View allAll Photos Tagged DEPICTION
Here's an image depicting an unusual operation on Connecticut's Valley Railroad. This May 2010 movement was part of a special charter that was operated out of Haddam Station at the north end of the line. It was done this way because the railroad was running their annual Thomas the Tank Engine event in Essex, so the southern end of the railroad was just too busy for a private charter. In this case, a bus delivered charter patrons to Haddam Station, where they boarded a 3-car special steam train, powered by Consolidation #97. The train ran tender-first down to Deep River Landing, where patrons boarded the riverboat Becky Thatcher, for a Connecticut River cruise. When the boat returned, passengers reboarded the train for the trip back north to Haddam. The empty train then deadheaded back to Essex. In this frame, we see that deadhead trip, with #97 passing tender-first over the bridge at Chester Creek in the late afternoon. It is indeed rare to see a locomotive leading a southbound here. Generally speaking, whenever steam passes this location headed north or south, the power is on the north end of the train.
The picture is intended to depict a view of the Jupiter from one of its larger moons, Ganymede.
This was done entirely photographically from my own images. No digital painting and no planet or star images from others.
3 main layers were used. First for the landscape I used a picture taken from the side of the Caldera Colorada volcano, near Masdache, Lanzarote. This image was taken during a series of Star Trail images but exposed a little earlier to get light on the landscape.
The Stars were taken from one 2 minute exposure of the stars and brightened with Topaz.
The Jupiter image was created by copying part of a sunset with layers, plus some cloning to enhance the bands. Then the distort sperise command followed by lighting effects in layer styles.
The other moons were done in a similar way using a rock texture I took from one of my cave pictures.
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Small Late Period and Ptolemaic reliefs or sculptures that depict a subject in a partial or unfinished way but are themselves finished objects constitute a special class of object. Guidelines like those for artists are often prominently exhibited as part of the object, although, in fact, many instances can be noted where the object simply could not serve as a suitable model for a traditional formal Egyptian representation. Personifications of kingship, figures that may represent the now emerging demigods Imhotep and Amenhotep Son of Hapu, and popular gods like Harpokrates or Isis, are heavily represented within the corpus.
Taken together, the figures represented and the other features indicate the reliefs and sculptures of this class, sometimes called by Egyptologists "sculptor’s models / votives," were the material of a donation practice, perhaps connected with the prolific temple building of these centuries. Unfortunately there is little to illuminate us about the mechanics of such a donation practice.
This relief depicts the frontal face of the owl hieroglyph in remarkably high relief.
Limestone, Late Period–Ptolemaic, ca. 400–30 BCE.
Met Museum, New York (07.228.11)
This composite depicts a Concorde supersonic airliner in flight.
The Aérospatiale-BAC Concorde is a retired turbojet-powered supersonic passenger airliner or supersonic transport (SST). It is one of only two SSTs to have entered commercial service; the other was the Tupolev Tu-144. Concorde was jointly developed and produced by Aérospatiale and the British Aircraft Corporation (BAC) under an Anglo-French treaty. First flown in 1969, Concorde entered service in 1976 and continued commercial flights for 27 years.
Among other destinations, Concorde flew regular transatlantic flights from London Heathrow and Paris-Charles de Gaulle Airport to New York JFK, Washington Dulles and Barbados; it flew these routes in less than half the time of other airliners. With only 20 aircraft built, the development of Concorde was a substantial economic loss; Air France and British Airways also received considerable government subsidies to purchase them. Concorde was retired in 2003 due to a general downturn in the aviation industry after the type's only crash in 2000, the 9/11 terrorist attacks in 2001, and a decision by Airbus, the successor firm of Aérospatiale and BAC, to discontinue maintenance support.
A total of 20 aircraft were built in France and the United Kingdom; six of these were prototypes and development aircraft. Seven each were delivered to Air France and British Airways. Concorde's name reflects the development agreement between the United Kingdom and France. In the UK, any or all of the type—unusually for an aircraft—are known simply as "Concorde", without an article. The aircraft is regarded by many people as an aviation icon and an engineering marvel.
This aircraft at Brooklands Museum is G-BBDG and was the third Concorde built in Britain and this country’s first production Concorde. First flown in February 1974, ‘Delta Golf’, as she is known, carried out a large part of the certification work that saw Concorde flying in commercial service between 1976 and 2003. Delta Golf was the fastest production Concorde and in 1974 she became the first aircraft ever to carry 100 people at twice the speed of sound - 1,350mph.
The background layer is of part of the Italian penisular from 37,000 ft altitude. Concorde never flew in this airspace and the plane's maximum cruising altitude was much higher at 60,000 ft. Concorde's pressurisation was set to an altitude at the lower end of this range, 6,000 feet (1,800 m). Concorde's maximum cruising altitude was 60,000 feet (18,000 m); subsonic airliners typically cruise below 40,000 feet (12,000 m).
The most notible feature in this backround layer is Mount Amiata which is the largest of the lava domes in the Amiata lava dome complex located about 20 km northwest of Lake Bolsena in the southern Tuscany region of Italy.
Mount Amiata (La Vetta) is a compound lava dome with a trachytic lava flow that extends to the east. It is part of the larger Amiata complex volcano. A massive viscous trachydacitic lava flow, 5 km long and 4 km wide, is part of the basal complex and extends from beneath the southern base of Corno de Bellaria dome. Radiometric dates indicate that the Amiata complex had a major eruptive episode about 300,000 years ago. No eruptive activity has occurred at Amiata during the Holocene, but thermal activity including cinnabar mineralization continues at a geothermal field near the town of Bagnore, at the SW end of the dome complex.
en.wikipedia.org/wiki/Concorde
www.brooklandsmuseum.com/index.php?/your-visit/the-concor...
