, which is the essence of American hyper-realism. Check and Don Eddy on your images give us boring aspects characteristic of civilization mass with the same objectivity of a camera that works mechanically. In fact, transferred to plastic culture experiences acquired in the image.

Thursday, November 12, 2009

How Does A Masterbation Look Like

Séraphine (Seraphine de Senlis) 1864-1942

The following will is a summary taken from: BIHALJI-Merino, Oto: Naive Art, ed. Labor, Barcelona, \u200b\u200b1978. ISBN: 84-335-7558-9, pp.

45-46 Footnotes are Mercedes García Bravo.
"Seraphine Louis, sometimes cited as Seraphine de Senlis, born in 1864 in Assy (Oise). Never studied painting, and during the times of his childhood, when he was pastor, or later, while working as a maid. [1] When did you start with shapes and colors translate their dreams and their impulses? Why would I? We know very little about the intimate drama of his little self. And perhaps even less than his art would know if fate had not met one man who, impressed by the imagination of Rousseau, followed the footsteps of the early modern. The ignorant world

took the humble servant of Senlis. But she had been called to see, to look through the racks perishable temporal, and to announce the eternity. (...) "

NOTES:

[1]-Séraphine Louis was born in Arsy (Oise) 3

September 1864. His father was a worker, as the birth certificate, and his mother came from a peasant family. When Seraphine had only a year her mother died. His father, who had remarried, died six years later. Orphaned, she lived with her older sister. He began working as a pastor, and from 1881 worked as assistant at the convent of the Sisters of Providence, in Clermont (Oise). In 1901 he began working as a servant in different houses of Senlis.

[2]-Willhem Uhde: collector, art dealer, gallery owner and art critic, the name of Wilhelm Uhde is associated with the Parisian artistic avant-garde of the early twentieth century. In 1908 he married the painter Sonia Delaunay. After engaging in buy and exhibit the work of Impressionists and Cubists, he began to devote much of his energy and his fortune to the painters "naive" or naïve, who preferred to call "modern primitives" and also called "painters Sacred Heart "in the first exhibition devoted to them in Paris in 1929, with works by Henri Rousseau, Seraphine de Senlis, Camille Bombois, Louis Vivin, André Bauchant ...
More: Biography of Wilhelm Uhde (Fellow guests)

[3]-His technique completely particular, was the use of paint-the most common Ripolin market, mixed with wax candles that took her in the church cemetery excavated soil and other areas of his own blood, which drew its wounds and gave life to your pictures ...

[4]-Seraphine began painting, he said, an indication of the angels and the Virgin. When leaving the privacy of your room going to talk and hug the trees and flowers.

[5]-Seraphine Louis, who was born the same year as Camille Claudel, lived his last years as a sculptor, who only survived him one year, committed to a mental asylum. He died on December 11, 1942, at age 78, in an annex to the hospital at Villers-sous-Erquery due to massive doses of tranquilizers, physical deprivation and lack of food during the German occupation of France in World War II and were fatal to the thousands of men and women living in psychiatric facilities. She was buried in a mass grave.
('s house in Senlis Seraphine Louis)

In 1912 Wilhelm Uhde [2] moved to Senlis to rest in the peace of the old town of the Ile de France, near Paris and at the same time, away from the hubbub. Every morning came a woman to clean the house. Uhde barely noticed it. One day he saw in a house in Senlis a still life of apples that caught his attention. Asked the painter's name. << ¡Es su asistenta Séraphine!>> So far fate had guided the blind. Now that could take care of the static Uhde bouquets grow to become mighty trees

in fantasy. (...)
Uhde says Séraphine kept strictly secret of his painting. No one could look as she painted, when mixing colors and preparing the canvas for all took place with perfect craftsmanship. [3] He lived a monastic retreat in his little room, whose fire always burned on an eternal light to the Virgin. [4]
Small, worn with dark burning eyes and her pale face, painted in a kind of trance, mystical gardener, the flamboyant bouquets behind which is hidden temptation of all that is holy. Intercourse with fruit plants surrounded by tabs, ornaments made of sumptuous foliaceous delicately colored feathers, in which nerve glowing eyes open. Mesh strange rustling and lascivious branches with strings of pearls consisting of berry bush tenderness and starry umbels garden of pleasures. (...)
(...) All the lights and the embers of his dreams went out one day. Then he wandered from house to house and preached to the world. His spirit had been empty and unbalanced. In 1934 he died in a nursing home in Clermont. [5]
To Séraphine art was a revelation. For her painting "As for Van Gogh was an act of affection. It was as if redeemed by the act of creation. With eyes open immensely walking blindly through the uniform monotony of his little life.

