View allAll Photos Tagged PATHOS
The Republic agent tracked down the villain and action was about to commence in the streets of the district capital!
Dark Lord: (With a tad too much pathos in his voice) "I am Darth Ragnagoth the Great! Ruler of this city, the whole planet and the nearby sectors. If you go now, you shall leave this planet unharmed."
General Rox: "In the name of the Republic, surrender your weapons and capitulate. We will put in a good word for you in court. Only 10 or 20 standard years in the ore mines of Delrian..."
Dark Lord: "If you little creatures continue to annoy me, I'll be forced to activate my lightsaber and cut you a little."
General Rox: "Go ahead then, Dark Lord!"
Darth Ragnagoth turned his back to the Republic forces... and... activated his lightsaber!
General Rox: "Sir, it looks like you just put a wooden stick on your lightsaber hilt, no?"
Unfazed by the shenanigans a beggar sat in a corner, asking for alms.
After the imposter and his companions were taken into custody, peace returned and everything went back to normal. As it ever was on the peaceful agriworld of Dagro. Nevertheless, the Dagro people would talk about the Sith Lord who ruled their planet for a long long time in the years to come and eventually the spectacle became part of the local folklore.
[Built for Eurobricks Mysteries Lego Star Wars RPG.]
Heal myself-a feather on my heart
Look inside-there never was a start
Peel myself-dispose of severed skin
All subsides-around me and within
There's nothing painful in this
There's no upheaval
Redemption for my pathos
All sins undone
Awaiting word on what's to come
In helpless prayers a hope lives on
As I've come clean I've forgotten what I promised
In the rays of the sun I am longing for the darkness
Opeth - Closure
Pictorial Pranks
Shot by Mrs Photographerno1.
And you wont have to fill in the blanks..
or cover meaningless flanks
minds rusty unmoving cranks
She said unthankfully..No Thanks..
On a train ride that skirted river banks..
photogapherno1..love and unlove
a pathos divinely unhidden
to pictorial pranks..
#firozeshakir
#beggarpoet
I kept taking whole around Mt. Fuji in a late fall for 1 day.
Beauty by which colored leaves are the rest exactly at the time of a peak
After noon spends most time on the photography.
When I close and notice, it's already the evening by and by.
I had approached and had come.
Along the lakeside where I see way home Mt. Fuji, car dispatch.
Darkness, that immediately before Mt. Fuji and lake are seen, with everything
The pathos you can't say is felt, I, this, it draws in and I go, earnestly.
I don't have that, please dissolve in the told view.
This moment was put back.
The grave stele of an Athenian wife and mother, dating to ca 370 BC. An inscription giving her name, Phylonoe, is inscribed on the epistyle of the naiskos framing the scene:
Ενθάδε Φιλονόη κείται θυγάτηρ Σώφρων Ευσύνετος πάσαν έχο[υσ᾽ άρετή]ν
Here lies Phylonoe, a wise, intelligent daughter, endowed with every virtue.
The woman dressed in chiton and himation, is seated on a diphros to the left, her feet resting on a footstool. Her right arm is bent, the hand lightly resting against her right shoulder, while the left forearm rests on her lap. Her head is inclined, and when the relief is seen from some distance, it seems as if she is actually supporting her chin with her right hand.
Facing Phylonoe, there stands a woman holding an infant in her arms. Despite the grave expression on her face, she does not look at the deceased, as is often the case with secondary figures on classical Attic grave reliefs. Her gaze is directed at the infant that extends one hand to its mother, the other hand unfortunately not preserved. Phylonoe does not react to her baby’s dramatic gesture. She no longer belongs to the world of the living, where her offspring still resides. The infant’s obvious longing for its mother is not reciprocated by the deceased, who is rather detached and immersed in deep melancholy. Even though the grave stele honours Phylonoe, it is the infant’s gesture that captures the spectator’s gaze first. The image of the baby trying in vain to attract its dead mother’s attention, enhances the iconography of the relief that marked the grave of a mother by creating a particularly tragic contrast between the baby’s pathos, and the mother’s impassivity. Thus, the iconography of the stele does not focus on the sad fate of the young mother alone, but also on the motherless baby she left behind, as well as the grievous separation of the two. Death and orphanhood are juxtaposed on the stele of Phylonoe, closely linked to one another. Hence, it is not surprising that the standing woman’s gaze is not directed at the deceased, but at the unfortunate infant that has been forever deprived of its mother.
Source: Katia Margariti, "A mother's gaze: Death and orphanhood on classical attic grave reliefs", Annual Papers on Mediterranean Archaeology 91 (2016).
Pentelic marble funerary stele
Preserved height: 150 cm.; width: 110 cm.
