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The Last Judgement
The mighty composition, painted by Michelangelo between 1536 and 1541, is centred around the dominant figure of Christ, captured in the moment preceding that when the verdict of the Last Judgement is uttered (Matthew 25:31-46). His calm imperious gesture seems to both command attention and placate the surrounding agitation. It starts a wide slow rotary movement in which all the figures are involved. Excluded are the two upper lunettes with groups of angels bearing in flight the symbols of the Passion (on the left the Cross, the nails and the crown of thorns; on the right the column of the scourging, the stairs and the spear with the sponge soaked in vinegar). Next to Christ is the Virgin, who turns her head in a gesture of resignation: in fact she can no longer intervene in the decision, but only await the result of the Judgement. The Saints and the Elect, arranged around Christ and the Virgin, also anxiously await the verdict. Some of them can be easily recognized: St Peter with the two keys, St Laurence with the gridiron, St Bartholomew with his own skin which is usually recognized as being a self-portrait of Michelangelo, St Catherine of Alexandria with the cogwheel and St Sebastian kneeling holding the arrows. In the centre of the lower section are the angels of the Apocalypse who are wakening the dead to the sound of long trumpets. On the left the risen recover their bodies as they ascend towards heaven (Resurrection of the flesh), on the right angels and devils fight over making the damned fall down to hell. Finally, at the bottom Charon with his oars, together with his devils, makes the damned get out of his boat to lead them before the infernal judge Minos, whose body is wrapped in the coils of the serpent. The reference in this part to the Inferno of Dante Alighieri's Divina Commedia is clear. As well as praise, the Last Judgement also caused violent reactions among the contemporaries. For example the Master of Ceremonies Biagio da Cesena said that "it was most dishonest in such an honoured place to have painted so many nude figures who so dishonestly show their shame and that it was not a work for a Chapel of the Pope but for stoves and taverns" (G. Vasari, Le Vite). The controversies, that continued for years, led in 1564 to the decision by the Congregation of the Council of Trent to have some of the figures of the Judgement that were considered "obscene" covered. The task of painting the covering drapery, the so-called "braghe" (pants) was given to Daniele da Volterra, since then known as the "braghettone". Daniele's "braghe" were only the first and in fact others were added in the following centuries.
Face shots on the left, nature on the right!
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About this set :
I go through my contact's flickr pictures on Flipboard in my iPad. This app arranges the pictures in chronologial order, but on each page it changes the order to best display the pictures. So I have found interesting patterns and compositions of this stream. Enjoy.
Note : This pictures are not mine, but taken from my contacts. If any of this should be removed from here, please let me know. Thx.
The September bonus challenge at Compositionally Challenged is "Self Portraiture". For this shot, I set the camera on a tripod in portrait mode with a 10 second delay. And stood in the bathroom with a white shower curtain for the background.
In my humble opinion, this is the toughest challenge we've had in the 4+ year history of the group. Be that as it may, I do my best with every challenge, even if that 'best' isn't very good. Venturing outside my comfort zone is almost always a good learning experience.
Video: youtu.be/MrpjorMTugg
Based on this great paper model by Dirk Eisner: www.flickr.com/photos/eisfold/10991500154/in/photostream/
Built in 1870, this Richardsonian Romanesque-style former psychiatric hospital was designed by Henry Hobson Richardson to serve the population of the rapidly growing urban areas in Western New York with more advanced mental health treatment. Sitting among a large park-like campus designed by Frederick Law Olmsted and Calvert Vaux, the rusticated Medina red sandstone and brick structures of the hospital are laid out primarily according to the Kirkbride plan. The the largest commission by footprint and square footage designed by Richardson during his storied and significant career, being one of the earliest examples of his signature Richardsonian Romanesque style, which mixes rusticated stone with Romanesque architecture to create romantic picturesque compositions reminiscent of Medieval castles and churches in Europe.
The campus was expanded over time with the construction of additional wings in red brick on either side of the original Medina sandstone buildings, which consists of the central five wings, the three brick wings at the eastern end of the complex having been removed in the 1970s to make way for a modern psychiatric facility, despite the complex’s historic and architectural significance having been recognized during the 1960s. Additional buildings not in the kirkbride formation were scattered around the grounds, including a greenhouse behind the main building, several smaller service and utility buildings, and buildings that were constructed to provide additional wards to house patients during the early 20th Century, as well as buildings meant to house staff.
