View allAll Photos Tagged PATHOS
354 Aerospatiale SA342-L1 Gazelle (2197) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Mono no aware (in japanese, literally "the pathos of things"), also translated as "an empathy toward things," or "a sensitivity of ephemera," is a Japanese term used to describe the awareness of mujo or the transience of things and a bittersweet sadness at their passing. The term was coined in the eighteenth century by the Edo period Japanese cultural scholar Motoori Norinaga.
.:elephants details from elephantparade.com/elephants:.
haathi mere saathi
ARTIST: Farhad Hussain
SPONSOR: ABN AMRO Private Banking
LOCATION: Singapore Art Museum
Description:Farhad bases his work on the realities of human relationships and their complexities with nature. He applies his trademark use of bright, vibrant colors and a huge smile on his subjects to convey an intentional act of concealment and deceit. He endows his narrative with a sense of satire mixed with pathos. To Farhad the Elephant is such an intelligent and majestic animal and is revered in many cultures. Yet, they have been extensively used as beasts of burden.
gajah aswatama
ARTIST: Indieguerillas
SPONSOR: Elephant Parade Asia
LOCATION: Singapore Art Museum
Description:In the past, elephants live peacefully in the wild. Today, with habitat loss and extensive areas of the forest exploited by humans, these gentle giants have nowhere to go. Can the destroyers of habitat (humans) be also the ones who help save it?
santan
ARTIST: Ben Cabrera
SPONSOR: PSA International
LOCATION: Singapore Art Museum
Description:The idea of having people around the elephant is to show that humans are the ones destroying the lives and habitat of the elephant. We are one of the main reasons for elephant to be extinct due to competition for space. We have to learn how to live side by side with elephants and take care of Mother Nature.
.:http://elephantparade.com/about-elephant-parade:.
About Elephant Parade
It is Elephant Parade's mission to be the world's largest financial support organization for the Asian elephant, threatened with extinction. The open air art exhibitions create worldwide attention, public awareness and support for the cause of elephant conservation: the elephant statues never go unnoticed by the wider public and mass media.
Elephant Parade’s concept is a unique combination of Art, Business and Charity. Art drives the value of the Elephant Parade: the life size elephant statues are exhibited in well-known cities and auctioned off at prestigious gala events. Smaller size hand painted limited edition replicas are sold in ‘Elephant Parade Gallery Stores’ and the web shop. The more superior the quality of the Art, the more successful the Business, the higher the amounts raised for Charity.
Elephant Parade is not a charity, but it is probably the most charitable enterprise in the world. Part of all proceeds from Elephant Parade auctions and retail benefits various projects and organizations, dedicated to the conservation of the Asian elephant. To date, this unique concept made it possible to contribute over 4 million Euros to this goal, and is put to good use in projects varying from elephant hospitals and corridors to lobbying governments and research.
Many Asian elephants have been saved and cured, but there are still thousands more that need our support
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I came across this bike in the middle of an alley in Shanghai. I looked around and wondered why its owner had left it unattended in such an obviously visible place. There can only be one explanation: this was a trap meant to lure unsuspecting pedestrians with the promise of a quick ride home. No doubt there was a Wing Chung master lying in wait, ready to decent upon the poor transgressor and dispense swift street justice. Well, lucky for me I had a ride. I wouldn't want to tangle with Mr. Fists of Fury.
Another generic postcard, this time with maybe a bit too much pathos ?!
Alnmouth's beach has been described as being in three sections -- the main beach (north of the river mouth) that stretches up to the Marden Rocks.
North of these Rocks the beach goes on up to Seaton Point.
However to the south of the mouth of the River Aln is the wild beach that stretches all the way down to Warkworth -- a magnificent walk and best accessed by heading south from the Hipsburn roundabout.