Light and tragedy
Seraphine de Senlis
October 27, 2008 Senlis (Arsy, 1864 - Villers-sous-Erquery, 1942). What tragic fate ...

his [.. ]
Seraphine was a poor woman, orphaned, uneducated maid who painted alone, blindly, in an infinite solitude. Until I discovered a great dealer, collector and man of sensibility, Wilhelm Uhde, the man who won for her a place in art history. Before she plunges into the bottomless pit of insanity.

His work was not completely unknown. There are things about him at MoMA New York, for many years. In his day he published a biography of reference (Alain Vircondelet, Seraphine de Senlis, 1986).
Suddenly, this fall, the Musée Maillol a major retrospective devoted to it, published a new biography (Francoise Cloarec, Seraphine - La vie reve de Seraphine de Senlis, 2008), even opens with some success a film dedicated to his life relations with Wilhelm Uhde, and his tragic end in a psychiatric asylum.

The flaneur who discovers by chance his works mysterious, disturbing, at times, a rare beauty, very powerful, questions his place in art history: that of a very pure light, shining in the firmament of dead stars.

Seraphine Louis (1864-1942) represents a unique case in the history of painting. Completely self-taught, Seraphine began painting at age 42 because "heard a voice asked him." As old-fashioned, it was itself based paint mixing land, pigments and all kinds of products that always kept a jealous secret. Orphaned at age seven, was raised by his sister. She worked cleaning houses of the bourgeoisie and began to paint flowers, plants and trees in a completely personal. Séraphine not seem to get influenced by other painters, but it shows how unique.

seraphine-louis in 1920 Séraphine
Her ob ra

was released thanks to his early paintings, still lifes small, accidentally fall into the hands of a German collector Wilhelm Uhde, a friend of Braque and Picasso, the house cleaned. Unfortunately

Séraphine who leads a life mired in poverty, gradually falls into madness, and is committed by "chronic psychosis" in the psychiatric hospital where he continues painting Clermont.

dies December 11, 1942 with 78 years of age at the hospital at Villers-sous-Erquery under the harsh conditions of the asylums in France under Nazi occupation, was buried in a mass grave. Seraphin

Louis, there are 70 to 80 frames scattered over the Maillol Museum, the Art Museum in Nice and naive art museum Senlis.

Wednesday, October 7, 2009

Buy 100 Pipers In Canada

Francis Bacon - Irish Artist - 1909 to 1992

Francis Bacon

(Dublin, 1909 - Madrid, 1992) Irish-born English painter, a leading figure of the so-called New Figuration, a trend that developed over the years sixties, after the exhaustion of informality. In the art scene of postwar figurative expressionism Bacon occupies a special place, difficult to relate to some of the various artistic tendencies that run through these years. All pictorial history Bacon is characterized by a profound independence, that makes his painting an unmistakable reference in European art of the second half d

the twentieth century. Bacon also greatly influenced the English Pop movement artists.

After a childhood marked by loneliness and illness, Bacon spent his youth in his native Ireland. In 1925 he established later in London, where he works as a decorator. She is interested in followed by painting, especially after their stays in the twenties, in Berlin and Paris, where together with the expressionist (Otto Dix, Max Beckmann), was impressed by the work of Picasso, which must be determined whether training is considered self-taught Bacon.
Although his first trial date from the period between 1929 and 1944 (most of these fabrics will be destroyed by the artist himself), is four postwar

ndo discloses the type of paint that will make you famous. Already in his Three Studies for Figures at the Base of a Crucifixion, 1945, displayed the keys to which answers his painting in the following decades.
Bacon's tormented vision was necessarily calling the attention of a public traumatized by the experience of war and all its evils, but painters as well as informal guidance existential anguish to the indeterminacy of material abstraction, Bacon choose the human figure as the centerpiece of his paintings, and subjected to deformation and changes to a level previously unknown in the history of Expressionism. Whether in his portraits, as in his self-portraits or more complex compositions, the mutilated bodies, stunted bodies and all sorts of anatomical abnormalities result in a horror picture that is inserted into an indefinite space of monochromatic, which communicates a sense of isolation and claustrophobia.