Depicting scenes from the Fraser River which is right behind me.
River District, Vancouver, British Columbia, Canada
This picture was taken when descending Buachaille Etive Beag about a month ago. It depicts Stob Coire Sgreamhach, which is really part of the Bidean nam Bian.
I tried, for the first time ever, a long exposure. Not sure if I like it. Any recommendations?
It was originally an arch with three fornices (the two lateral minor ones have collapsed). The arch, like the most monuments of the town, is dated back to the period when Augustus renovated the via Flaminia.
Part of "An Exercise: Fools Tower, One Thousand and One Sights ~ Narrenturm Tausendundeine Ansichten, eine Übung" I asked for learning - he does not find it worth the effort to answer. - Narrenturm 2 / unorthodox sights of most often photographed, depicted subjects: Narrenturm
DMC-G2 - P1530222 17.12.2012 #botschaft #botschaften #wall #wand #mauer #regen #rain #winter #naß #wet #hof #innenhof #courtyard #rundgang #runde #rundarchitektur
This is from my trip to St. Curvy in July. You can really see where the place got it's nickname here as the balcony snakes it's way across the expanse of the building.
It's really an amazing place.
Lockheed artist Gordon Raney’s 1985 depiction of the Hubble Space Telescope (HST), berthed to the Flight Support System (FSS) within the orbiter vehicle’s payload bay, during a ‘maintenance & refurbishment’ mission.
My original thought regarding what's transpiring here was 'artistic license'; however, vague recollection & additional research reveals that HST was reboosted during servicing missions 1, 2 & 3B...which would then also explain the undeployed configuration of the solar arrays. Additionally, I suppose the angled positioning of HST would also reduce the torque/stress on its structure during the reboost.
esahubble.org/about/history/sm3b_a_little_boost/#:~:text=....
Credit: ESA/Hubble website
And since one or two of you were (or eventually will be) thinking “I wonder how’d that whole HST/orbiter berthing thing/system work?” Although some of it’s Servicing Mission 4 (SM-4) specific, it’s still applicable to any/all of the servicing missions:
“Flight Support System
The FSS is a maintenance platform used to berth the HST in the payload bay after the Atlantis crew has rendezvoused with and captured the telescope (see Fig. 2-4). The platform was adapted from the FSS first used during the Solar Maximum repair mission and was converted to use with HST. It has a U-shaped cradle that spans the rear of the bay. A circular berthing ring with three latches secures the telescope to the cradle. The berthing ring can rotate Hubble almost 360 degrees (176 degrees clockwise or counterclockwise from its null position) to give EVA astronauts access to every side of the telescope.
The FSS also has the capability to pivot the telescope, if required for servicing or reboosting. The FSS’s umbilical cable provides power from Atlantis to maintain thermal control of the telescope during the servicing mission.
On SM4 the FSS also carries a Soft Capture Mechanism (SCM) on its berthing and positioning system platform. When attached to the HST aft bulkhead, the SCM will enable and assist in the safe de-orbit of the telescope at the end of its useful life by providing a docking interface that is intended to be compatible with future launch vehicles.”
At/from:
www.nasa.gov/pdf/327688main_09_SM4_Media_Guide_rev1.pdf
Unfortunately, nothing on Mr. Raney.
DISCLAIMER: THIS ISSUE CONTAINS GRAPHICALLY DEPICTED VIOLENCE. PROCEED WITH CAUTION
Klarion the Witch Boy had teleported himself to the headquarters of the illegal smuggling organization “The Otherkind”, in hopes of purchasing an item he’d had his eyes on for quite a while. “The Helm of Flame”. An ancient weapon, myths say that the mask can transform your body into that of a demon, if you read a specific ancient script. There is no known proof of this, however. On opposite sides of the room stood several members of the group, working in different ways, like stocking shelves or chopping up wood to make more shelves. Waiting to purchase this item, Klarion had stood silent in the dark, cold, damp cement building, unnoticed.
Klarion: …Ahem?
A bearded man was sitting on the floor, who now looked up from his can of tomato soup to look into Klarion’s demonic eyes.
Bearded man: Eh? Oh, uh… Is this the guy?
The bearded man spoke with a raspy Russian accent, before looking up to The Rip, who was the organization’s leader. The Rip’s appearance was an odd one. A silhouette, entirely blacked out, standing at roughly 6’7”.
The Rip: Indeed it is. Klarion. It is an honour to meet you.
The Rip spoke in a very smooth but deep voice. It wasn’t loud, but when he spoke, it felt as if it was the only thing you could hear. It grabbed your attention instantly.
Klarion: Why, thank you. You know what I came for, yes?
The Rip: I do remember, yes. The Helm of Flame.
Klarion: Mhm! Now shall your servant fetch it for me, along with the script?
The Rip: I’d prefer if you weren’t to degrade my coworkers, but yes, Alec shall grant it to you. Alec?
He turned to the bearded man… Or at least Klarion assumed he did. With a man who appears physically as a mass of darkness it’s hard to tell.
Alec: Alrighty… Just a second…
He took one last spoonful from the tin can, a small portion of it spilling on his bright blue overcoat before he stood up. He set the can and spoon on the filthy stone floor before he waddled to the Helm of Flame on the shelf, before handing it to Klarion.
Alec: Here ya’ go.
Klarion: …There’s chowder on the script. It’s filthy, and that’s unacceptable..! Fetch me another.
Alec: Uh… Y’know there’s only one of ‘em, right?
The Rip walked over to Klarion, and tapped his fingers against the corner of the script.
