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Surround yourself with people that inspire you and make you move forward.
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Common name: Water lily.
Genus: Nymphaea.
Family: Nymphaeaceae.
Taken at Stellenbosch University Botanical Garden, Stellenbosch, Western Cape, South Africa.
A powerful black and white photograph that captures the quiet strength and vulnerability of the subject in an intimate, contemplative pose. The use of lighting and contrast accentuates the natural beauty and texture of the skin, creating a visually striking and emotionally resonant image.
Mark Rothko, original name Marcus Rothkovitch, American painter whose works introduced contemplative introspection into the melodramatic post-World War II Abstract Expressionist school; his use of colour as the sole means of expression led to the development of Colour Field Painting.
In 1913 Rothko’s family emigrated from Russia to the U.S., where they settled in Portland, Ore. During his youth he was preoccupied with politics and social issues. He entered Yale University in 1921, intending to become a labour leader, but dropped out after two years and wandered about the U.S. In 1925 he settled in New York City and took up painting. Although he studied briefly under the painter Max Weber, he was essentially self-taught.
Rothko first worked in a realistic style that culminated in his Subway series of the late 1930s, showing the loneliness of persons in drab urban environments. This gave way in the early 1940s to the semi-abstract biomorphic forms of the ritualistic Baptismal Scene (1945). By 1948, however, he had arrived at a highly personal form of Abstract Expressionism. Unlike many of his fellow Abstract Expressionists, Rothko never relied on such dramatic techniques as violent brushstrokes or the dripping and splattering of paint. Instead, his virtually gestureless paintings achieved their effects by juxtaposing large areas of melting colours that seemingly float parallel to the picture plane in an indeterminate, atmospheric space.
Rothko spent the rest of his life refining this basic style through continuous simplification. He restricted his designs to two or three “soft-edged” rectangles that nearly filled the wall-sized vertical formats like monumental abstract icons. Despite their large size, however, his paintings derived a remarkable sense of intimacy from the play of nuances within local colour.
From 1958 to 1966 Rothko worked intermittently on a series of 14 immense canvases (the largest was about 11 × 15 feet [3 × 5 metres]) eventually placed in a nondenominational chapel in Houston, Texas, called, after his death, the Rothko Chapel. These paintings were virtual monochromes of darkly glowing browns, maroons, reds, and blacks. Their sombre intensity reveals the deep mysticism of Rothko’s later years. Plagued by ill health and the conviction that he had been forgotten by those artists who had learned most from his painting, he committed suicide.
After his death, the execution of Rothko’s will provoked one of the most spectacular and complex court cases in the history of modern art, lasting for 11 years (1972–82). The misanthropic Rothko had hoarded his works, numbering 798 paintings, as well as many sketches and drawings. His daughter, Kate Rothko, accused the executors of the estate (Bernard J. Reis, Theodoros Stamos, and Morton Levine) and Frank Lloyd, owner of Marlborough Galleries in New York City, of conspiracy and conflict of interest in selling the works—in effect, of enriching themselves. The courts decided against the executors and Lloyd, who were heavily fined. Lloyd was tried separately and convicted on criminal charges of tampering with evidence. In 1979 a new board of the Mark Rothko Foundation was established, and all the works in the estate were divided between the artist’s two children and the Foundation. In 1984 the Foundation’s share of works was distributed to 19 museums in the United States, Great Britain, the Netherlands, Denmark, and Israel; the best and the largest proportion went to the National Gallery of Art, Washington, D.C.
Getting in touch with your true self is the most important yet an almost impossible task.
(EXPLORED#2)
- Introspection -
View On Black
Explored!
Dec 1, 2008 #51
-----------Strobist---------
SB600 set to 85mm camera left.
Chistmas tree lights on the background.
Mark Rothko, original name Marcus Rothkovitch, American painter whose works introduced contemplative introspection into the melodramatic post-World War II Abstract Expressionist school; his use of colour as the sole means of expression led to the development of Colour Field Painting.
