Hrh prince philip recalls watching japans surrender
Surrender After 50 Black And White Portraits

Surrender After 50 Black And White Portraits Surrender After 50 Black And White Portraits

In Times Square on V.J. Day I saw a sailor running along the street grabbing any and every girl in sight. Whether she was a grandmother, stout, thin, old, didn’t make a difference. I was running ahead of him with my Leica looking back over my shoulder but none of the pictures that were possible pleased me. Then suddenly, in a flash, I saw something white being grabbed. I turned around and clicked the moment the sailor kissed the nurse. If she had been dressed in a dark dress I would never have taken the picture. If the sailor had worn a white uniform, the same. I took exactly four pictures. It was done within a few seconds.[citation needed]

In the 2014 video game Wolfenstein: The New Order, an alternative history version of the V-J Day kiss (V-A Day in the timeline) appears as a Nazi soldier forcing himself on the nurse.[40][41]

In 2012, while performing a show for the Marines during the New York City Fleet Week, singer Katy Perry kissed a man on stage, replicating the pose.[39]

Mendonça and Friedman (both individually and together), as well as Shain, Muscarello, and McDuffie, were widely interviewed in the succeeding years by Life, PBS, NBC, CBS, and others. The life stories of Mendonça and Friedman, and how they came to be in Times Square that day, as well as the reasons they are considered most likely to be the ones photographed, are the subject of a detailed book on the photo.[31] Mendonça recognizes Friedman, to the exclusion of any other woman, as the “nurse” he kissed in the photographs (or, to be precise, the woman in the white uniform, as Friedman was a dental assistant—a nurse’s uniform was customary in a dentist’s office to be worn by female assistants and hygienists in that era).[32] As part of a World War II memorial at Battleship Cove in Fall River, Massachusetts, a new painting titled Victory Kiss by Jim Laurier of New Hampshire was first unveiled on August 24, 2013, to honor the event captured in the photo. George Mendonça was in attendance for the unveiling.[17]

Galdorisi and Verria used interviews of claimants, expert photo analysis, identifying people in the background and consultations with forensic anthropologists and facial recognition specialists. They concluded that the woman was Greta Zimmer Friedman and that she was wearing her dental hygienist uniform in the photograph.[9]

On June 20, 2010, Shain died at age 91 of liver cancer.[15] In April 2012 the issue of who the woman was, remained, as a new book on the topic was about to be released. The authors, George Galdorisi and Lawrence Verria, stated that Shain could not have been the woman because her height of just 4 ft 10 in (1.47 m) was insufficient in comparison with the height of any of the men claiming to be the sailor.[9]

Edith Shain wrote to Eisenstaedt in 1980 claiming to be the woman in the picture.[13][14] In August 1945, Shain was working at Doctor’s Hospital in Manhattan, New York City as a nurse when she and a friend heard on the radio that World War II had ended. They went to Times Square where all the celebrating was and as soon as she arrived on the street from the subway, the sailor grabbed her in an embrace and kissed her. She related that at the time she thought she might as well let him kiss her since he fought for her in the war.[citation needed] Shain did not claim that she was the woman in the white dress until many years later when she wrote to Eisenstaedt. He notified the magazine that he had received her letter claiming to be the subject.[citation needed]

The Unconditional Surrender sculpture in Times Square, New York City

Post-minimalist artist and idolater in equal measure, both in colour and material, he develops his practice between painting and sculpture through architectural, erotic, metaphysical, hedonistic and psychological associations. He ‘thinks of the surfaces we call skin, fabric, canvas, wall and screen, and how they positively model our culture, generating contacts, connectivity and communication,’ as Giuliana Bruno affirms in her text ‘Surface Encounters.’* Jonny Niesche explores the expanded field of painting and abstraction by creating associations borrowed from all kinds of past and present personal experiences and reformulating our understanding of the effects of light and colour on the human senses. Planes which are often shiny and reflective surfaces made using glitter, iridescent mirrors, fabrics and dyes, welded steel translucent structures and lightweight digitally printed voiles, reflect an external character that is received and decoded by the spectator. Subsequently, the spectator is transported into a perpetual state of transformation and dazzling vibration as the result of a personalised mix of colour, light, and kinetics that in unison permeate the exhibition space.