Bacon's bid for figuration is made from the most

absolute subjectivity, taking the forefront those elements that are suited to succeed in expressing the tortured reality of modern man. For the construction of the beings that populate his paintings make use of the gesture of informality, Expressionist distortion and surreal dreamlike evocation (the emotion in its various formulations). Such beings are superimposed on large areas of flat color, carefully sorted, for it follows the rules learned more austere geometric abstract tradition, following the most rigorous rationality composition. Emotion and rationality come together as in the painting of Bacon and balance are combined in an extraordinarily fertile and attractive.

those From Three Studies for Figures at the Base of a Crucifixion in which masses of human flesh writhing on themselves to end up in exaggerated cry of anguish and pain, Bacon funds often use red to locate their tortured figures. A good example is another work post, Woman pouring a bowl and paralytic child crawling by Muybridge (1965, Stedelijk Museum, Amsterdam), where the corporeal bodies representing the mother and child are held in a delicate balance on a weak oval structure, or the later study of the human body (1982, National Museum of Modern Art, Paris), which reduced the male body appears to sex as yal

lower extremities.

Bacon's interest in self-portraits by Rembrandt and Velazquez all the work is evident both in the use of pictorial fillings and in the reinterpretation of works like the portrait of Innocent X, which in 1961 made an eerie version without But as he himself confessed, failed to overcome the original work of Velázquez.

iconographic sources that Bacon was inspired to create his works could come, as has been said, the history of painting, but it was the Muybridge photo albums (with his studies on human and animal movement) and photographs stock of newspapers and magazines or film stills Eisenstein and Buñuel which was its essential file.

Tuesday, September 8, 2009

How Does A Real Hymen Look Like

Dutch painter Piet Mondrian.

Dutch painter Piet Mondrian.

1872-1944 Dutch painter of abstract art that led to its ultimate consequences. Through a radical simplification of composition and color, he sought to expose the basic principles that underlie all appearances. Born in Amersfoort (Netherlands) on March 7, 1872 and originally named Pieter Cornelis Mondriaan. Decided to start the race

ISTIC art despite opposition from her family and studied at the Academy of Fine Arts of Amsterdam. His early works, through 1907, were calm landscapes painted in delicate grays, mauves and dark greens. In 1908, under the influence of the Dutch painter Jan Toorop, began experimenting with brighter colors, was the starting point of his attempts to transcend nature. He moved to Paris in 1911, where he adopted the Cubist style, producing analytical series such as Trees (1912-1913) and scaffolding (1912-1914). vital for education and career, his early work involved the Dutch landscape tradition and its interest in light effects. In 1907, knowledge of the work of post-impressionist painters completely changed their old notions of color, whose treatment thereafter addressed much more boldly.
After looking at the first

s cubist works of Picasso and Braque, in 1912 decided to move to Paris and adapting the precepts of Cubism, interested in reducing the individual forms a general formula. Although his work artistically respected the principles of Cubism, since 1913 saw a clear move towards abstraction, culminating in 1917 with the permanent abandonment of the external reference.

gradually moved away from seminaturalism abstraction, arriving finally at a style in which he limited himself to paint with fine vertical and horizontal lines. In 1917 junto con su compatri

ota, el pintor Theo van Doesburg fundó la revista De Stijl, en la que Mondrian desarrolló su teoría sobre las nuevas formas artísticas que denominó neoplasticismo. Sostenía que el arte no debía implicarse en la reproducción de imágenes de objetos reales, sino expresar únicamente lo absoluto y universal que se oculta tras la realidad. Rechazaba las cualidades sensoriales de textura, superficie y color y redujo su paleta a los colores primarios. Su creencia de que un lienzo, es decir una superficie plana, sólo debe contener elementos planos, implicaba la eliminación de toda línea curva y admitió únicamente las líneas rectas

y right angles. The application of these theories led to such works as Composition with Red, Yellow and Blue (1921, Gemeentemuseum), in which painting, composed of only a few lines and some well-balanced blocks of color, creates a monumental effect despite the scarcity of means, voluntarily limited his employees. When he moved to New York in 1940, his style became freer and more pace vivo.La World War made him return to the Netherlands, where he met Theo van Doesburg. With him and two other artists (Van der Leck and Huszar), founded the magazine and movement of Stjil, from which advocated the complete rejection of surrounding reality as a reference for the work and the pictorial language reduced to its basic elements. This style, called by Mondrian and Neo himself, sought to achieve real objectivity
freeing the artwork

