View allAll Photos Tagged Demeter
Vintage photo transparency, tape transfers, paper, colored pencil, paint and string on cardboard. 9" round.
Paying homage to Conklin pens from the 1920's - the Bexley Demeter. Designed and produced in Central Ohio!
Bust of Demeter wearing chiton, cloak, earrings, and snake's-head torque.
Terracotta. End of the 4th/first half of the 3rd c. BCE
Votive deposit of the sanctuary of Demeter and Kore at loc. Casaletto, Ariccia.
Museo Nazionale Romano: Terme di Diocleziano
Rome, Italy
This lovely Victorian marble statue of a woman gathering sheaths of wheat is located in the greenhouse of the Geelong Botanic Gardens.
Although not marked as such, it is more than likely that she is the Goddess of the Bountiful Harvest (Demeter in Greek mythology or Ceres in Roman mythology).
Temple of Demeter and Kore, agora of Cyrene, Libya. 3rd century BC.
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Les dues parelles d'estàtues representen Demèter i Core (Persèfone).
Did a shoot based of the story of Demeter and Persephone. Thank you to my models for helping me lug the columns into the woods.
Demeter - Brianna
Demeter (Ceres) Ludovisi.
Coarse marble. Roman copy of the 2nd century A.D. after a Greek model of the 5th—4th centuries B.C.
Inv. No. 8596.
Rome, Roman National Museum, Palazzo Altemps.
Once more the reaper in the gleam of dawn
Will see me by the landmark far away,
Blessing his field, or seated in the dusk
Of even, by the lonely threshing-floor,
Rejoicing in the harvest and the grange.
Yet I, Earth-Goddess, am but ill-content
With them, who still are highest. Those gray heads,
What meant they by their "Fate beyond the Fates"
But younger kindlier Gods to bear us down,
As we bore down the Gods before us? Gods,
To quench, not hurl the thunderbolt, to stay,
Not spread the plague, the famine; Gods indeed,
To send the noon into the night and break
The sunless halls of Hades into Heaven?
Till thy dark lord accept and love the Sun,
And all the Shadow die into the Light,
When thou shalt dwell the whole bright year with me,
And souls of men, who grew beyond their race,
And made themselves as Gods against the fear
Of Death and Hell; and thou that hast from men,
As Queen of Death, that worship which is Fear,
Henceforth, as having risen from out the dead,
Shalt ever send thy life along with mine
From buried grain thro' springing blade, and bless
Their garner'd Autumn also, reap with me,
Earth-mother, in the harvest hymns of Earth
The worship which is Love, and see no more
The Stone, the Wheel, the dimly-glimmering lawns
Of that Elysium, all the hateful fires
Of torment, and the shadowy warrior glide
Along the silent field of Asphodel.
Alfred Lord Tennyson
Photography-
© David L Ballard Photography, All rights reserved.
I have no qualms with you using my photos on your blog ect.
I only ask that you please ask me first.
Contact me through Flickrmail or my email address on my profile page.
Thanks for your respect and consideration.
David Ballard.
“Ceres, the goddess of seed and harvest,” uncredited illustration, after a Pompeii fresco, for “Mythical Stories of Our Food‐Giving Plants,” ch. 2 of The Story of Corn and the Westward Migration, by Eugene Clyde Brooks, Chicago: Rand McNally, 1916, p. 19. Digitized by the Internet Archive from the collection of the New York Public Library. Dowloaded from the Internet Archive and cropped. (In the public domain.)
High reliefs stele of Artemis Poseidon and Demeter, from the Nerva – Antonine dynasty period. Only the lower torso and legs of Artemis have survived. These fragmentary sculptures are believed to have come from a large altar dedicated to Zeus, located in the center of the Smyrna agora.