In the 2009 film Watchmen, during the opening credits, the Times Square V-J celebration is shown with a costumed heroine, Silhouette, kissing a female nurse as a photographer captures the moment.[citation needed]

I went over there and kissed her and saw a man running at us…I thought it was a jealous husband or boyfriend coming to poke me in the eyes. I looked up and saw he was taking the picture and I kissed her as long as took for him to take it.[28]

In the August 14, 2007, issue of AM New York McDuffie said he passed five polygraph tests confirming his claim to be the man.[25] McDuffie, a native of Kannapolis, North Carolina, who had lied about his age so he could enlist at the age of 15, went on after the war to play semi-pro baseball and work for the United States Postal Service.[26][27] He says that on that day he was on the subway to Brooklyn to visit his girlfriend, Ardith Bloomfield.[25] He came out of the subway at Times Square, where people were celebrating in the streets. Excited that his brother, who was being held by the Japanese as a prisoner of war, would be released, McDuffie began hollering and jumping up and down. A nurse saw him, and opened her arms to him. In apparent conflict with Eisenstaedt’s recollections of the event, McDuffie said he ran over to her and kissed her for a long time so that Eisenstaedt could take the photograph:

V-J Day in Times Square (also V-Day and The Kiss)[1][2] is a photograph by Alfred Eisenstaedt that portrays a U.S. Navy sailor grabbing and kissing a stranger—a woman in a white dress—on Victory over Japan Day (“V-J Day”) in New York City’s Times Square on August 14, 1945.[3] The photograph was published a week later in Life magazine, among many photographs of celebrations around the United States that were presented in a twelve-page section titled “Victory Celebrations”.[4] A two-page spread faces three other kissing poses among celebrators in Washington, D.C.; Kansas City; and Miami opposite Eisenstaedt’s, which was given a full-page display. Kissing was a favorite pose encouraged by media photographers of service personnel during the war,[citation needed] but Eisenstaedt was photographing a spontaneous event that occurred in Times Square soon before the announcement of the end of the war with Japan was made by U.S. President Harry S. Truman at seven o’clock.

In two different books he wrote, Alfred Eisenstaedt gave two slightly different accounts of taking the photograph and of its nature.[citation needed]

Gibson had also analyzed photographs of other men who have claimed to be the sailor, including Muscarello and Mendonça, reporting that neither man’s facial bones or other features match those of the sailor in the photograph. On August 3, 2008, Glenn McDuffie was recognized for his 81st birthday as the “Kissing Sailor” during the seventh-inning stretch of the Houston Astros and New York Mets game at Minute Maid Park.[citation needed] McDuffie died on March 14, 2014.[29]

Coordinates: 40°45′28″N 73°59′09″W / 40.757682°N 73.98571°W / 40.757682; -73.98571

1 Accounts by Alfred Eisenstaedt 2 Another photograph of the same scene 3 Identity of the Kissers 3.1 Greta Zimmer Friedman 3.2 Edith Shain 3.3 Claiming to be the U.S. Navy sailor 3.3.1 George Mendonsa 3.

3.2 Carl Muscarello 3.3.3 Glenn McDuffie 3.3.4 Other people 4 Alternate interpretations 5 In popular culture 6 See also 7 References 8 External links

Edith Shain at the 2008 Memorial Day parade in Washington, D.C.