Ca. 370 – 360 BC
From Psychiko, Attica
Athens, National Museum Inv. No. 3790
Bottrop
Ruhrgebiet
NRW
„…Ich bin an diesem Tag noch einmal hierhin zurück kommen, obwohl ich morgens schon einmal dort war. Pathos und Melancholie waren nicht der Auslöser. Klischees möchte ich nicht bedienen. Nein, der Auslöser war ich in diesem Fall selbst…Wenn mir jemand sagt, welche Orte ihm persönlich wichtig sind, dann sagt mir das etwas. Nicht nur über diese Person selbst, sondern auch über ihre Geschichte. Zumindest bilde ich mir das ein…Was sagen diese Orte über mich aus? Reflektiere ich meine Persönlichkeit auf sie? Wie würde ich mich selbst dort sehen? Schlicht und ergreifend? Ich glaube ja, denn irgendwie bin ich einfach…Zäune und Tore haben mich selten aufgehalten. Dabei war ich nie ein Grenzgänger. Mich beschäftigt halt nur der Gedanke, dass auch diese Stellen in meiner Stadt da sind. Trotz aller Verbote. Sie nicht wahrzunehmen würde für mich bedeuten, meine Augen verschließen zu müssen. Und das möchte ich nicht. Ich lese ja auch die Schlagzeilen in der Tageszeitung, und die sind ebenfalls nur selten wirklich schön…“
I came upon this heap of discarded jack-o-lanterns awaiting their fate the day after Halloween. The scene was visually jarring yet highly appealing. I was struck with a sense of sadness looking at the tangle of carved faces. Each one imbued with a sense of individuality, as varied as the people that created them. Hours before, they had radiated a glow of soft warmth, illuminated against the cold night sky by small candles. The flickering light added feelings of comfort and animation. My imagination and childhood memories took it from there. But lying here, purpose fulfilled and stripped of their original joyful context, fantasy and reality collided abruptly. I watched the decline of the jack-o-lanterns over the next couple of days. The carved features quickly took on a gummy appearance and the pumpkins seemed to settle into the earth. The end came suddenly when the jack-o-lanterns were tossed unceremoniously into the bed of a truck and hauled off for hog food. Dust unto dust.
Evil is always possible. And goodness is eternally difficult.
Louis Credits:
Hair
Sintiklia - Raphael (Group Gift)
Eyes
Gloom - Exotic Collection
Head
LeLutka - Connor 2.5
Mouth Blood
Pout! - Bloody Nose (Version two)
Shirt
toksik - Pathos blouse
Golden Youth's* Credits:
Hair
Wings - OE1221 (Golden Pack)
Eyes
Gloom - Frostbite Collection
Head
LeLutka - Nova 2.5
Dress
Rosier - Chloe Nightgown (Maitreya Flat only)
*Please note both people in this image are male and are of adult age.
Sorry about the decreased amount of images uploaded. I'm putting together several projects and nothing can be shown at this time. More later..........
In der Westeingangshalle wird der Besucher des Reichstagsgebäudes von Kunstwerken Gerhard Richters empfangen. Der Künstler stand vor der schwierigen Aufgabe, sich mit seinem Werk gegen eine 30 Meter hohe Wand zu behaupten. Gerhard Richter hat an der einen Wand der Westeingangshalle ein Farbkunstwerk von 21 Meter Höhe und drei Meter Breite in den Farben Schwarz-Rot-Gold gestaltet. Die Farben wurden auf die Rückseite großer Glastafeln aufgetragen und erinnern - nicht ohne Hintersinn - an die Farben der deutschen Bundesflagge. Aber sowohl das hochrechteckige Format als auch die spiegelnden Glasflächen (in denen sich von einem bestimmten „point de vue“ aus die reale Bundesflagge vor dem Reichstagsgebäude spiegelt) machen deutlich, dass es sich nicht um die Abbildung einer Flagge handelt, sondern um ein autonomes Farbkunstwerk und der Künstler durch die Wahl und die Zusammenstellung der Farben eine den Betrachter irritierende „Wahrnehmungsfalle“ aufgestellt hat.
Richter gelingt es, mit der auf die Wandproportionen abgestimmten Größe seiner Arbeit und mit sparsamen Mitteln ein farbiges Gegengewicht zur Dominanz der Architektur in der Westeingangshalle zu schaffen und dem Auge des Betrachters einen Ruhepunkt in der belebten Halle zu bieten. Trotz ihrer Monumentalität fehlt der Arbeit jedes Pathos. Vielmehr spiegelt die Fragilität der Glasscheiben im materiellen und im übertragenen Sinne das stets gefährdete und daher stets neu zu gestaltende und zu schützende demokratische Gemeinwesen wider.