The Rip: Ghålli-shï.
Suddenly, the script was cleaned.
Klarion: Thank you, that is much more adequate… Now, how much for each?
Klarion rummaged through a leather wallet, while holding the helm and script under his arm.
The Rip: 1.5 million in total-
Klarion: 5 million, you say? Alrighty…
Klarion handed The Rip the 5 million dollars.
The Rip: Ötałlo-kå.
With a poof of purple smoke, the money vanished.
Klarion: Pleasure doing business with you.
The Rip: The pleasure is mine, Klarion.
Klarion: Shalån-Greėm.
Klarion vanished. A moment after, a worker in an orange sweater walked from the shadows. He hadn’t been doing anything to help the organization, unlike the others.
Man in orange: What a brat.
Both Alec and The Rip turned to the man in orange…
The Rip: …What did you just say, Walter?
Alec: Sh#t, dude…
The two other members of The Otherkind stopped working and turned to “Walter”. One was a man in a black coat and orange scarf, the other a young woman in a purple sweater.
Man in scarf: Oh, dear lord…
The woman in purple simply put her hands over her mouth in shock.
Walter: I’m just sayin’. What? You all thought it, be real.
The Rip: You understand in the 2 months of being here you’ve done nothing but stand around, correct? Watching your coworkers work painfully hard while all you have to do is stock shelves, and yet you can’t even do that right? The others have been doing their jobs correctly for years, and after being here for 2 months, you can’t even manage to be kind to my client.
Walter: I really don’t see what the big deal is.
Alec: Shut up! Dude, seriously!
The Rip: I hadn’t had to speak to you about your laziness, as much as it had frustrated me. But this? Mocking a client? You think you have the right to do that?This is where I draw the line.
The Rip walked slowly and ominously towards Walter while speaking…
Walter: He was just a kid, who cares?
The Rip: You’re not listening to me, are you? You never listen to me. You don’t deserve to be part of this organization. You have such little respect that probably didn’t even attempt to remember my name.
Walter: “Rip”, right?
The Rip stood in place…
The Rip: Yes. Surprisingly, you got that right… But do you know why that is?
Walter: Uh… No.
The Rip: Well… Let me show you.
The Rip’s chest and stomach spread open like a vertical mouth, pointed with jagged fang-like spikes. From the gaping void in his torso appeared long, reddish tendrils. The first latched around Walter’s right arm. Then the left. And then his legs. This was the first time The Rip had seen Walter express genuine fear.
Walter: Agh, Christ..! I-… I can’t move!
The rest of The Otherkind were silent, watching what was happening. The tentacles seemed to grow even longer, pulling Walter high into the air as his eyes opened wider, his forehead shining with sweat. More tendrils appeared, rubbing their pointed tips against Walter’s freakishly warm skin. The man in the scarf ran to help Walter, only to be knocked back by one of the tentacles, causing him to be bashed against a stone wall.
Man in scarf: *uff*!
The Rip: Stay back, Malcolm. This is necessary.
Suddenly, one of the tentacles tore the left leg straight off of Walter, it dropped to the floor, blood spilling out from the gaping wound and onto the limb in puddles. Walter tried to scream, but his mouth was being filled by the tentacles. Tears ran down both his and most of the other members’ faces.
Alec: What the hell!?
Malcolm: Jesus…
The woman in purple was silent, her pupils microscopic, her whole body was shaking. This horrific sight had seemed to effect her the most out of the members. Through the gaps between the hands covering her eyes she noticed the tentacles tugging even harder on each of the limbs, the sound of cracking bones echoed through the room. Eventually all three remaining limbs split apart, leaving a pile of broken pieces on the floor. Walter was nothing but broken bones, torn skin, muscle, and large masses of blood. Walter’s head was still fully intact when it hit the floor, however, his eyes were still wide open and his jaw fully extended, staring into the souls of the remaining members.
Woman in purple: No… No no no…
She fell to her knees, her hands dropping to the floor, her tears breaking through like a waterfall. Malcolm stood beside her, putting his hand on her shoulder to comfort them. Meanwhile all the tentacles sucked themselves quickly back into The Rip, before he reached his hand down to Walter’s mutilated corpse.
The Rip: Ötałlo-kå.
What was rest of Walter disappeared. The Rip turned to the other members.
The Rip: I am deeply sorry if you found the visuals of Walter’s deserved punishment a tad graphic.
Malcolm: “A tad”? You slaughtered the poor guy. Look at Cindy here, look what you did.
“Cindy” looked up at The Rip, a hint of rage behind her tears.
Cindy: You monster!!!
She got up and lunged at The Rip, only for him to put his hand forward in a shielding position.
The Rip: Hīdoth-pöl.
She teleported back where she was before.
The Rip: Your anger is justified, though please, take this experience as a lesson. I love you all deeply, you’re like family to me. I’d rather not be forced to punish one of you like I did today. So stay in line. Thank you. Now, back to work.
~Madam Web
This is an idea that I decided to depict in an updated digital shot. The idea comes from a photo that I saw a very long time ago (40+ years.)
It is a departure from the still life work that I've been doing, but it is not very different from the "product" work I did as a commercial photographer.
This photo taken with the Canon 5D MkII using the Canon 50mm f2.5 Macro lens, 1/50 sec. @ f16. Lighting: Ascor QC1000 Studio Stobe system, 1 head at 200ws in Large Softbox upper left side with white card reflectors right side and lower right - bottom.
Processes using Camera Raw, Photoshop CS5, and FastStone Editor.
This photo is © copyright-registered material and cannot be used for any purpose without the express written permission of the copyright holder, Kevin D. Renz!