Jonny Niesche – ‘Cracked actor’ 29 September – 17 November 2017 Thursday to Saturday 12–6 pm and by appointment Opening reception

Only one is right, on account of the balance. In the others the emphasis is wrong — the sailor on the left side is either too small or too tall. People tell me that when I am in heaven they will remember this picture.[citation needed]

Hidden categories: All articles with dead external linksArticles with dead external links from March 2018Articles with permanently dead external linksArticles needing more detailed referencesWikipedia articles needing page number citations from March 2014Coordinates on WikidataUse mdy dates from July 2018All articles with unsourced statementsArticles with unsourced statements from September 2016Articles with unsourced statements from March 2014Articles with unsourced statements from June 2010

Glenn McDuffie laid claim in 2007 and was supported by Houston Police Department forensic artist Lois Gibson.[23] Gibson’s forensic analysis compared the Eisenstaedt photographs with current-day photographs of McDuffie, analyzing key facial features identical on both sets. She measured his ears, facial bones, hairline, wrist, knuckles, and hand, and compared those to enlargements of Eisenstaedt’s picture.

In the 2009 film Night at the Museum: Battle of the Smithsonian, two characters jump into a life-size enlargement of the photograph, finding themselves in a monochrome Times Square. One of them cuts in on the sailor for a kiss with the nurse.[citation needed]

U.S. Navy photo journalist Victor Jorgensen captured another view of the same scene, which was published in The New York Times the following day.[7] Jorgensen titled his photograph Kissing the War Goodbye. It shows less of Times Square in the background, lacking the characteristic view of the complex intersection so that the location needs to be identified, it is dark and shows few details of the main subjects, and it does not show the lower legs and feet of the subjects.

Numerous men have claimed to be the sailor, including Donald Bonsack, John Edmonson, Wallace C. Fowler, Clarence “Bud” Harding, Walker Irving, James Kearney, Marvin Kingsburg, Arthur Leask, George Mendonça, Jack Russell, and Bill Swicegood.[16] The issue regarding the identity of the kissers is no longer contended in a court of law.

The identity of the sailor as George Mendonsa has been challenged by physicists Donald W. Olson and Russell Doescher of Texas State University and Steve Kawaler of Iowa State University based on astronomical conditions recorded by the photographs of the incident. According to Mendonsa’s account of the events of the day, the kiss would have occurred at approximately 2 p.m. However, Olson and Doescher argue that the positions of shadows in the photographs suggest that it was taken after 5 p.m. They further point to a clock seen in the picture, its minute hand near the 10 and its hour hand pointing virtually vertically downward, indicating a time of approximately 5:50, and to Victor Jorgensen’s account of the circumstances of his own picture. They concluded that Mendonsa’s version of events is untenable.[19]

Peter von Kant is very pleased to announce ‘Cracked actor,’ the first UK solo show by Australian artist Jonny Niesche. ‘Cracked Actor’ is a musical piece written by David Bowie, the fifth track of the 1973 ‘Aladdin Sane’ album, written and composed in 1972 – also the birthday of Jonny Niesche. With an oscillating constellation between detailed iridescent and colorful glam rock and politically engaged art rock, the latter with its focus upon rhythm, repetition, and the avant-garde, this piece describes the decline of an aged ex film star reduced to paying for sexual performances behind the scenes of Hollywood. It is a decadent portrait of drugs and sex with no limits: ‘smack,’ ‘crack,’ ‘give me your head’ (extract). In addition, ‘Aladdin Sane’ was inspired by the story of ‘Vile Bodies’ made by British writer Evelyn Waugh in 1930, which Bowie himself read in one of his crossings: ‘The book speaks of a London in the period immediately preceding an imposing imaginary war, and he explained that at the time, ‘people had a frivolous, decadent, and stupid attitude.’ And, suddenly, they found themselves involved in this terrible holocaust. They were all out sorts and kept thinking about champagne, parties and clothes. Somehow it seemed to me that]there were strong analogies with people’s behaviour nowadays.’ Here colour palettes and their range of colours and gradients are ideally developed and generally based on the composition of the shades of colour that characterise the cover of Bowie’s ‘Aladdin Sane’ album. This is the extravagant and surprising proscenium that inspired Jonny Niesche and in turn, is offered to us.