its dependence on the momentary individual perception and temperament of the artist. abandoned severe black lines in order to juxtapose brightly colored areas, as can be clearly seen in the last work completed left, Broadway Boogie-Woogie (1942-1943, Museum of Modern Art, New York, MOMA). After living several years in Paris and London, in 1940 he moved to New York, where his work was influenced by the dynamism of urban life and the rhythms of American music, both of which involved greater attention to the constructive possibilities of color. Under the influence of the Puritan tradition and the Dutch Theosophical Society, to whom he was in constant contact

throughout her life, she created a project that extended beyond the pictorial to eventually develop into a company Ethics: the art as a guide to mankind through the purity and clarity. Mondrian was one of the greatest artists of the twentieth-century impact. His theories of abstraction and simplification not only altered the course of painting, but had a profound influence on architecture, industrial design and graphic arts. He died on February 1, 1944 in New York

Monday, August 10, 2009

Liver Cyst And Gallbladder Polyp

1872-1944 Paul Signac - 1863-1935 French painter

Paul Signac was born in 1863 in Paris, where his father owned a saddlery business. His undergraduate studies will be interrupted by an early artistic vocation, encouraged by the contemplation of works of the Impressionists. AI apparently in 1879 when I was 15, Signac went to the fourth Impressionist exhibition and made some sketches from the works of Degas, the angry intervention of Gauguin, who drove the boy in the room the cry of "not copied here!" Not end with his desire to become a painter. With this purpose in 1882 entered the School of Decorative Arts and begins to attend the free workshop Bin, a painter of some reputation who was, at that time mayor of Montmartre. In his early works are discovered intluencia of Pissarro, Renoir, and know everything, Monet, painters who had not yet known. The year 1884 will be fundamental in his career, taking part in the first group exhibition of independent and knows her future partner in the adventure of divisiveness, Georges Seurat. The Independent

Following the example of the Impressionists, the rejected the official Salon -

annual event organized by the Academy of Fine Arts were systematically excluded from the artists who dared to question the academic requirements, formed an association to present their works as an alternative. However, unlike Degas and his friends were not trying to form a homogeneous group, but to call, without any filter, all independent artists. In the first example of the Independent, Seurat exhibited his bathroom Asnieres. Although the work is away from the Impressionist practice of using only pure and intense color, Signac would be fascinated by his technique, which was entering the same research on the contrast of the colors that came concerned about at that time. Passion

disclosing
Everything is within reach

and this time, Signac become a leading advocate of the cause of divisiveness, success in attracting a prestigious figure of Camille Pissarro. Indeed, the great impressionist painter synthesize well Signac's position within the group when he said: "The full weight of neoimpressionism falls on you! (...). A Seurat not attack him because he always keeps silence me as I despise done with the old cunt, but always go for you because it's belligerent. " The conversion of the young Pissarro divisive opened the doors of Last Impressionist exhibition in 1886. Their participation in the show generated considerable outrage in both the public and criticism that had barely digested impressionism and for which, at best, the new technique was no more than a curious exercise in virtuosity. The attacks turned Signac and his companions were they merely to encourage solidarity

gives a new generation of artists, such as those gathered in Belgium under the name of the XX, to expose those who regularly since 1888 Signac It was the first foreigner who, two years later, receive the honor of being admitted as a member of group. The growing acceptance of the technique divisive, largely the result of active proselytizing conducted by Signac, would lead the first differences with Seurat, who saw this as a threat to its originality. The disagreement between the two painters not limited to the personal nature: in the late eighties, Signac begins to question the painstaking pointillism of his companion, who, in his opinion, gave his compositions "a diminished appearance and mechanical" . Despite these problems, arising in large part by the contrast between the reserved and somewhat haughty temper of Seurat and Signac open, it has always manifest his admiration for gran genio del divisionismo; su temprana muerte le sumió en un estado de profunda tristeza.
La luz del Sur