In 1913 Rothko’s family emigrated from Russia to the U.S., where they settled in Portland, Ore. During his youth he was preoccupied with politics and social issues. He entered Yale University in 1921, intending to become a labour leader, but dropped out after two years and wandered about the U.S. In 1925 he settled in New York City and took up painting. Although he studied briefly under the painter Max Weber, he was essentially self-taught.
Rothko first worked in a realistic style that culminated in his Subway series of the late 1930s, showing the loneliness of persons in drab urban environments. This gave way in the early 1940s to the semi-abstract biomorphic forms of the ritualistic Baptismal Scene (1945). By 1948, however, he had arrived at a highly personal form of Abstract Expressionism. Unlike many of his fellow Abstract Expressionists, Rothko never relied on such dramatic techniques as violent brushstrokes or the dripping and splattering of paint. Instead, his virtually gestureless paintings achieved their effects by juxtaposing large areas of melting colours that seemingly float parallel to the picture plane in an indeterminate, atmospheric space.
Rothko spent the rest of his life refining this basic style through continuous simplification. He restricted his designs to two or three “soft-edged” rectangles that nearly filled the wall-sized vertical formats like monumental abstract icons. Despite their large size, however, his paintings derived a remarkable sense of intimacy from the play of nuances within local colour.
From 1958 to 1966 Rothko worked intermittently on a series of 14 immense canvases (the largest was about 11 × 15 feet [3 × 5 metres]) eventually placed in a nondenominational chapel in Houston, Texas, called, after his death, the Rothko Chapel. These paintings were virtual monochromes of darkly glowing browns, maroons, reds, and blacks. Their sombre intensity reveals the deep mysticism of Rothko’s later years. Plagued by ill health and the conviction that he had been forgotten by those artists who had learned most from his painting, he committed suicide.
After his death, the execution of Rothko’s will provoked one of the most spectacular and complex court cases in the history of modern art, lasting for 11 years (1972–82). The misanthropic Rothko had hoarded his works, numbering 798 paintings, as well as many sketches and drawings. His daughter, Kate Rothko, accused the executors of the estate (Bernard J. Reis, Theodoros Stamos, and Morton Levine) and Frank Lloyd, owner of Marlborough Galleries in New York City, of conspiracy and conflict of interest in selling the works—in effect, of enriching themselves. The courts decided against the executors and Lloyd, who were heavily fined. Lloyd was tried separately and convicted on criminal charges of tampering with evidence. In 1979 a new board of the Mark Rothko Foundation was established, and all the works in the estate were divided between the artist’s two children and the Foundation. In 1984 the Foundation’s share of works was distributed to 19 museums in the United States, Great Britain, the Netherlands, Denmark, and Israel; the best and the largest proportion went to the National Gallery of Art, Washington, D.C.
highway stretching endlessly, a sense of solitude and infinite perspective, evoking a feeling of quiet introspection and adventure
"HAVE PATIENCE WITH EVERYTHING THAT REMAINS UNSOLVED IN YOUR HEART... LIVE IN THE QUESTION."
Rainer Maria Rilke, "Letters To a Young Poet"
Ladakh (Himalaya), giugno 2009. Meraviglioso, aggirarmi silenziosamente tra i cortili interni e le scale buie e le suggestive sale dei gompa (monasteri), seguendo a volte un canto di preghiera distante. Ho scoperto spesso monaci, a volte giovanissimi come quello qui ritratto, assorti in istanti di introspezione assolutamente privata.
Ladakh (Himalaya), June 2009. Wonderful, to stroll silently through the inner courtyards, dark stairs and charming halls of the gompas (monasteries), sometimes following a distant chant. I've often found monks, sometimes very young ones like the one portrayed here, absorbed in moments of private introspection.
Music/Commento musicale davvero in tema: Bruno Coulais, Le Lac - Himalaya
E' la colonna sonora del film: "Himalaya - L'infanzia di un capo", di Eric Valli.