Quelle: www.bundestag.de/besuche/kunst/kuenstler/richter/schwarz-...
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In the west entrance hall, visitors to the Reichstag building are greeted by works of art by Gerhard Richter. The artist faced the difficult task of asserting his work against a 30-meter-high wall. Gerhard Richter created a color artwork on one wall of the west entrance hall, 21 meters high and three meters wide, in the colors black, red, and gold. The colors were applied to the back of large glass panels and are reminiscent—not without ulterior motive—of the colors of the German federal flag. However, both the tall, rectangular format and the reflective glass surfaces (in which, from a certain "point de vue," the real federal flag in front of the Reichstag building is reflected) make it clear that this is not a depiction of a flag, but an autonomous color artwork, and that through the choice and combination of colors, the artist has created a "perceptual trap" that disorients the viewer.
By matching the size of his work to the wall's proportions and using economical means, Richter succeeds in creating a colorful counterbalance to the dominance of the architecture in the west entrance hall, offering the viewer a point of rest in the bustling hall. Despite its monumentality, the work lacks any pathos. Rather, the fragility of the glass panes, both materially and figuratively, reflects the democratic community, which is constantly at risk and therefore constantly in need of redesign and protection.
In my conservatory, but reflected in the window and mingled with the garden, this was carved by Peter - it cracked all down the face, which we decided adds to the pathos...
Tenement house with shops built in 1901. Architect Konstantīns Pēkšēns. The neo-Baroque facades of the building are saturated with ornamental elements, balustrades, cartouches, groups of sculptures in pathos and other plastic elements. The house, together with the buildings at 5 and 7/9 Kr.Barona Street, forms a single architectural ensemble, the architecture of which reflects the development of Konstantīns Pēkšēns' creative handwriting, from luxurious, pompous eclecticism to rational, applied Art Nouveau.
Tokyo Stray Cats
@Kanda, Tokyo
LEITZ WETZLAR SUMMICRON-R 50mm/F2 (2-cam)
© 2020 M's photography
Takashi MATSUZAWA All rights reserved.
Please don't freely use this photograph on Tumblr, Blog, Facebook, Twitter and others.
Well, its just coxless eight, or yellow infinity floating without a rudder on the water of Styx (what the pathos! :) )...
Or just the paper eight sleeping on the floor. :)
______________________
shortcuts, for your convenient:
or images arranged by theme:
I have known the inexorable sadness of pencils,
Neat in their boxes, dolor of pad and paper weight,
All the misery of manilla folders and mucilage,
Desolation in immaculate public places,
Lonely reception room, lavatory, switchboard,
The unalterable pathos of basin and pitcher,
Ritual of multigraph, paper-clip, comma,
Endless duplicaton of lives and objects.
And I have seen dust from the walls of institutions,
Finer than flour, alive, more dangerous than silica,
Sift, almost invisible, through long afternoons of tedium,
Dropping a fine film on nails and delicate eyebrows,
Glazing the pale hair, the duplicate grey standard faces.
--"Dolor" by Theodore Roethke
A little nod to Rapture.
Wearing:
Pathos Blouse and Skirt by Toksik
Forage Gacha Earring and Ring by Toksik
Steampunk Ring By Pixel Box
Crime Ring by Tabou
Blair Boots by Reign
I promised it some months ago... this is a little tan skins comparison (15 different shade of tan skin colors from 13 different companies).
I only forgot to add my old Iplehouse peach gold skin... (;¬_¬)
Left = with flash
Right = without flash
I hope this may help someone! （⌒▽⌒）
I really need to finish (or at least continue) her customization... Braonán is a beautiful doll, she deserves more attention from me.
“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
I realize that Contact's Photos are now temporarily disabled, so many of my contacts will not see this...
If and when you do, that is fine....
Hopefully it will all be sorted out soon so that we many enjoy the community spirit of Flickr once again!