My New Website is now ready and I would certainly appreciate your visits!
Here is our Amazon Queen Melanippe, as depicted in a mosaic in Urfa in south-eastern Turkey. She becomes the inspiration of MENAPLIPPE in Wonder Woman and gives us the name of the Bungleinthejungle * Scarlet Wings filly, in which I have a small share, thanks to @HasmoneanRacing
This Movie is stitched from 150 images depicting something i have never seen before- a hummingbird mom fighting for the life of her chicks. They were taken at the Ramsey Canyon Nature conservancy, at a nest located just above the entrance in a large sycamore which the staff at the center help me locate. I took images the evening before, with the bird only showing up to feed.
When I came back the next morning the bird was constantly flying around the nest. While I was shooting i didn't notice anything to explain the odd behavior but I know it there had to be a reason for wasting all this energy- a bird would never draw so much attention too a nest. Then I saw the brown mantis fly away (in comments below), and looked at the images I captured. After I saw the green mantis, I shoot away a sequence of interactions including what I assembled here. note the mantis retreats behind the leaf but the hummer keeps attacking.
II called the rangers after two days and was told that the chicks were still visible, growing and doing well - the mom has won at least for a day.
This was her second brood.
let me know if you ever saw something similar! To see some stills i posted earlier click on the image i posted below and look at its neighbors in the stream.
This painting depicts the music education of a young Achilles by the centaur Chiron. In Homer's 'The Iliad', Chiron is called the "wisest and justest of all the centaurs", not at all wild and animalistic like his brethren. In the Greek world, he was seen as the very image of the caregiver and tutor of young men. Chiron himself was tutored by the god Apollo in the art of medicine, herbs, music, archery, hunting, gymnastics, and prophecy, which allowed the young centaur to rise above his bestial nature. Chiron became a close friend to Peleus, the father of Achilles, and when Achilles was old enough, Peleus brought him to Chiron, who received him as a disciple. Here, Chiron teaches the boy how to play the lyre.
This fresco is one of a four which comprised a tableau with meanings to ancient Romans in Herculaneum. They were discovered in the ruins of the Augusteum - most of which still lies buried under the modern town of Ercolano - the temple dedicated to the cult of the Emperor, detached and sent to separate collections. They're now all in one room in the MANN in Naples, and we can see that this image of Chiron and Achilles (perhaps a depiction of a famous statue group) belongs to the left of the fresco of Hercules discovering his son Telephus in Arcadia. These make up a large mythological painting inside an aedicula (shrine), one of two flanking a podium.
This fresco may allude to the program of regeneration and protection of youths set up by Augustus, and resumed by his successors, a theme also present in the painting of Hercules and Telephus. It's important to note that Hercules was thought to be the founder of Herculaneum.
Museo Archeologico Nazionale di Napoli (MANN inv. 9109)
Depiction of a young man, nude, his weight resting on his left leg. The relaxed right leg is bent and drawn behind and to the side with only the toes touching the ground, giving the body strong contrapposto. The left arm hangs loose at the side, while the right is held forwards and upwards and slightly extended to the right. It is evident from the open fingers that he held an object in his right hand. It is not clear whom the statue depicts. The statue is assembled and restored in a number of places on the abdomen and left shoulder.
According to one view it is the hero Perseus, holding the head of Medusa, although a more prob-able theory regards it as a representation of Paris, the prince of Troy, shown during his judgement holding the apple of Strife, which he is about to award to the most beautiful goddess.
The general structure of the piece, with the strongly modeled muscles, particularly the transverse abdominal, pectoralis major and gluteal muscles, attests to the Polykleitian tradition. Probably from the hand of the sculptor Euphranor of Sikyon (340-330 BC).
Source: Nikolaos Kaltsas, “Sculpture in the National Archaeological Museum, Athens”
Bronze statue
Height: 194 cm.
Attributed to Euphranor of Sikyon
340 – 330 BC
Found in the sea off Antikythera in 1900,
Athens, National Archaeological Museum, Inv. No. X13396
Depicting the Niman (Going Home) Ceremony at the Hopi Village of Walpi. At the Peabody Museum of Archaeology and Ethnology at Harvard University, Boston, Masachussetts.
Depicted above are the following steam locomotives:
Class 57 - 2-6-0 - Nr. 584 (Henschel 11743 / 1913)
Class 70 - 2-8-2 Nr. 739 (ALCO Schenectady 63164 / 1921)
Class 80 - 4-8-2 (Mitsubishi 1952/53)
The locomotive at the end is a Class 52R (originally Class 52) Nr. 449 - 4-6-0 (Borsig 6032 / 1907)
Artist’s depiction of Mercury capsule (no. 13) separation from its Atlas LV-3B/Atlas-D booster (serial no. 109D) during John Glenn’s historic MA-6 earth-orbital mission. Gorgeous artwork by Convair/General Dynamics artist John M. Sentovic. A wonderful & appropriate combination of the “Right Stuff” in artist and of course, the original “Right Stuff” in Astronauts.
Thank You Gentlemen – Continue to Rest In Peace.
The image was featured in “ONE… TWO… THREE… AND THE MOON!”, NASA EP-7 (Revised 6-63), with the following caption:
“Artist’s conception of Mercury spacecraft separating from Atlas in orbit.”
A Must Read:
e05.code.blog/2022/04/19/meet-john-sentovic/
Credit: Garrett O’Donoghue/’numbers station’ blog
A Must Watch/Listen:
www.youtube.com/watch?v=5n449Q_xeUs
Credit: Andrew Chaikin/collectSPACE/YouTube
Although apparently having been glued to a lightweight black construction paper (prevalent from the time period), it was likely within a binder, folder or something similarly protective, as it’s in very nice condition.
