View allAll Photos Tagged Introspection
thanks for the title, Hans !
www.flickr.com/photos/heimatiater/3905316314/?addedcommen...
I have been wanting to do some close up eye shots, but this (my first attempt) wasn't too pleasing - so I went to Plan B, ohterwise known as "Beat The Image To A Pulp in PSE, Add Texture, Overlay a Self Portrait Inside the Pupil, And Pretend Like That's What You Were Trying To Do All Along."
It came out exactly as I originally planned. :)
Texture: Eddi 07. T'anks, mon!
This one is really, honestly, much better viewed in Large size.
Acrylic on canvas; 203.3 x 175.5 cm.
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.
Nothing could be worse than the fear that one had given up too soon, and left one unexpended effort that might have saved the world. ~Jane Addams
Today I had a tough emergency. Suffice it to say that when the owners left the clinic their dog was fairly stable, but as time ticked on the dog began decompensating. And then suffice it to say that I spent 45 minutes doing everything I could do to keep this dog alive, though her heart rate kept dropping and her breaths kept approaching agonal. She flirted with death a few times, and each time I brought her back, but never far enough. And because I was alone in the clinic I let myself cry, I let myself bawl, and tell her I was sorry, sorry that I couldn't do more. And I was with her when she finally passed, at the all-too-young age of five years.
When I was young, let's say twelve, I tried to save a baby piglet that had just been born. He was dying just as he started to live. I was unsuccessful. And so heartbroken that I couldn't stop crying and cursing myself for not being good enough. I walked out of the barn into a cool fall evening. The stars were so very bright in Iowa that night, and I remember lifting my face to them and telling a higher power that maybe I couldn't save that animal tonight, but by God some day I'd learn how to save them all.
In the end, you just can't save them all. It is a hard and heartbreaking truth.
Tonight I am quiet, exhausted from the emotion of today. Tonight I am a little angry that I couldn't fulfill my 12-year-old self's dream. Tonight I am a little disenchanted.
(Self portrait at the Ira Keller fountain, taken with my Nikon FM and (I believe) infrared film.)
Looking through the chasm that once was the entrance stairway, you can see the basement, main floor living room, upstairs bedroom and the attic in one frame. While doors hand precariously from their nails, beams struggle under the weight of the collapsing roof, and rotting boards: the bones of this old beast.
Click on it to see the full size!
#1 the cut showing the reflections on one pot of plant (see more shots below)
san jose, california
2011 chilly early summer
Mixed media on canvas; 266.7 x 381.2 cm.
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.
A small water droplet is seen on an emerging calla lily after a brief rain shower. A Minolta SRT-101 was used with a Rokkor 58mm f/1.2 lens and a 14 mm extension ring. Fujichrome Velvia 100 film was used to take this photograph.
Life becomes dark occasionally. But look at it this way, it is bright on the other side. A lift in spirit is all that we ask sometimes. Troubles may have a way to lead us astray. The answer, often, is right inside us.
the Catholic Church of Asturias, West Cebu, the Philippines
more pics and journeys in colloidfarl.blogspot.com/
EXPLORED ON 08 November 2009 - #425
A rainy season is a good time to either become lazy and rest in bed. Or could be a great time for introspection.
I wish to follow the lead of this wonderful child, and meditate.
She is my niece, and is one of the cutest things you can find.
Photograph © Kausthub Desikachar
Photographed with a Canon EOS 1D Mark III, and Canon EF 70-200mm F2.8 IS USM L Lens. Handheld. Shot with available lighting.
Please do not reproduce in any form without prior written consent from the copyright holder. Please contact the photographer through Flickrmail, to inquire about licensing arrangements.
Spirit: The Fires speak to me. The haitian is pure evil. He is one with the dark spirits.
That is why he was able to single handedly eake out our haiti team.
The haitian is one with the ancient arts of healing just like I am.
Tunnel rat: So what your saying is that cobra has there own one of you's. Great No one has the upper hand now! nuttin a grenade in the pants can't solve!
Spirit: Becareful my rodent friend for Voodoo is like no other opponent. He has spirits and death on his side.
Idle thought. Quiet introspection. Casual observation. It's the seated equivalent of flaneur.
Mont Matre , Paris, France
Pentax K5
Artwork on a discarded Polaroid SX-70 Film plate. There are two faces- both are reluctant to look back - While sketching I was looking at both of them with amusement...It was an experimental sketch...
Completed in College Station, TX
a shot from the inside of L&B Spumoni Gardens taken exactly a week ago today.....this was where the "for the love of Brooklyn" photo-walk met.
we were just getting ready to head out toward Coney Island.
it is interesting to take yourself back to the moment before leaving, and where your mind was. none of the shots that I took that day was something that I had anticipated. everything came out of the spontaneity of the moment.
as I look back over the shots from the day, I realize that a week ago, none of these images existed!
there is so much that I learned simply by living through this past week.
most importantly, the gap between what you see in the viewfinder is rarely what you get in the finished product......
the feeling of disappointment that I felt when I first reviewed my photos now seems to have been a total misjudgement..........
what I had expected to see and what I got were two different things, yes. but over the course of the week, I realized that what I got wasn't as bad as I had thought!
it's kind of like life in general. if you can get over your unreasonable expectations of what you want, or think life should be, and look at what you have, you may see that things are actually quite wonderful after all!
Skin: Fallen Gods - Thalassa
Hair: Ayashi - Alana
Dress: Luas - Andrea, white
Shoes: The Forge - Livia Gladiator Sandals, white
Accessories: Hilly Haalan, Nathalie Headdress
Visit my website for more.
Model and Styling : Emma Benschop
Photography : Ethan Coverstone
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This looks nice if you press L
I have been playing with layers and edits and all sorts of fun things because...well, just because I feel like it, ok?
More to come, probably.
- Ethan
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