818 Mil Mi-35P Hind-F/ Panther (023369) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Paul Klee (1879–1940)
Deep Pathos
1915
Gouache and watercolour on paper mounted on cardboard
23.5 x 29.2 cm
Metropolitan Museum of Art, New York
"Who can explain the secret pathos of Nature's loveliness? It is a touch of melancholy inherited from our mother Eve. It is an unconscious memory of the lost Paradise. It is the sense that even if we should find another Eden, we would not be fit to enjoy it perfectly nor stay in it forever.” Henry Van Dyke
The Hotel Bel Air is truly an oasis in Los Angeles. It is like visiting a private estate of a gracious host. One of the finest hotels in the US and the world. In the Gardens are these incredible pieces of art. Security was watching me all the time because of the camera and reminding me not to include any guests even though I was a guest and in areas reserved only for guests.
The Flaying of Marsyas
Roman, Imperial
(1st–2nd century AD)
Provenance: Rome (Italy)
Marble
H. 2.56 m
The satyr Marsyas dared to challenge the god Apollo to a music contest and, after losing, was condemned to be flayed alive. Here, he is shown hanging from the branch of a pine tree, awaiting his horrendous punishment. The statue is a Roman copy of a bronze Greek original that has not survived. The figure of Marsyas originally formed part of a statue group the composition of which is known to us mainly from a Roman low-relief found in the theatre of Hierapolis (an ancient city of Asia Minor, in present-day Turkey). Apollo was present at the scene, while a Scythian slave whetted his knife under the anguished eyes of Marsyas (copy in the Uffizi gallery in Florence). The air of pathos that surrounds the preparations for the ordeal suggests the original work can be dated to the late 3rd century BC and linked to the Pergamo school.
The top of the tree, parts of Marsyas’ body and the head of the billy-goat have been restored.
Former Borghese collection.s.
702 Agusta AW139 (31332) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Coraggio nuovo.
"...Ma io resisterò; con mani nude affronterò i soldati"
(Andromaca)
(another inside)
©All rights reserved.
Andreas Templin "HELL IS COMING / WORLD ENDS TODAY", a situationist play for the inner city of Madrid bit.ly/179nEdV Madrid Abierto 2008
"The Apprentice…motion Style" - Senior Motion Design Student at Ex'pression College for Digital Arts: Lydia Baillergeau, Lauren Patterson, Andrew Bauer, Charles Lee // photo credit: John Maio Photography
Taken through thick glass and in the dark, so far from ideal conditions, but I just had to record that resigned expression and those emotive eyes!
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It was my first day in Lhasa, Tibet and I was getting used to the altitude. My mind was a bit hazy as I walked through the Muslim quarter and made my way to the main square. I spent the day floating around and after the sun had set, I started to make my way back to my hotel when I looked up and saw this scene. It was a perfect Bohemian moment and I wondered what they must have been discussing in that interesting cafe. Was it politics, art or were they sharing philosophies on life? Either way, it was a perfect moment from my perspective.
Johann Elias Grimmel (1703-1759). "Jonah ejected by the whale" (1739).
The restoration of this painting was taken by the Lions Club Memmingen. Stemming from a Memming merchant family, had the born on October 28, 1703 Johann Elias Grimmel himself trained as a painter with Johann Friedrich Sichelbein and after his death with Jerome Hau in Kempten. During his twelve-year period of study at the Imperial Academy of Arts in Vienna (1726-38), in 1734 the Second Price falls to him in the held annually painting competition. After a brief interlude in Memmingen, he was appointed in 1741 as a teacher of drawing and painting at the Academy of Sciences in St. Petersburg, where he died on January 12, 1759 on "apoplexy". The workshop tradition of Sichelbein connecting with the pathos of Viennese Baroque, Grimmel in his panel paintings for St. Martin achieves considerable painterly quality.
Johann Elias Grimmel (1703 - 1759). "Jonas vom Walfisch ausgeworfen" (1739).
Die Restauration dieses Gemäldes wurde vom Lions Club Memmingen übernommen. Aus einer Memminger Handelsfamilie stammend, lässt sich der am 28. Oktober 1703 geborene Johann Elias Grimmel bei Johann Friedrich Sichelbein und nach dessen Tod bei Hieronymus Hau in Kempten zum Maler ausbilden. Während seiner zwölfjährigen Studienzeit an der Kaiserlichen Kunstakademie in Wien (1726-38) fällt ihm 1734 der II. Preis im alljährlich stattfindenden Malwettbewerb zu. Nach einem kurzen Intermezzo in Memmingen wird er 1741 als Lehrer für Zeichnen und Malen an die Akademie der Wissenschaften in St. Petersburg berufen, wo er am 12. Januar 1759 am "Schlagfluss" stirbt. Die Werkstatttradition Sichelbeins mit dem Pathos des Wiener Barock verbindend, gelangt Grimmel in seinen Tafelbildern für St. Martin zu beachtlicher malerischer Qualität.