This artist’s concept depicts the Apollo-Soyuz Test Project, or ASTP, the first international docking of spacecraft from different nations: the U.S. and the Soviet Union. While the vehicles were docked the crews performed several experiments designed by NASA’s Marshall Space Flight Center in Huntsville, Alabama. The center also built the Saturn IB launch vehicle that carried the Apollo capsule to orbit. The mission marked the last flight for a Saturn vehicle. (NASA artist concept)
“And yet viewing several depictions of even an imaginary city, is enlightening in a way," Leibniz said. "Each painter can view the city from only one standpoint at a time, so he will move about the place, and paint it from a hilltop on one side, then a tower on the other, then from a grand intersection in the middle--all in the same canvas. When we look at the canvas, then, we glimpse in a small way how God understands the universe--for he sees it from every point of view at once. By populating the world with so many different minds, each with its own point of view, God gives us a suggestion of what it means to be omniscient.”
― Neal Stephenson, Quicksilver
The Temple was a monumental structure; it measured 120 m in length and 50 m across. The sixty massive columns surrounding the cella were well over 2 m in diameter and more than 21 m high. The Temple was topped with the largest Corinthian capitals ever sculpted, one of which, 2.5 metres in height, 1.9 metres in diameter and 20 tons in weight, was unearthed in 2013.
In AD 124, the city of Cyzicus was granted the role of neokoros, temple warden of the imperial cult. The people of Cyzicus declared Hadrian the 13th Olympian god.
The Byzantine chronicler John Malalas called the Temple of Hadrian at Cyzicus “a very large temple, one of the wonders" with a very large bust of Hadrian on the roof and a marble stele inscribed "of Divine Hadrian". (Malalas, Chronography Bks 1-7, 10-18)
Cassius Dio called it “the largest and most beautiful of all temples, writing that “its columns were four cubits in thickness and fifty cubits in height" writing that "in general, the details were more to be wondered at than praised.” (epit. 70.4.1–2).
Hadrian (117-138 AD) depicted as Mars. He was the first Roman emperor to have himself represented as a god during his lifetime. According to a model probably originated during the age of Augustus, Hadrian and his wife Sabina are here likened to the lovers Mars and Venus, gods of war and love. The sculptural model, transmitted through five - six full-relief replicas, was created by Pasiteles, a Greek sculptor active in Rome at the end of the 1st century BC. The figure of Mars is inspired to a Greek artwork of the classical period, attributed to Alkamenes, and today known as the Ares Borghese from a replica exhibited at Louvre.
The emperor is represented as a heroic nude, bearing the military attributes of Mars: crested helmet, baldric, two-edged sword and breastplate laid on a tree trunk which serves as a support for the figure
The group was later altered for unknown reasons. The head of the female figure was changed and replaced by another ancient portrait: the features and hairstyle, essential indicators for the dating of Roman portraits, indicate that this is a late second-century portrait, probably of Lucilla, wife of Emperor Lucius Verus (161-169 CE). Hadrian's features, still easily recognizable, are made more anonymous in order to turn him into a generic figure.
Source: Louvre WEB Site
Roman marble sculpture
H. 191 cm-; W. 115 cm.
About 120 – 140 AD, modified in 170-175 AD
From Rome
Paris, Musée du Louvre, Inv. no. Ma 1009
This vintage photo depicts the Panting Wolf Post Dedicated at the last potlatch held on Japonski Island near Sitka on December 23, 1904. The hosts of the potlatch, the Kaagwaantaan clan, affirmed their social status by dedicating five monumental wooden carvings. The Panting Wolf house post was raised up by pulleys and attached to the front of Jacob Yarkon's (Xeitxutch) World house.
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Potlatches
Potlatches are among the most distinctive cultural expressions of the Native American peoples of the Northwest Pacific Coasts of the United States and Canada.
Practiced by communities as far north as the Ingalik of Central Alaska and as far south as the Makah of Washington State, they are perhaps best known among the Tlingit, Haida, Tsimshian, Nootka, Salish, and Kwakwaka’wakw peoples.
Potlatches are extravagant feasts where goods are given away or sometimes destroyed to enhance social prestige. The basic principle underlying the potlatch is reciprocity and balance as the host clan regales the clans from the opposite moiety with songs, dances, speeches, food, and gifts. Traditionally, they take place in very specific cultural contexts such as a memorial for a deceased relative, the rebuilding of a clan house, or the dedication of a totem pole.
Today, potlatches are also held for other reasons such as marking important anniversaries, graduations, and personal accomplishments. Among the Tlingit, however, the memorial potlatch (koo.éex’) remains the principal one.
As Sergei Kan points out, they are not just about representing the social order; they also constitute key cultural values and principles of honor and mutual support. By hosting elaborate potlatches, individuals and clans maintain and gain status and recogni-tion within the community. The potlatch is thus a complex and multi-layered communication system where participants express their relationships among themselves, with their ancestors, and with their future generations.
Although there is variation across communities, memorial potlatches are structured according to a standard protocol. They generally begin with the hosts welcoming the guests, and they quickly move into the mourning period where the hosts sing mourning songs.
To alleviate their hosts’ grief, the guest clans immediately respond by singing songs, holding up their clan at.óow, and making consolation speeches. The potlatch then shifts to a more celebra-tory and joyous mood with dancing, the distribution of individual “fire dishes” of food for the ancestors,and the serving of a traditional meal.
At this time, the hosts distribute food and small gifts and recognize individual guests with gifts of fruit baskets. Throughout this period the guests and family members give small amounts of money to members of the host clan with whom they have a special relationship. The hosts gather this money and announce each gift, and they then give new clan names to newborn children and individuals being adopted.