George Mendonsa of Newport, Rhode Island, on leave from the USS The Sullivans (DD-537), was watching a movie with his future wife, Rita,[13] at Radio City Music Hall when the doors opened and people started screaming the war was over.[17] George and Rita joined the partying on the street, but when they could not get into the packed bars decided to walk down the street. It was then that George saw a woman in a white dress walk by and took her into his arms and kissed her, “I had quite a few drinks that day and I considered her one of the troops—she was a nurse.”[13] In one of the four pictures that Eisenstaedt took, Mendonsa claims that Rita is visible in the background behind the kissing couple.[13]

V-J Day in Times Square, a photograph by Alfred Eisenstaedt, was published in Life in 1945 with the caption, “In New York’s Times Square a white-clad girl clutches her purse and skirt as an uninhibited sailor plants his lips squarely on hers”

In The Simpsons episode “Bart the General”, victory celebrations following a “war” between two groups of children include a boy in a sailor outfit kissing Lisa as a photograph is taken. She then slaps the boy, exclaiming, “Knock it off!”[citation needed]

The original interpretations of the photo centered around the jubilation of the V-J Day celebrations. Art critic Michael Kimmelman summarized the composition in 1997 as reflective of that mood: the sailor representing returning troops, the nurse to represent those who would welcome them home, and Times Square stood for home. Since then, bloggers in the 2010s have called the photo documentation of a type of normalized sexual assault. The people pictured in the photograph did not previously know one another. Drunk at the time of the photograph, the sailor is shown kissing an unwilling partner. The widely agreed upon identity of the female subject in the photo, dental assistant Greta Zimmer Friedman, had also explicitly expressed that the kiss in question was not a consensual act. Combined with the humorous expressions on the bystanders and the sailor’s firm grasp of the nurse, the situation has been described as emblematic of a time when women were “subordinated to men”, or of a rape culture.[33]

Categories: Aftermath of World War II in the United StatesTimes Square1945 works1945 in art1945 in New York (state)Surrender of JapanBlack-and-white photographsWorld War II photographsWorks originally published in Life (magazine)KissingPhotographs of the United StatesPortrait photographsUnidentified people1945 in New York City1940s photographs

Life’s October 1980 issue did not include Muscarello or Glenn McDuffie.[30] These claims have been made much more recently.

It became a cultural icon overnight and by establishing his copyright, Eisenstaedt carefully controlled the rights to it, only allowing a limited number of reproductions which determined how it could be used.[citation needed]

Because he was photographing rapidly changing events during the celebrations, Eisenstaedt did not have an opportunity to get the names and details.[citation needed] The photograph does not clearly show the face of either person involved, and numerous people have claimed to be the subjects. The photograph was shot just south of 45th Street looking north from a location where Broadway and Seventh Avenue converge.

Alfred Eisenstaedt signing his famous V-J Day photograph on the afternoon of August 23, 1995, while sitting in his Menemsha Inn cabin located on Martha’s Vineyard. He died about eight hours later.

To do this he relies on the concept of exchange and cross-disciplinarity, rather than the establishment of a dominant one, so that they freely move back and forth between surfaces, shapes, symbols, riffs, and narratives. The gradients thus become ‘glam’ and sensual aspects of our lives that eroticise the surface of the skin, forming imperceptible but similar emotional sunsets on it. The forms create a new custom language, varying the structure from work to work. And the adorned works, in their completeness, lie in the space and on the surfaces ready to be worshiped.

“It wasn’t my choice to be kissed,” Friedman stated in a 2005 interview with the Library of Congress.[3] “The guy just came over and grabbed!” she said, adding, “That man was very strong. I wasn’t kissing him. He was kissing me.”[3][10] “I did not see him approaching, and before I know it I was in this tight grip,” Friedman told CBS News in 2012.[11] Friedman died at age 92 on September 8, 2016, in Richmond, Virginia, due to health complications of old age.[12]

See also[edit] Dancing Man, an image of V-J Day in Sydney References[edit] External links[edit] Wikimedia Commons has media related to V-J Day in Times Square (Alfred Eisenstaedt). V-J Images from Life, article and slideshow “V-J Day − Is He the Real McCoy?” The Art Quarterly, 2007 The Kissing Sailor, or “The Selective Blindness of Rape Culture” – A feminist perspective from Crates and Ribbons

