View allAll Photos Tagged gestures
Transept Canyon, Grand Canyon, Arizona
The gesturing branch of this piñon pine caught my eye as I walked along the edge of the Transept Canyon one morning.
"the illusion of direction
has become commonplace
in political expressions"
mixed media, DM, 2024
(reworked earlier painting:
www.flickr.com/photos/97577184@N04/28538316087/in/album-7...
Upper Antelope Canyon is called Tsé bighánílíní, 'the place where water runs through rocks' by the Navajo. Despite improved warning and safety systems, the risks of injury from flash floods still exists. On July 30, 2010, several tourists were stranded on a ledge when two flash floods occurred. Some of them were rescued and some had to wait for the flood waters to recede.
Two teenage boys, ages 13 and 15 years old (l-r), grin as they pose, while at the same time make a finger heart gesture by joining their right and left hands together.
Taken at a village in Subic, Zambales, Philippines.
I just wanted to say thank you to everyone who commented or mailed me regarding my last series of shots. The time you took and the words you wrote meant a lot to me. They also inspired me to make a commitment to push both my writing and that side of my photography a little more. For now though, this one is for Hazel.
Someone very close to Hazel became very ill over this weekend. The last few days have been a bit of a daze for myself. Only now are the adrenaline visions fading and a hard reality creeping back into view. Selfish worries are giving way to a more human empathy and it’s fair to say that tears are never too far from my eyes. If this is how I feel, I can only imagine how my dearest little friend is feeling right now.
Over the next few days, weeks and months I will help out in every practical way I can but in truth, all you can do at times like these is to be there and hope that for a minute or two that this is enough. There is however, not a word I can say or a gesture to be made that will stop Hazels chest aching or stop her thoughts whirling as she fades to sleep. That is not said to bemoan my lot or draw sympathy towards myself, Hazel is the one truly hurting right now, not me.
What I had hoped as I travelled home tonight was that I would find an image that would somehow help, even in a small way. I scoured the archive for something that seemed appropriate and very predictably, nothing did.
Hazel, I eventually picked this image because for me there is a sadness to it, but also beauty and warmth. For me, time has changed these leaves, the vibrant proud colours of spring may be gone but they are still there to be loved and enjoyed in just the same way as before.
I hope that maybe when I am not around and you need a place to rest your head, you can come here from time to time.
Best viewed on Black (click picture or press "L")
Spring is around the corner and the spiders are back, which is troublesome as they tend to build webs across trails spiderwebs make an unpleasant hair net.
"…We have misplaced — in deep ways — the ruler that we use to measure what matters most in life. It has become completely exhausted by monetary value. …How do we get people to rediscover love?”
— Serene Jones
Journalism grade image.
Source: 35mm Tr-X Pan negative.
Do not copy this image for any purpose.
This is for my new art class that i am taking, it is a gesture drawing to address the point of movement and shape of the body.
That would be me. My cousin's partner Robert, who cowitnessed at my wedding to Beta, took the photo -- I just messed with it a bit.
The Calling of Saint Matthew is an oil painting by Caravaggio that depicts the moment Jesus Christ calls on the tax collector Matthew to follow him. It was completed in 1599–1600 for the Contarelli Chapel in the church of the French congregation, San Luigi dei Francesi in Rome, where it remains. It hangs alongside two other paintings of Matthew by Caravaggio, The Martyrdom of Saint Matthew (painted around the same time as the Calling) and The Inspiration of Saint Matthew (1602).
More than a decade earlier, Cardinal Matthieu Cointerel (in Italian, Matteo Contarelli) had left funds and specific instructions in his will for the decoration of a chapel based on themes related to his namesake, Saint Matthew. The dome of the chapel was decorated with frescoes by the late Mannerist artist Giuseppe Cesari, Caravaggio's former employer and one of the most popular painters in Rome at the time. But as Cesari became busy with royal and papal patronage, Cardinal Francesco Del Monte, Caravaggio's patron and also the prefect of the Fabbrica of St Peter's (the Vatican office for Church property), intervened to obtain for Caravaggio his first major church commission and his first painting with more than a handful of figures.
Caravaggio's Calling of Saint Matthew hangs opposite The Martyrdom of Saint Matthew. While the Martyrdom was probably the first to be started, the Calling was, by report, the first to be completed.[citation needed] The commission for these two lateral paintings — the Calling and the Martyrdom — is dated July 1599, and final payment was made in July 1600. Between the two, at the altar, is The Inspiration of Saint Matthew (1602).
The painting depicts the story from the Gospel of Matthew (Matthew 9:9): "Jesus saw a man named Matthew at his seat in the custom house, and said to him, "Follow me", and Matthew rose and followed Him." Caravaggio depicts Matthew the tax collector sitting at a table with four other men. Jesus Christ and Saint Peter have entered the room, and Jesus is pointing at Matthew. A beam of light illuminates the faces of the men at the table who are looking at Jesus Christ. This is a depiction of a moment of spiritual awakening and conversion, which was something many Baroque artists were interested in painting, especially Caravaggio.
There is some debate over which man in the picture is Saint Matthew, as the surprised gesture of the bearded man at the table can be read in two ways.
Most writers on the Calling assume Saint Matthew to be the bearded man, and see him to be pointing at himself, as if to ask "Me?" in response to Christ's summons. This theory is strengthened when one takes into consideration the other two works in this series, The Inspiration of Saint Matthew, and The Martyrdom of Saint Matthew. The bearded man who models as Saint Matthew appears in all three works, with him unequivocally playing the role of Saint Matthew in both the "Inspiration" and the "Martyrdom".
A more recent interpretation proposes that the bearded man is in fact pointing at the young man at the end of the table, whose head is slumped. In this reading, the bearded man is asking "Him?" in response to Christ's summons, and the painting is depicting the moment immediately before a young Matthew raises his head to see Christ. Other writers describe the painting as deliberately ambiguous.
Some scholars speculate that Jesus is portrayed as the Last Adam or Second Adam as titled in the New Testament. This is displayed in Christ's hand as it reaches out towards Matthew. It is almost a mirrored image of Adam's hand in The Creation of Adam by Michelangelo, the namesake of Caravaggio. Twice in the New Testament, an explicit comparison is made between Jesus and Adam. In Romans 5:12–21, Paul argues that "just as through the disobedience of the one man the many were made sinners, so also through the obedience of the one man the many will be made righteous" (Romans 5:19, NIV). In 1 Corinthians 15:22, Paul argues that "as in Adam all die, so in Christ, all will be made alive," while in verse 45 he calls Jesus the "last/ultimate/final Adam".