Marble high relief
Height 220 cm, width 270 cm
Antonine period (138-193 AD)
From Smyrna Agora
Smyrna, Archaeological Museum
Os grandes mosaicos e afrescos que decoravam paredes e pisos das casas da cidade, além de estátuas, milhares de objetos e inscrições, resgatados as pressas do sítio arqueológico, estão expostos hoje no museu de Gaziantep Turquia .
This mosaic was found in dining room of the house of Gypsy Girl (Menad). The figure became the symbol of Zeugma because of the mysterious look she had in her eyes. When it could not be identified it got named “Gypsy” because of the women's resemblance with gypsies. But some sources draw attention to the wine in the mosaic and claim that it is Menad .
After one entire year, here comes another image. Does anybody guess it's theme? wait for the others details to get more hints.
This image was made with the gentle contribution of the pictures of wikimedia commons and 'Eric in SF' [check out his stunning photostream www.flickr.com/photos/ericinsf/sets/203243/ – thank you, Eric, for the permission of using your fabulous images!].
It is a very important image for me, hope you guys like the final result.
;-)
Seraphin (Monica McDowell) as Demeter at Castle McCuloch in Jamestown, North Carolina.
Lighting: Twin speed lights in a shoot-through umbrella, camera left, single speed light in a Honl snoot, camera right. Final speed light, with a blue gel, about 20 feet back and firing across the moat at the castle. Exposure set about 1-2 stops above ambient, to keep some of the details in the background.
LEGO Demeter
from
" Percy Jackson and the lightning thief"
My creations.
Rick riordan for PERCY JACKSON series
Representação do Mito de Pasífae com Ícaro e seu pai Dédalo.
Na mitologia grega, Ícaro ficou famoso pela sua morte por cair dentro do Egeu quando a cera segurando suas asas artificiais derreteram.
Ícaro era filho de Dédalo, um dos homens mais criativos e habilidosos de Atenas. Um dos maiores feitos de Dédalo foi o labirinto do palácio do rei Minos de Creta, para aprisionar o Minotauro. Por ter ajudado Ariadne, a filha de Minos a fugir com Teseu, Dédalo provocou a ira do rei que, como punição, ordenou que Dédalo e seu filho fossem jogados no labirinto.
Dédalo sabia que sua prisão era intransponível, e que Minos controlava mar e terra, sendo impossível escapar por estes meios. "Minos controla a terra e o mar", disse Dédalo, "mas não as regiões do ar. Tentarei este meio".
Dédalo projetou asas, juntando penas de aves de vários tamanhos, amarrando-as com fios e fixando-as com cera, para que não se descolassem. Foi moldando com as mãos e com ajuda de Ícaro, de forma que as asas se tornassem perfeitas como as das aves. Estando o trabalho pronto, o artista, agitando suas asas, se viu suspenso no ar. Equipou seu filho e o ensinou a voar. Então, antes do vôo final, advertiu seu filho de que deveriam voar a uma altura média, nem tão próximo ao Sol, para que o calor não derretesse a cera que colava as penas, nem tão baixo, para que o mar não pudesse molhá-las. Dédalo beijou seu filho com lágrimas nos olhos e as mãos tremendo, levantou vôo e foi seguido por ele.
Eles primeiramente se sentiram como deuses que haviam dominado o ar. Passaram por Samos e Delos à esquerda, e por Lebinto à direita.
Ícaro deslumbrou-se com a bela imagem do Sol e, sentindo-se atraído, voou em sua direção esquecendo-se das orientações de seu pai, talvez inebriado pela sensação de liberdade e poder. A cera de suas asas começou rapidamente a derreter e logo caiu no mar. Quando Dédalo notou que seu filho não o acompanhava mais, gritou: "Ícaro, Ícaro, onde você está?". Logo depois, viu as penas das asas de Ícaro flutuando no mar. Lamentando suas próprias habilidades, enterrou o corpo numa ilha e chamou-a de Icaria em memória a seu filho. Chegou seguro à Sicília, onde construiu um templo a Apolo, deixando suas asas como oferenda.