Near the end of the potlatch, the hosts publicly recognize everyone who helped and supported them in their time of grief with a gift of money and sometimes a special gift such as a blanket. After all the money and gifts have been distributed, the guests generally perform a closing dance to thank the hosts.
At the turn of the 20th century, the Tlingit people experienced profound social changes. U.S. citizenship, social justice, and Christianity were topics of popular debate. Some clan chiefs and housemasters became convinced that the time had come for their people to abandon their old traditions and customs.
In Sitka, the territorial capital of Alaska, 80 Christian Indians, many of them Presbyterians, formed an organization called the “New Covenant League” that eventually became the Alaska Native Brotherhood and Alaska Native Sisterhood. The league was committed to ending such customs as plural marriages, inter-clan indemnity claims, uncle-nephew inheritance laws, and potlatching.
In 1902, several members approached Governor John G. Brady, a former Presbyterian missionary, and requested that he issue a proclamation that would “command all natives to changed and that if they did not they should be punished.”
Like other missionaries and government officials, Governor Brady considered the potlatch a practice that perpetuated prejudice, superstition, clan rivalry, and retarded progress.
He was committed to breaking up the offensive clan system and replacing it with the independent family unit, but he was not eager to impose legal sanctions.
Therefore, in a dramatic gesture, Brady decided to endorse one “last potlatch” at Sitka where Tlingit people from across southeast Alaska could gather and discuss their future. He appealed to the U.S. Secretary of the Interior, Ethan Allen Hitchcock, to secure the necessary funds with the justification that the event would “result in a lasting good to the people them-selves and would save the United States many thou-sands of dollars in the way of criminal prosecution.”
One of the most prominent members of the New Covenant League was James Jackson (Anaaxoots), the head of the Kaagwaantaan clan. Other likely members were Augustus Bean (K’alyaan Eesh), Paddy Parker (Yaanaxnahoo), and Jacob Yarkon (Xeitxut’ch)—all high-ranking members of the Sitka Kaagwaantaan clan and part of the new vanguard of wealthy, educated Tlingit, who had been Brady’s allies and had served on the Indian Police Force.
Obligated to host a major potlatch, but not wanting to jeopardize their good relations with Brady, they endorsed his last potlatch idea and agreed to serve as hosts.
The “last potlatch” was held on December 23, 1904, and lasted four weeks. It officially began with the grand arrival at Japonski Island (just south of Sitka) of the Raven side guests in traditional dugout canoes flying American flags.
The Raven clans included the Deisheetaan of Angoon, the T’akdeintaan of Huna, and the Gaanaxteidí of Klukwan. The potlatch consisted of consecutive days of alternating feasts and dancing.
The Kaagwaantaan clan hosts honored their guests with great quantities of food. According to the Daily Alaskan (Dec. 29, 1904),“Every morning and afternoon there is a great feast and only one article is served …. At the feasts the man or woman who can eat the most is regarded as the special hero of the occasion and he receives an extra allowance of the good things it is within the power of the hosts to bestow.”
The Kaagwaantaan clan hosts affirmed their social status by dedicating five monumental wooden carvings. They dedicated the Multiplying Wolf screen and two house posts carved by Silver Jim (Kichxook) and installed them in James Jackson’s Wolf house. They installed two other Wolf posts carved by Rudolf Walton in Augustus Bean’s Eagle house. The Panting Wolf house post was raised up by pulleys and attached to the front of Jacob Yarkon’s World house.
They publicly validated all these objects with proper Tlingit protocol. For example, the Daily Alaskan (Jan. 13, 1905) reported that Chilkoot Jack received $270 in cash, 100 blankets, 10 large boxes of provi-sions, and 7 coal oil cans filled with candlefish oil.
Governor Brady had hoped that his “last potlatch” would help end clan factionalism and further his assimilationist agenda. Ironically, it seems to have had the opposite effect.
The Daily Alaskan (Dec. 29, 1904) observed that “one of the results of the potlatch has been to create enthusiasm among those Indians who still profess faith in the beliefs, superstitions, traditions and customs of the natives, as opposed to those who have forsaken them for the Christian faith.”
Many of the traditionalists used the potlatch to educate the younger generation: “the old Indians who never took kindly to the white man’s religion are happy, and they are using the opportunity to impress upon the younger members of the tribe what they regard as the necessity of maintaining their old customs and traditions.”
Although they were sympathetic to some of Brady’s goals, it is clear that the Kaagwaantaan clan leaders did not support the end of potlatching.
According to anthropologist Sergei Kan, unpublished records in Sitka’s Presbyterian archives indicate, for instance, that James Jackson continued to practice “the old customs” after 1904.
Indeed, the Tlingit people never fully abandoned potlatching. Many communities continued the practice in secret or masked it by combining it with American holidays and social events. These covert strategies seem to have placated Governor Brady since potlatching was never outlawed, as it was in Canada. Today memorial potlatching is enjoying a strong resurgence, and the CCTHITA maintains a calendar of these events.
www.penn.museum/sites/expedition/the-centennial-potlatch/
(Notes from University of Pennsylvania, Expedition Magazine Vol 47 No 2 Summer 2005)
One of the panels from a coffered floor mosaic depicting a Dionysiac theater mask, as evidenced by the wreath of ivy leaves and berries (and possibly clusters of grapes). An egg and dart pattern frames this coffer.
From the ruins of a Roman villa in Tusculum (in the Alban Hills in Latium), in the area of the Villa Ruffinella. End of the 1st century BCE.