Die Ausstellung VERGOLDET | DORÉ vereint Werke der zeitgenössischen Kunst, die sich mit dem Werk- und Farbstoff Gold auseinandersetzen und untersucht die damit verknüpften Vorstellungen von Wert und Symbolkraft. Ist die wiederkehrende Hinwendung zu einem traditionsaufgeladenen Material in der zeitgenössischen Kunst der Versuch, das Edelmetall vom historischen Erbe, von Prunk und Pathos zu befreien? Wird damit die Aussage „es ist nicht alles Gold, was glänzt“ überprüft, indem der stets begehrte und glänzende Werkstoff in andere Zusammenhänge übertragen oder verschoben wird? Mit VERGOLDET | DORÉ werden künstlerische Reaktionen zusammengetragen, die mit dem Werk-, aber auch Farbstoff in Verbindung gebracht werden. Dabei geht es weniger um Materialfetischismus oder Techniken, sondern vielmehr darum, mit künstlerischen Äußerungen und Interpretationen ganz unterschiedliche Assoziationsräume zu aktivieren und kritisches Denken anzustoßen. Die Arbeiten dieser Ausstellung reflektieren mit echtem und künstlichem Gold über alte und neue Allianzen und gesellschaftliche Transformationsprozesse zwischen Kommunikation und Identifikation. Es verschieben sich die klischeehaften Zitate und Bedeutungsebenen von Gold(en), ohne jedoch Geschichte zu überschreiben. Vor allem die Ewigkeit und Haltbarkeit von Gold wird infrage gestellt. Kritisch hinterfragt werden auch die Kapitalanlagen: Ist zum Beispiel vergoldete Kunst heute noch wertvoller und sind die glänzenden Pokale und Trophäen aus vergoldetem Metall bei gewachsenem Leistungsdruck ethisch noch haltbar? Ist alles nur noch veredelte Illusion? Oder zeichnet sich in der Debatte und Entwicklung um den Materialismus, zwischen Protz und Luxus, doch noch ein individueller Wertewandel in einer verstärkt von Kapital und Besitz geprägten Gesellschaft ab?
Arbeiten von: Olivia Berckemeyer, Antje Blumenstein, Ruth Campau, Luka Fineisen, Niklas Goldbach, Eckart Hahn, David Krippendorff, Claudia Kugler, Alicja Kwade, Andréas Lang, Via Lewandowsky, Michael Müller, Sebastian Neeb, Andrea Pichl, Johanna Reich, Stéphanie Saadé, Michael Sailstorfer, Karin Sander, Henrik Strömberg, Philip Topolovac, Panos Tsagaris, Frauke Wilken, Andrea Winkler, Clemens Wolf, He Xiangyu. schlossbiesdorf.de/de/ausstellungen/aktuell/
This quick shot turned out creepier with the photobomber! 😏 The dark beast is Sinhá. And the floral girl (as a friend called her) is a LuoNa/ LuoSheng from Pathos Tale customized by me.
I felt an unsettling sense of connection with this frightful Halloween decoration the moment I laid eyes upon it. As these things go, they are often over the top in terms of being ghastly, blood-soaked and monstrous. While certainly ghoulish, this small figure seemed to capture an overwhelming sense of pathos in a very relatable human form. The softness of facial features juxtaposed against the vacant eyes. The look of a little girl playing dress-up with inexpertly applied makeup and a party dress, but horribly conflicted with the awful hair and balding scalp. These subtleties and juxtapositions are what make this so terrifying. Creations such as Frankenstein and Dracula are almost humorous by comparison. Perhaps because they've been so overdone over the years I've become immune to them. But it's also because their inhuman qualities add a layer of safe distance. This figure is relatable in the sense that the human qualities remain, cleverly blended in with the a dark vision of the afterworld. It is imbued with the qualities I imagine a real ghost would exhibit. I can just imagine an encounter with something like this in the many dark and lonely places I've explored, completely alone. I saw so many overtly horror-filled displays the day I found this sad little urchin, but they are mostly lost to me now. Only this figure remains in my mind, and I've got a feeling it will be there long after Halloween has passed.
“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
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Thanks a lot for visits and comments, everyone... Have a lovely Sunday...!
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In a Lake District graveyard (Again I forget which.) It's so full of sadness.
Fuji Sensia film. Nikon F2
DSC05549-HDR_Lr9
"Dolor" by Theodore Roethke
I have known the inexorable sadness of pencils,
Neat in their boxes, dolor of pad and paper weight,
All the misery of manilla folders and mucilage,
Desolation in immaculate public places,
Lonely reception room, lavatory, switchboard,
The unalterable pathos of basin and pitcher,
Ritual of multigraph, paper-clip, comma,
Endless duplication of lives and objects.
And I have seen dust from the walls of institutions,
Finer than flour, alive, more dangerous than silica,
Sift, almost invisible, through long afternoons of tedium,
Dropping a fine film on nails and delicate eyebrows,
Glazing the pale hair, the duplicate grey standard faces.
La morte (o la sua allusione) rende preziosi e patetici gli uomini. Questi commuovono per la loro condizione di fantasmi; ogni atto che compiono può esser l’ultimo; non c’è volto che non sia sul punto di cancellarsi come il volto d’un sogno.
(Jorge Luis Borges)
mixed media: on wood: acrylic paint, collaged paper, bottlecaps, nails, billboard paper, plastic ring
24" L x 24" H x 2"D
published in:
"the best of america mixed media
artists and artisans," volume 1
(kennedy publishing)
jennifer beinhacker
jenniferbeinhacker.com
art outside the edge