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La Neue Wache (Nuova Guardia) è un monumento fatto costruire da Federico Guglielmo III di Prussia nel 1816 in onore dei soldati tedeschi morti nelle guerre napoleoniche. Durante il periodo della DDR fu considerato un monumento ai caduti dell'antifascismo. Dopo la caduta del Muro di Berlino e la riunificazione della Germania è dedicato alle vittime di tutte le guerre. All'interno, sotto l'oculo, è stata posta la statua "La pietà" della scultrice Käthe Kollwitz che raffigura la madre di un soldato morto.
The brothers worked together at the Certosa di Pavia, near Milan, and their styles were very similar.
I have started archiving and backing up my photos after getting a 1TB and a 750GB HDDs. In doing so, I have ran into a number of shots which I have often ignored previously; shots which, with a little touch of post-processing, would be good enough (at least in my book, that is) to tell a story. Here's one, inspired by Michaelangelo's La Pieta (and Dave Hill's works for the pp), from a visit at the Jurong Bird Park last year.
Best viewed large.
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la pieta 4-in his mother's arms
mixed media on wood: collage, tissue paper, sharpie pens, stamps, "paper bag", hotel receipts and menus collected when i lived in europe
24" X 24"
jennifer beinhacker
jenniferbeinhacker.com
art outside the edge
MEANING OF PIECE:
Visual language used to generate the merging of figures to form one unity with activity. The texts reflects the adventure of travel as seen in the joy and wonderment on the faces. The hotel receipts and restaurants menus are the actual artifacts gathered in my travels. The creation of this work was an opportunity to once again experience how I travel the world to better understand it.
confusion - 2
mixed media on wood: acrylic paint, metallic paint, collage, sharpie pen
12" X 18"
MEANING OF THE PIECE: it is reality, truth sublime? or is it a blind belief that calms the soul?
jenniferbeinhacker.com
jennifer beinhacker
art outside the edge
la pieta 3
mixed media on wood: acrylic paint, clear transfer, collage paper, beads, buttons, bone, doll, strip of pompom material
20" X 14" X 2"
the wood that this piece is from an earlier piece i made. it was a much larger piece.
i took apart the original piece , broke it into several components and put it back again.
i sometimes do this when i feel a piece either needs to be re-worked or else given "a new face" (so to speak).
jennifer beinhacker
jenniferbeinhacker.com
art outside the edge
EXHIBITED AT:
artomatic
24 march-6 may 2017
1800 s. bell street
arlington, virginia
la pieta-2
mixed media: on wood: acrylic paint, collaged paper, stamps.
24"x19"
jenniferbeinhacker.com
art outside the edge
Meant to instill feelings of sorrow & remorse contemplation of La Pieta was intended to bring the viewer closer to God.
Bellano is thought to have been a member of Donatello's workshop in Padua.
Viernes Santo 2009
This image of La Pieta was commissioned by the late Pablo Rubio San Jose, the cousin of my grandfather, the late Francisco Mendoza Rubio. The images were sculpted by the late Luis Obial in the late 60's. The images were restored by Alberto Panganiban in 2007.
It has been under my care since 1998.
This family heirloom joins the Good Friday procession in the Parish of Saint Francis of Assisi Meycauayan City, Bulacan since the early 70's up to the present.
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
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También puedes visitar mi blog de calles de Madrid
La salud de Jorge Oteiza comenzaba ya a deteriorarse cuando, en 1999, se instaló su Piedad en la fachada de la entonces recién remozada Iglesia de San Vicente, una de las más bellas de San Sebastián. Fue, por cierto, la primera obra de Oteiza con la que contó la capital guipuzcoana. No obstante, el propio artista eligió el emplazamiento –en la fachada principal, pero junto a la puerta lateral que da a la calle del mismo nombre– y puro en mano dirigió la instalación de la obra con su habitual vigor.
Para realizar la escultura, de poco más de metro y medio de altura, se tomó como base uno de los 27 bocetos que Oteiza había realizado para el friso del Santuario de Arantzazu entre los años 1953 y 1969. El escultor José Ramón Anda, amigo de Oteiza , fue el encargado de dar forma en aluminio a la maqueta inicial del artista, contando siempre con el apoyo y la colaboración del gran creador de Orio
Not fully worked after casting this is possibly a trial piece and includes St John the Baptist among the mourners
This image is included in a gallery "Sculptures" curated by Rick The Zoo.
The Madonna della Pietà (Italian: [pjeˈta]; 1498–1499), informally known as La Pietà, is a marble sculpture of Jesus and Mary at Mount Golgotha representing the "Sixth Sorrow" of the Blessed Virgin Mary by Michelangelo Buonarroti, now in Saint Peter's Basilica, Vatican City. It is a key work of Italian Renaissance sculpture and often taken as the start of the High Renaissance.