Museo Nazionale Romano, Palazzo Massimo alle Terme, Rome
This is a digital-art image in order to honour and pictorially magnify the Mother of Light, aka “Theotokos” (Greek for “Blessed Virgin Mary” or “Madonna” or “Our Lady”): In Greek Orthodox Church the Presentation of the Blessed Virgin Mary is celebrated on the 21st day of November (feast day).
The final digital art image is based upon a high dynamic range shot of the life-size mosaic icon created in AD 1283. The icon depicts Theotokos holding the Lord infant on Her right side (“Dexiokratousa”). The mosaic is part of the marble iconostasis of the 13th-century Byzantine church at Porta-Panagia (near Trikala), Greece.
The shot was inspired by liturgical texts of Theotokos' feast day such as the following odes:
—“Let us honour and magnify in song the Theotokos and the Mother of light.”
—“I shall open my mouth and it shall be filled with the Spirit; and I shall pour out a word to the Queen and Mother; and I shall be seen cheerfully celebrating; and rejoicing, I shall sing of her miracles.”
Depicted during its August 23rd 1944 mission to bomb the twin bridges of Pont San Martino.
Ron Cole's aviation art: ColesAircraft.com
This larger than life-size Greek bronze statue was found in 1885 on the Quirinal Hill in Rome, along with the ‘Terme Boxer’ bronze. It depicts a powerfully muscled naked young man with a light beard (closeup seen here), reclining on a spear in an intentional copy of Lysippos’ statue of Herakles. It was formerly referred to as the ‘Hellenistic Prince’ but is now thought to represent a Roman general, with Scipio Aemilianus (Scipio Africanus the Younger) being the prime candidate, as it was found very near the location of his villa.
It was February 1885 when the statue of the so-called Hellenistic Prince was unearthed in the foundation walls of an ancient building, at a depth of about six metres. The discovery was made on the western slopes of the Quirinal Hill, in the garden of the ex-Convent of San Silvestro al Quirinale, behind the church of the same name, during excavations on Via IV Novembre for the construction of the National Dramatic Theatre (demolished in 1929; the present building accommodates INAIL, the National Institute for Insurance against Accidents at Work).
Just one month later, behind a second foundation wall of the same structure, the Boxer was extracted from the subsoil, buried under a blanket of sifted earth and resting on a Doric capital which had preserved its sitting position. The circumstances of these spectacular discoveries immediately seemed to suggest that the two Greek sculptures had been deliberately hidden, although their original location in Rome is still unknown, as are the reasons that led to their burial. According to a long tradition of studies, the bronzes once decorated the Baths of Constantine (circa 315 AD, southern slopes of the Quirinal Hill), a complex that is no longer preserved today. The statues are thought to have been removed from the Baths and carefully buried with the aim of safeguarding them from some imminent danger, presumably pillaging. The area of the discovery nonetheless lies several hundred metres from the site of the Baths of Constantine.
Meanwhile, literary sources, antiquity studies and inscriptions found in situ highlight that the area where the statues were found (near the Servian Walls and in a built-up area with urban residences) was also occupied by sacred buildings, including the temple of Semo Sancus, not far from Porta Sanqualis (Largo Magnanapoli), whose ruins lie a short distance from the ex-Convent of San Silvestro al Quirinale. Due to the substantial archaeological gaps existing precisely in the area of the Quirinal Hill where the discoveries were made, it is not possible to formulate a more precise hypothesis regarding the original location of the statues in the vicinity of their hiding places. Furthermore, mystery also surrounds the laying of the bronzes in foundation walls beneath the floor of an ancient building.
The bronze has patinated into a rainbow of colors, from deep green and red, to golden-brown. The latter color was how it looked when new, and there’s some speculation that the hair and other details may have been painted - see the Brinkmanns’ reconstruction for the Frankfurt Liebieghaus Polychromy Research Project (where they identify him as one of the Dioscures - Castor or Pollux). It no longer has its eyes, but they would have been fashioned out of stone and glass, most likely.
Greek, 2nd century BCE, bronze.
Museo Nazionale Romano, Palazzo Massimo alle Terme
Wilhelm Heinrich Otto Dix
2 December 1891 – 25 July 1969) was a German painter and printmaker, noted for his ruthless and harshly realistic depictions of German society during the Weimar Republic and the brutality of war. Along with George Grosz and Max Beckmann, he is widely considered one of the most important artists of the Neue Sachlichkeit.
Early life and education
Otto Dix was born in Untermhaus, Germany, now a part of the city of Gera, Thuringia. The eldest son of Franz Dix, an iron foundry worker, and Louise, a seamstress who had written poetry in her youth, he was exposed to art from an early age.The hours he spent in the studio of his cousin, Fritz Amann, who was a painter, were decisive in forming young Otto's ambition to be an artist; he received additional encouragement from his primary school teacher. Between 1906 and 1910, he served an apprenticeship with painter Carl Senff, and began painting his first landscapes. In 1910, he entered the Kunstgewerbeschule in Dresden, now the Dresden Academy of Fine Arts, where Richard Guhr was among his teachers. At that time the school was not a school for the fine arts but rather an academy that concentrated on applied arts and crafts.
The majority of Dix's early works concentrated on landscapes and portraits which were done in a stylized realism that later shifted to expressionism.
At the end of 1918 Dix returned to Gera, but the next year he moved to Dresden, where he studied at the Hochschule für Bildende Künste. He became a founder of the Dresden Secession group in 1919, during a period when his work was passing through an expressionist phase. In 1920, he met George Grosz and, influenced by Dada, began incorporating collage elements into his works, some of which he exhibited in the first Dada Fair in Berlin. He also participated in the German Expressionists exhibition in Darmstadt that year.