Chevaliers de la Croix avec l'Étoile Rouge, Caballeros de la Cruz con la Estrella Roja
Kreuzherrenkloster Memmingen
Church building with its distinctive tower from the Hallhof (depository)
Detail of richly with Wessobrunner stucco decorated church ceiling
Church ceiling frescoes
The Kreuzherrenkloster (monastery of the Knights of the Cross with the red stars) Memmingen is a former monastery of the Order of the Holy Ghost in Memmingen in Bavaria in the diocese of Augsburg.
History
The beginnings of the Holy Spirit consecrated monastery date back to the 13th century. Counterfeit refer to the year 1010, which was before the founding of the city of Memmingen in 1160. It was probably in 1210 by the Staufian Empire bailiff in Upper Swabia, count Heinrich von Neuffen-Weißenhorn and his wife Hedwig, donated. This ones established at the eastern edge of the central city in front of the gate Kalchtor a hospital, equipped it with landed property and handed it over to the Hospitaller Order of Canons Regular of the Holy Spirit in Rome, whose main activity focus was the care of the sick and the homeless and the admission of pregnant women and foundlings. After a devastating fire in 1223, the monastery and the hospital had to be rebuilt, in this context, it is also for the first time mentioned in the municipal document.
Since 1353, the City Council took part in the management of the hospital, in 1365 the hospital complex was divided into a lower and an upper Hospital. To the now directly managed by the Imperial City Lower Hospital belonged the Poor room on the ground floor and several adjoining rooms, to the remaining with the monastery Upper Hospital belonged furthermore the Church of St. Peter and Paul and the upper floors of the monastery and convent building. In the room for needy persons concentrated the imperial city charitable organisations. Together with the Antonite monastery the Crusaders shaped the intellectual and cultural life of the imperial city.
In a fire in 1477, again large parts of the complex were destroyed. The hospital church was rebuilt in 1480-1484 as a Gothic hall church and the whole complex obtained the form of a towards to the south lain Hallhof open three-winged complex. 1484 was southwards adjacent to the church building a tower built. In the years 1709-1711 the church was remodelled in Baroque style and fitted out with Wessobrunner stuck by Matthias Stiller and his son Michael Stiller (plasterer). The ceiling paintings stem from Johann Friedrich Sichelbein.
Shortly after the mediatization of the Free Imperial City and the transfer to the Electorate of Bavaria in 1802, the monastery was secularized. All expendable and movable properties of the monastery in 1803 were auctioned, the last Canons 1804 left the house. Still until the year 1806, the church was used as a parish church, after which it served as a timber warehouse. The room for the needy until 1816 served for the accommodation of prebendaries, in the monastery premises Bavarian officials were housed. Although the church and the steeple first in favor of a new toll and customs building should be demolished, but they would do without it from 1819 on since other areas were vacated and the demand for a new building was not given. Therefore, from 1820 the room for the needy served as storage space. The church was rebuilt into a goods hall, in the northern and southern side wall each a large gate entrance was broken, orchestra and pulpit were demolished. The stucco in the lower area was knocked off and vault and basements were demolished in order to obtain a ground-level access. In the nave itself a false floor was inserted and a wooden crane mounted. To the north, the entire complex was provided with a classicist facade.
Due to the foundation of the German Reich, the building as depository and Customs Office was increasingly without function, which is why the City Council in 1920 requested to expose in the former vestry works of Memminger painters. After a water pipe breakage was discussed in 1932 to relocate the municipal art collection to the unused nave, for cost reasons but this solution was discarded, and only from 1947 on the upper part of the nave was used as an exhibition and concert hall. The ground floor was combined with the room for the needy persons and from 1960 as a hospital arch as an open walkway used. In the convent building various municipal facilities were housed: the sing and music school, the Stadtjugendring (city youth council) and psycho-social support center.