When the hospital was in operation, patients were segregated by sex, with male patients being housed in the eastern pavilions, and female patients being housed in the western pavilions. The building was utilized as a psychiatric hospital known as the Buffalo State Asylum until the 1970s, when changing methods of treating psychiatric illness were developed, leading to the building becoming obsolete and newer facilities being built on the grounds. The central wing of the complex, however, remained in use as administrative offices for the still-operating psychiatric treatment facilities on the property until 1994.
The building went through a period of significant and prolonged deterioration and uncertainty between the 1970s and 2008, with the unsecured facility becoming vandalized, decayed, and unsafe. However, in 2008, in the wake of a successful lawsuit filed by the Preservation Coalition of Erie County, the State of New York was forced to commit $100 million in order to rehabilitate the structure. Between the spring of 2008 and the fall of 2012, the complex was stabilized, and in 2013, the South Lawn was converted from parking lots back into the original, verdant green space it was meant to be. In 2017, the first phase of the building's adaptive reuse and rehabilitation was completed, which transformed the central three pavilions into the Hotel Henry and Conference Center, with the Buffalo Architecture Center also opening in the renovated structure. The plans for the complex were to convert the remaining intact but vacant pavilions into additional space for the Hotel Henry Urban Resort Conference Center, which would have been spectacular once it transformed and revitalized the amazing historic structure. However, due to restrictions and economic effects relating to the recent pandemic, Hotel Henry became insolvent and closed in 2021.
The complex consisted of a central wing with two tall towers that housed administrative facilities, flanked by five pavilions on each side, which progressively stair-step north from the central pavilion, a key feature of the Kirkbride plan, with a total of 11 structures in the complex, with three brick pavilions having been removed from the east side of the complex. The central wing features two towers with steeply-pitched copper-clad roofs, turrets at the corners, shed dormers, and corbeling, hipped dormers of varying sizes, with recessed panels and windows of varying sizes helping tie it back to its medieval aesthetic inspiration. The wing also features wall dormers, windows with arched transoms and stone trim, gabled roofs, and two-story arced connecting corridors that link it to the pavilions next to it on either side, features that are shared with the other medina sandstone buildings in the Richardson-designed portion of the complex. The front of the central wing features a porch with arched openings supported by columns with ornate capitals, tile mosaics on the faces of the vaults and blind arches on the porch, and a central doorway with an arched transom. The rear facade has been slightly modified with the installation of a curtain wall where an addition had been connected to the building in the mid-20th Century, which was added to serve as a primary and fully accessible entrance to the hotel that formerly operated in the building, with a large metal canopy having been added to this side of the building in 2021-22. To either side of the main wing are a total of four medina sandstone wings that formerly housed patient wards, which are largely identical and feature hipped and gabled roofs, wall dormers, windows with stone trim and arched transoms, arced two-story connecting corridor structures, and chain link-enclosed steel and concrete porches on the unrestored outer wings, which were once present on all of the wards, but were removed on the wards that were restored.
To the north and west of the sandstone structure are a series of red brick wings and buildings in various states of deterioration, with the two western wings being similar in appearance to the medina sandstone wings, but one floor shorter, blocky four-story red brick wings with low-slope roofs to the rear of the outermost sandstone wings, and two one-story service buildings behind the middle wings that flank the central wing, which feature hipped roofs, and differ a lot in materiality and details. At the very end of the western wings is a wing that is turned 90 degrees from the wing it is attached to and is roughly H-shaped, being only one story in height, featuring a gabled roof, a wooden porch with doric columns at the northwest corner, and a one-story bay window in the middle of the north facade. These wings are in much worse condition than the sandstone portions of the complex.
The complex was listed on the National Register of Historic Places in 1973, and was named a National Historic Landmark in 1986. The complex’s future is presently uncertain, with a large section of copper missing from the north side of the roof of the east tower on the central wing, many of the wings still languishing in abandonment and severe disrepair, and no longer having an anchoring business to preserve and reuse the buildings.
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Where to place the horizon line?
Most pictures look better if the horizon is positioned above or below the middle of the frame, not directly in the center of the image.
www.nikonusa.com/en/learn-and-explore/article/h7dfrceh/5-...