File:The Departure of the Ship (William Blair Bruce) - Nationalmuseum - 18662.tif
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Captions
William Blair Bruce: The Departure of the Ship | |||||||||||||||||||||||||||
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Artist | |||||||||||||||||||||||||||
Title |
English: The Departure of the Ship Svenska: Vid avfärden |
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Object type |
painting object_type QS:P31,Q3305213 |
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Description |
English: There is a great commotion on Blasieholmen around the departing steamboats. The scene is remarkably bright - but the light does not appear to come from the gaslights that were still common in Stockholm, but from electric arc lights, judging by its intensity and lofty position. At the time of this painting, arc lighting had been introduced at the quays of Stockholm. The Canadian artist Bruce usually devoted himself to painting different kinds of daylight. Here, however, the electric light – the emblem of modernity – captured his attention. Svenska: På Blasieholmen är trängseln stor framför de ångbåtar som just ska lägga ut. Scenen framträder i ett påfallande starkt ljus – men inte från det gasljus som ännu dominerade i Stockholm. Ljusets styrka och höga placering vittnar istället om den tidiga form av elektrisk utomhusbelysning – så kallat bågljus – som vid denna tid hade börjat användas på stadens kajer. Kanadensaren Bruce ägnade sig i sitt måleri vanligen åt dagsljusets skiftningar. Men här har alltså det elektriska ljuset – den moderna tidens signum – fångat hans intresse. |
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Original caption InfoField | English: There is a great commotion on Blasieholmen around the departing steamboats. The scene is remarkably bright - but the light does not appear to come from the gaslights that were still common in Stockholm, but from electric arc lights, judging by its intensity and lofty position. At the time of this painting, arc lighting had been introduced at the quays of Stockholm. The Canadian artist Bruce usually devoted himself to painting different kinds of daylight. Here, however, the electric light – the emblem of modernity – captured his attention. Svenska: På Blasieholmen är trängseln stor framför de ångbåtar som just ska lägga ut. Scenen framträder i ett påfallande starkt ljus – men inte från det gasljus som ännu dominerade i Stockholm. Ljusets styrka och höga placering vittnar istället om den tidiga form av elektrisk utomhusbelysning – så kallat bågljus – som vid denna tid hade börjat användas på stadens kajer. Kanadensaren Bruce ägnade sig i sitt måleri vanligen åt dagsljusets skiftningar. Men här har alltså det elektriska ljuset – den moderna tidens signum – fångat hans intresse. |
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Date | Unknown date | ||||||||||||||||||||||||||
Medium |
oil on canvas medium QS:P186,Q296955;P186,Q12321255,P518,Q861259 |
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Dimensions |
height: 27 cm (10.6 in); width: 35 cm (13.7 in) dimensions QS:P2048,27U174728 dimensions QS:P2049,35U174728 |
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Collection |
institution QS:P195,Q842858 |
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Accession number |
NM 1658 |
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Inscriptions |
Svenska: Signerad: B.B. |
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References | Nationalmuseum Sweden artwork ID: 18662 | ||||||||||||||||||||||||||
Source/Photographer | Bodil Karlsson / Nationalmuseum | ||||||||||||||||||||||||||
Permission (Reusing this file) |
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current | 09:02, 8 October 2016 | 3,708 × 3,184 (33.81 MB) | AndreCostaWMSE-bot (talk | contribs) | {{Artwork |other_fields_1 = |artist = William Blair Bruce |title = {{en|The Departure of the Ship}} {{sv|Vid avfärden}} |wikidata = Q18574359 |object_type = painting |descr... |
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Camera manufacturer | NIKON CORPORATION |
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Camera model | NIKON D2X |
Author | Nationalmuseum |
Exposure time | 1/125 sec (0.008) |
F-number | f/18 |
ISO speed rating | 100 |
Date and time of data generation | 11:25, 4 May 2012 |
Lens focal length | 105 mm |
Width | 3,708 px |
Height | 3,184 px |
Bits per component |
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Compression scheme | Uncompressed |
Pixel composition | RGB |
Image data location | 37,618 |
Orientation | Normal |
Number of components | 3 |
Number of rows per strip | 3,184 |
Bytes per compressed strip | 35,418,816 |
Horizontal resolution | 300 dpi |
Vertical resolution | 300 dpi |
Data arrangement | chunky format |
Software used | Adobe Photoshop CS5 Windows |
File change date and time | 10:02, 24 May 2012 |
Exposure Program | Manual |
Exif version | 2.3 |
Date and time of digitizing | 15:00, 6 September 2011 |
APEX shutter speed | 6.965784 |
APEX aperture | 8.33985 |
APEX exposure bias | 0 |
Maximum land aperture | 3 APEX (f/2.83) |
Metering mode | Spot |
Light source | Flash |
Flash | Flash did not fire |
DateTimeOriginal subseconds | 05 |
DateTimeDigitized subseconds | 41 |
Color space | Uncalibrated |
Sensing method | One-chip color area sensor |
File source | Digital still camera |
Scene type | A directly photographed image |
Custom image processing | Normal process |
Exposure mode | Manual exposure |
White balance | Manual white balance |
Digital zoom ratio | 1 |
Focal length in 35 mm film | 157 mm |
Scene capture type | Standard |
Scene control | None |
Contrast | Soft |
Saturation | Normal |
Sharpness | Soft |
Subject distance range | Unknown |
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