I could tell just in general that yes, it’s him. But I wanted to be able to tell other people so I replicated the pose.[24]

The surprised woman on the left in Jorgensen’s photograph has been positively identified as Kay Hughes Dorius of Utah.[8]

In 1987, George Mendonsa filed a lawsuit against Time Inc. in Rhode Island state court, alleging that he was the sailor in the photograph and that both Time and Life had violated his right of publicity by using the photograph without his permission. After Time Inc. removed the case to federal court, Mendonsa survived a motion to dismiss.[18]

George Mendonsa and Greta Friedman, guests of honor at the Bristol, Rhode Island, July 4 parade in 2009

In 2005, John Seward Johnson II displayed a bronze life-size sculpture, Unconditional Surrender, at an August 14, 2005, sixtieth-anniversary reenactment at Times Square of the kiss. His statue was featured in a ceremony that included Carl Muscarello and Edith Shain, holding a copy of the famous photograph, as participants.[34] Johnson also sculpted a 25-foot-tall (7.6 m) version in plastic and aluminum, which has been displayed in several cities, including San Diego and Sarasota.[35][36][37] The 25-foot (7.6 m) version was moved to New York City again on August 12, 2015, for a temporary display.[38]

Unlike the Eisenstaedt photograph, which is protected by copyright, this Navy photograph is in the public domain as it was produced by a federal government employee on official duty. While the angle of the photograph may be less interesting than that of Eisenstaedt’s photo, it clearly shows the actual location of the iconic kiss occurring in the front of the Chemical Bank and Trust building, with the Walgreens pharmacy signage on the building façade visible in the background.

Mendonsa was identified by a team of volunteers from the Naval War College in August 2005 as “the kisser”. His claim was based on matching his scars and tattoos to scars and tattoos in the photograph.[13] They made their determination after much study including photographic analysis by the Mitsubishi Electric Research Laboratories (MERL) in Cambridge, Massachusetts, who were able to match scars and tattoo spotted by photograph experts, and the testimony of Richard M. Benson, a photograph analysis expert, professor of photographic studies, plus the former Dean of the School of Arts at Yale University. Benson stated that “it is therefore my opinion, based upon a reasonable degree of certainty, that George Mendonsa is the sailor in Mr. Eisenstaedt’s famous photograph.”[13]

I was walking through the crowds on V-J Day, looking for pictures. I noticed a sailor coming my way. He was grabbing every female he could find and kissing them all — young girls and old ladies alike. Then I noticed the nurse, standing in that enormous crowd. I focused on her, and just as I’d hoped, the sailor came along, grabbed the nurse, and bent down to kiss her. Now if this girl hadn’t been a nurse, if she’d been dressed dark clothes, I wouldn’t have had a picture. The contrast between her white dress and the sailor’s dark uniform gives the photograph its extra impact.[citation needed]

Carl Muscarello is a retired police officer with the New York City Police Department, now living in Plantation, Florida. In 1995, he claimed to be the kissing sailor. He claimed that he was in Times Square on August 14, 1945, and that he kissed numerous women. A distinctive birthmark on his hand enabled his mother to identify him as the subject. Edith Shain initially said she believed Muscarello’s claim to be the sailor and they even dated after their brief reunion. But in 2005, Shain was much less certain, telling the New York Times, “I can’t say he isn’t. I just can’t say he is. There is no way to tell.”[20] Muscarello has described his condition on August 14, 1945 as being quite drunk[21] and having no clear memory of his actions in the square, stating that his mother claimed he was the man after seeing the photograph and he came to believe it.[22]

In the 2010 film Letters to Juliet, the photograph is featured in a scene where a magazine editor questions a writer about her fact-checking regarding the image.[citation needed]

The photograph was taken at 5:51 p.m. ET, according to Donald W. Olson and his team.[5] It was taken with a Leica IIIa.[6]

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