The as a whole neglected complex from 1998 to 2003 was according to original plans elaborately rehabilitated and restored. In the process, inter alia, the intermediate floor in the nave was removed and restored the room for needy people of the hospital. Today the church hall serves again as an exhibition and event space, the Poor facility as a café.
Buildings
Steeple
The compex consisted of a hospital with attachments for economical use, as well as an east adjacent church and a convent building. The complex burned down several times, as part of the reconstruction work it was repeatedly extended and modified.
Poor facility
The oldest still surviving part is the Poor facility. Its two-aisled, four-yoked and vaulted by a ribbed vault hall dates from the early 15th century. By hospital master Elias Bruggberger extensive construction were induced from 1675 to 1680, at the same time, he Poor facility was expanded to additional floors in which two large halls were housed. The room on the second floor was provided in 1691 with a wooden coffered ceiling, which is largely still intact.
Monastery church
→ Main article: St. Peter and Paul (Memmingen)
1477 the abbey church of St. Peter and Paul in a fire was destroyed and rebuilt in the following years as equally two-aisled and four-yoked late Gothic hall church. As is common in many hospitals, it forms an extension of the Poor facility. After hospital master Sigismund Teufel it was from 1709 remodelled in Baroque style and the ceiling vaults probably by Matthias Stiller with Wessobrunner stucco coated. In each field of bays there are ceiling paintings, probably stemming from Memminger painter Johann Friedrich Sichelbein. Supported is the around 14 meter high vault of three stucco marble columns.
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Heeey, Stanford. I was visiting and I noticed that your tower is not as tall as Berkeley’s. That’s cool …
It has been all work and no play, just recently. Accordingly, I'm behind on my project. And, as per the saying, it has made me a dull boy too.
Life has been full of academic, on-call and other work stuff; I'll spare you the details. Long evenings in the study, elbow grease and burning of various late night oils.
The one highlight of recent weeks was a dinner chez ZenasM, the redoubtable flickr-ite, and his equally delightful spouse. Our mutual families have been joking about us 'meeting an internet date' and developing a "bromance".
They are just jealous. Peter is a fine individual who I've met three times and I like him (and his wife) a great deal. Flickr has done me a big favour by our paths (and pathos) crossing.
Incidentally, snapped several fireworks a few weeks ago but they've been languishing on the camera. They weren't great shots; wrong lens, through front room window: I've taken better. But still better than nowt and nice to deviate from the norm.
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About This Collection
This collection of photographs was the result of a happy mistake while walking through the Hakone Garden’s bamboo forest in Saratoga. I was messing around with my camera on manual mode, trying different angles and motions when I noticed the resulting images resembled impressionist paintings. I liked how the bamboo forest was implied though color, light and movement, so I sat there for a while and tried different things until I got the look I wanted. All of these photographs are single shots with very minor adjustments in Photoshop.
I will put up one piece every Monday, Thursday and Saturday for the next three weeks.
Airship 27 Productions is thrilled to present Sgt.Janus – Spirit Breaker by Jim Beard. Part detective, part occultist, Janus is himself a man of mystery whose own past is shrouded and the motivations behind his calling kept hidden.
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Sgt. Janus•Spirit-Breaker Vol. 1
Within this volume you will find eight tales as narrated by Sgt. Janus' clients, each with his or her own perspective on this uncanny hero and his amazing career. Filled with suspense, terror and agonizing pathos, each a solid mesmerizing journey into the unknown world beyond.
Featuring a cover by artist Jeff Herndon and eight stunning illustrations by Eric Johns, Sgt.Janus – Spirit Breaker is the first in a new series by one of today’s leading stars in New Pulp Fiction.
“…Beard’s fiction is anything but pat and routine. While he may deliberately conjure the spirits of authors of Victorian and Edwardian occult fiction before him, Beard’s prose is fresh and entirely modern in his, at times, frank and unsettling tales of the wages of his characters’ past sins. Each story breezes by and like the best tales told round the campfire, it leaves the reader hungry for more.” William Patrick Maynard (The Terror of Fu Manchu & The Destiny of Fu Manchu.)