He met metalsmith Martha Koch in 1921, and they married in 1923. They had three children together. She was a frequent subject of his portraits.
In 1924, he joined the Berlin Secession; by this time he was developing an increasingly realistic style of painting that used thin glazes of oil paint over a tempera underpainting, in the manner of the old masters. His 1923 painting The Trench, which depicted dismembered and decomposed bodies of soldiers after a battle, caused such a furor that the Wallraf-Richartz Museum hid the painting behind a curtain. In 1925 the then-mayor of Cologne, Konrad Adenauer, canceled the purchase of the painting and forced the director of the museum to resign.
Dix was a contributor to the Neue Sachlichkeit exhibition in Mannheim in 1925, which featured works by George Grosz, Max Beckmann, Heinrich Maria Davringhausen, Karl Hubbuch, Rudolf Schlichter, Georg Scholz and many others. Dix's work, like that of Grosz—his friend and fellow veteran—was extremely critical of contemporary German society and often dwelled on the act of Lustmord, or sexualized murder. He drew attention to the bleaker side of life, unsparingly depicting prostitution, violence, old age, and death.
In one of his few statements, published in 1927, Dix declared, "The object is primary and the form is shaped by the object."
Among his most famous paintings are Sailor and Girl (1925), used as the cover of Philip Roth's 1995 novel Sabbath's Theater, the triptych Metropolis (1928), a scornful portrayal of depraved actions of Germany's Weimar Republic, where nonstop revelry was a way to deal with the wartime defeat and financial catastrophe, and the startling Portrait of the Journalist Sylvia von Harden (1926). His depictions of legless and disfigured veterans—a common sight on Berlin's streets in the 1920s—unveil the ugly side of war and illustrate their forgotten status within contemporary German society, a concept also developed in Erich Maria Remarque's All Quiet on the Western Front.
Although frequently recognized as a painter, Dix drew self-portraits and portraits of others using the medium of silverpoint on prepared paper. "Old Woman," drawn in 1932, was exhibited with old-master drawings.
World War II and the Nazis
When the Nazis came to power in Germany, they regarded Dix as a degenerate artist and had him sacked from his post as an art teacher at the Dresden Academy. He later moved to Lake Constance in the southwest of Germany. Dix's paintings The Trench and War Cripples were exhibited in the state-sponsored Munich 1937 exhibition of degenerate art, Entartete Kunst. War Cripples was later burned. The Trench was long thought to have been destroyed too, but there are indications the work survived until at least 1940. Its later whereabouts are unknown; it may have been looted during the confusion at the end of the war. It has been called 'perhaps the most famous picture in post-war Europe ... a masterpiece of unspeakable horror.
Dix, like all other practising artists, was forced to join the Nazi government's Reich Chamber of Fine Arts (Reichskammer der bildenden Kuenste), a subdivision of Goebbels' Cultural Ministry (Reichskulturkammer). Membership was mandatory for all artists in the Reich. Dix had to promise to paint only inoffensive landscapes. He still painted an occasional allegorical painting that criticized Nazi ideals. His paintings that were considered "degenerate" were discovered among the 1500+ paintings hidden away by the son of Hitler's looted art dealer Hildebrand Gurlitt in 2012.
In 1939 he was arrested on the trumped-up charge of being involved in a plot against Hitler (see Georg Elser), but was later released.
During World War II, Dix was conscripted into the Volkssturm. He was captured by French troops at the end of the war and released in February 1946.
Dix eventually returned to Dresden and remained there until 1966. After the war most of his paintings were religious allegories or depictions of post-war suffering, including his 1948 Ecce homo with self-likeness behind barbed wire. In this period, Dix gained recognition in both parts of the then-divided Germany. In 1959 he was awarded the Grand Merit Cross of the Federal Republic of Germany (Großes Verdienstkreuz) and in 1950, he was unsuccessfully nominated for the National Prize of the GDR. He received the Lichtwark Prize in Hamburg and the Martin Andersen Nexo Art Prize in Dresden to mark his 75th birthday in 1967. Dix was made an honorary citizen of Gera. Also in 1967 he received the Hans Thoma Prize and in 1968 the Rembrandt Prize of the Goethe Foundation in Salzburg.
Dix died on 25 July 1969 after a second stroke in Singen am Hohentwiel. He is buried at Hemmenhofen on Lake Constance.
Dix had three children: a daughter Nelly and two sons, Ursus and Jan.
The Otto-Dix-Haus was opened in 1991, at the 100th anniversary of Dix's birth, in the 18th-century house where he was born and grew up, at Mohrenplatz 4 in the city of Gera, as a museum and art gallery. It is managed by the city administration.
As well as providing access to the rooms Dix lived in, it houses a permanent collection of 400 of his works on paper and paintings. Visitors can see examples of his childhood sketch books, watercolours and drawings from the 1920s and 1930s, and lithographs. The collection also includes 48 postcards he sent from the front during World War I. The gallery also regularly hosts temporary exhibitions.
The building was affected by a flood in June 2013. In order to repair the underlying damage, the museum was closed in January 2016, and re-opened in December 2016 following restoration.
The Museum Haus Dix was inaugurated in 2013 in the house where the artist lived with his family and where he worked from 1936 to 1969, in Hemmenhofen, south Germany
en.wikipedia.org/wiki/Otto_Dix
Born: Mohrenplatz 4, 07548 Gera, Germany, Europe
Orginal photo: Hugo Erfurth (1874–1948), ca. 1929 (CCA) whoswho.de/bio/otto-dix.html
Artwork by TudioJepegii