No obstante, Signac fue pr

onto consciente de que, tras la muerte de Seurat, él pasaba a ser el lider del divisionismo y se dedicó a rebatir a quienes, como Lucien Pissarro, creían que esta pérdida significaba el fin del movimiento. Superado el abatimiento, recupera su vocación marinera -a lo largo de su vida poseyó más de treinta barcos- y emprende numerosos viajes. Fruto de uno de ellos es el "descubrimiento" de Saint- Tropez, por aquel entonces un tranquilo pueblecito de pescadores, donde compra una casa en 1893. La luz mediterráneo invade unas obras en las que el "punto" divisive expands, while emphasizing the chromatic contrasts. By 1896, the change is more evident, a new critical look at Seurat The Models persuade him of the need to get away from his fine brushwork to give

to set a higher brightness. Travel and painting
At this time began to paint in watercolor using a flexible technique of large patches of color, which have nothing divisive. These "digressions" does not imply a loss of faith in the importance of his method in 1899 published From Delacroix to Neoimpresionisno, a text that thoroughly explains the principles of his painting, proving that the criticisms that received are the heirs of those who, in his day, went against Delacroix, whom he considers the true precursor of divisiveness. The work will Signac broadcaster for a

number of painters, such as Matisse, who painted in Saint-Tropez Luxury divisive his work, quiet and "Sensuality" be supported in their teaching to develop more radical bets. The last decades have been marked by his two great passions: travel and painting. Constantinople, Venice, the ports of the Mediterranean or the coast of Brittany would be the stage of their works. The years do not appease his fighting spirit: a supporter of Dreyfus in the scandal that shook public opinion French end of the century, a pacifist during the First World War, participated in the committee Andre Gide antifascist intellectuals. Respect of his colleagues led him in 1908 as President of the Society of Independent States, a position he held until his death in 1935.

Sunday, July 19, 2009

Groping On Japanese Subway

Dorothea Lange: Photographer of people

Dorothea Lange New Jersey 1895 - 1965 California This consisted in his business card.

The Photographer of the village, as she had stated on his business card was one of the initiators of social documentary and a pioneer in the report.

Dorothea Lange was born in Hoboken (New Jersey - USA) in 1895 and fall

ece in San Francisco (California - USA) in 1965.

With only seven years contracted polio, a disease that damages the development of the right leg, crippled by this fact of life.

In 1917 studied at the Clarence White School (New York), the tendency of the pictoral. [1] Although the true identity of his work were to give his career as a reporter, beginning to exercise two years later, in 1919 that opened a studio in San Francisco.

Previously, in 1918, is dedicated to going around the world. Fans who will combine reporter with his work later.
In 1920 she married her first husband, painter Maynard Dixon, who has two children.

in Taos, Mexico, he met Paul Strand, who

have a certain influence on his work. It also establishes relations with Imogen Cunningham, who along with Margrette Mather and Laura Gilpin are examples of a modern pictorial and hybrid that combines the bold forms of modernity and hermetic aestheticism and soft atmospheric painting.

Perhaps influenced by his frequent contacts, since 1933, with the Group f/64 (also called 64f) begins to reflect their environment through documents Photo of the working conditions of the era, with particular interest in capturing the most affected by the great American pressure for the 30's.

in 1934 offers his first exhibition in the gal

pipelining Willard Van Dyke. And a year later transferred his residence to California at Berkeley, Berkey, after she married Paul Taylor.

From year 1935 to 40 was working for the administration of Franklin Delano Roosbelt, through its program of economic recovery, the New Deal and especially by the Farm Security Admnistration (FSA), whose photographic section was far beyond record the activities of this and established an impressive graphic file covering all aspects of life in the countryside.

In this time that Lange and her husband prepared "to American Exodus, A Record of Human Erosion." Book, published in 1939, combining photographs with texts that provide an analysis of migration and microfilms which contained fragments of conversation heard at the time the photograph was taken.

the mid-40's who had been hired Lange to document the Japanese Americans in camps is censored by Relocation Authority War to show the internment camps of Japanese Americans.
From this date begins to have problems with their health, a fact that determines your camera lens was tipping issues close as family.

In the early 50's, while his health permit him, he did various jobs for magazines in Latin America, and Africa as well as a study of the California judicial system.

In 1964, upon learning that he suffers from cancer, is dedicated to what would be his last two projects: to organize a retrospective of his work at MoMA and has documented his life. Through these writings explain his ideas gathered photographic form and manner
to see, feel and live photography. They describes itself as a totally purist photographer and advocate of straight photography, objectively and without passing through any type of manipulation

Lange did not suffer the limitations of large and heavy cameras, said:

On 11 died October 1965 in San Francisco.

The real success of the work of Dorothea Lange does not occur until 1972, when the Whitney Museum features 27 works in the exhibition "Executive Order 9066" designed to show

Japanese internment. Then-New York Times critic, AD Coleman, Lange described the photographs as "documents of such high level that penetrate the feelings of victims and the facts of the crime."
Lange left approximately 25,000 negatives that are now part transcendent American history