It's the soundtrack of the film "Himalaya - The Rearing Of A Chief", by Eric Valli.
Per chi non conoscesse questa straordinaria colonna sonora di un film altrettanto straordinario, ecco qualche informazione: it.wikipedia.org/wiki/Himalaya_-_L'infanzia_di_un_capo
Information about the film: en.wikipedia.org/wiki/Himalaya_(film)
Explore #08, June 21th 2013 (highest ranking)
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Don't know what this millipede tried to achieve, but it curled itself up and tried hide in the middle of itself -- introspection, self reflection, trying to discover itself ?... whatever, but it seems to fit today's MM theme....
Photography: Gastón Torres
Art direction: Juan Cruz Taurel
Styling & Make up: Iara Gernetti
Model: Indiamara Deggerone @ REBEL MANAGEMENT
Thanks: Aku
Más y sin censura:
Posed at Lost Eden
Hope's Creation Dress - Tanya
Mute Pumps - Unleashed
Truth Hair - Gretchen
Garage Eye Lashes
White Feather Earrings by Gabi Fanshaw
Tous droits réservés. Merci de ne pas copier, utiliser ou reproduire mes images sans mon autorisation préalable.
All rights reserved. Please do not use, copy or reproduce my images without prior written permission.
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sometimes we all need a little inward reflection.
This shot kinda sums up my mood at the moment. (although if I could have got it one step to the right it would have been perfect..)
Hanoi, Vietnam
Late evening, people still milling around in Hoam Kiem park at the end of busy day. But there are few secluded spots to sit down, have a quiet moment and let the tiredness melt away …
Introspection = de zelfkritiek; zelfbezinning ; de zelfbespiegeling
Let op de regendruppels precies in het midden.
Tureluur
Nikon,D7000,Sigma 50-500,
T4992x3280-00211PCCN+V
Image created with Midjourney that was altered with the Topaz Gigapixel AI plug-in, then the Exposure X6 plug-in (blow up), then the Luminar Neo plug-in (accent AI, midtone contrast, color contrast, color balance, and vibrance adjustments), then numerous edits with built-in Photoshop tools, then the Exposure X6 plug-in (clarity brush and light and airy effects as well as dodging), then multiple edits with built-in Photoshop tools, and then the Luminar Neo plug-in (smart contrast adjustment).
Loch Laggan is a freshwater loch situated approximately 6
1⁄2 miles west of Dalwhinnie in the Scottish Highlands. The loch has an irregular shape, runs nearly northeast to southwest and is approximately 7 miles in length. It has an average depth of 68 ft and is 174 ft at its deepest. The eastern end of the loch features the largest freshwater beach in Britain. Since 1934 Loch Laggan has been part of the Lochaber hydro-electric scheme. At the northeast end of the loch is the hamlet of Kinloch Laggan.
The loch featured in the popular BBC series Monarch of the Glen as Loch Bogle.
Luxembourg, Rock um Knuedler
Joël Heyard - Introspection (LUX): www.joelheyard.com
- Joël Heyard (Drums)
- Jeannette Dalia Curta (Vocals)
- Vinylic (Vocals)
- Matt Bednarsky (Vocals)
- Ben Nilles (Vocals)
- Ingrid Schwarz (Vocals)
- Rom Christnach (Bass)
- Claude Schaus (Keys)
- Remo Cavallini (Guitars)
- Tom Roilgen (Percussion)
Behind her closed eyes, a world lies untold,
A canvas of whispers, both timid and bold.
Is she chasing the stars, where galaxies spin,
Or holding a memory, locked deep within?
The curve of her lips, a secret in bloom,
The rise and the fall, like tides in the room.
Does she dream of the past, where shadows still play,
Or weave threads of tomorrow from the night’s soft gray?
What mysteries linger, what stories take flight,
In the silence she keeps, in the depth of the night?
Behind her closed eyes, a realm undefined,
A labyrinth of wonder, the map of her mind.