The sculpture captures the moment when Jesus, taken down from the cross, is given to his mother Mary. Mary looks younger than Jesus; art historians believe Michelangelo was inspired by a passage in Dante Alighieri's Divine Comedy: "O virgin mother, daughter of your Son...your merit so ennobled human nature that its divine Creator did not hesitate to become your creature" (Paradiso, Canto XXXIII). Michelangelo's aesthetic interpretation of the Pietà is unprecedented in Italian sculpture because it balances the Renaissance ideals of classical beauty with naturalism.
The statue was originally commissioned by a French cardinal, Jean Bilhères de Lagraulas, then French ambassador in Rome. The Carrara marble sculpture was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the north side after the entrance of the basilica, in the 18th century. It is the only piece Michelangelo ever signed.
The statue was restored after the figure of Mary was vandalized on Pentecost Sunday of 1972 by a mentally disturbed man; it is now protected by a bulletproof glass screen. (Wikipedia)
Details best viewed in Original Size.
According to Wikipedia, La Pieta is the first of a number of works on the same theme by Michelangelo Buonarroti. The statue was commissioned for the French cardinal Jean de Billheres, who was a representative in Rome. The sculpture, in Carrara marble, was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the right as one enters the basilica, in the 18th century. It is the only piece Michelangelo ever signed. This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin, popular by that time in France but not yet in Italy. Michelangelo's interpretation of the Pietà is unique to the precedents. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism. The sculpture took less than two years and its first home was the Chapel of Santa Petronilla, a Roman mausoleum near the south transept of St. Peter's, which Cardinal Billheres chose as his funerary chapel. The chapel was later demolished by Bramante during his rebuilding of the basilica. According to Giorgio Vasari, shortly after the installation of his Pieta Michelangelo overheard someone remark that it was the work of another sculptor, Cristoforo Solari, whereupon Michelangelo signed the sculpture. Michelangelo carved MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T] (Michelangelo Buonarroti, Florentine, made this) on the sash running across Mary's chest. It was the only work he ever signed. Vasari also reports the anecdote that Michelangelo later regretted his outburst of pride and swore never to sign another work of his hands. In subsequent years the Pietà sustained much damage. Four fingers on Mary's left hand, broken during a move, were restored in 1736 by Giuseppe Lirioni. The most substantial damage occurred on May 21, 1972 (Pentecost Sunday) when a mentally disturbed geologist named Laszlo Toth walked into the chapel and attacked the sculpture with a geologist's hammer while shouting "I am Jesus Christ". Onlookers took many of the pieces of marble that flew off. Later, some pieces were returned, but many were not, including Mary's nose, which had to be reconstructed from a block cut out of her back. After the attack, the work was painstakingly restored and returned to its place in St. Peter's, just to the right of the entrance, between the Holy Door and the altar of Saint Sebastian, and is now protected by a bullet-proof acrylic glass panel.
Several things made this image difficult to capture: The lighting was fairly dim and the image required a high and somewhat noisy ISO, the crowd was very large and the image had to be captured over their heads, and the protective glass is highly reflective and thus I had to relocate myself several times to somewhere where those reflections did no mar the resulting image. I took some thirty shots, most of them with some part of the statute missing and others with reflections marring part of the image. This was one of only two shots worth keeping.
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(1498 - 1499) - Michelangelo Buonarroti - Citta` del Vaticano - ITALIA
The Pieta` is held behind protective glasses, at the right hand side immediately after you enter the Basilica di San Pietro In Citta` del Vaticano - Rome
This is the first of four sculptures commissioned to Michelangelo; depicts the Virgin Mary holding the body of Jesus after the Crucifixion. Before sculpting this wonderful masterpiece Michelangelo was unknown to the world as an artist, when he started this work he was in his early twenties and the Pieta` will be the only one completely finished.
A group of the people that saw it thought that a young artist could not create such a magnificent sculpture, so Michelangelo had an emotional explosion of anger and signed it. He later regretted it and he decided he would not sign any other of his works.
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Outlining a Theory of General Creativity . .
. . on a 'Pataphysical projectory
Entropy ≥ Memory ● Creativity ²
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Etude du jour:
Créateur d'images éphémères dans les grandes villes, Ernest Pignon-Ernest, 73 ans, a choisi les murs de Rome, mais aussi de Naples plus au sud, pour coller ses images dans des lieux liés à la vie, à la mort et à l'œuvre de Pier Paolo Pasolini, écrivain, scénariste et réalisateur italien. (o6 2o15)
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rectO-persO | E ≥ m.C² | co~errAnce | TiLt
Details best viewed in Original Size.
According to Wikipedia, La Pieta is the first of a number of works on the same theme by Michelangelo Buonarroti. The statue was commissioned for the French cardinal Jean de Billheres, who was a representative in Rome. The sculpture, in Carrara marble, was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the right as one enters the basilica, in the 18th century. It is the only piece Michelangelo ever signed. This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin, popular by that time in France but not yet in Italy. Michelangelo's interpretation of the Pietà is unique to the precedents. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism. The sculpture took less than two years, and its first home was the Chapel of Santa Petronilla, a Roman mausoleum near the south transept of St. Peter's, which Cardinal Billheres chose as his funerary chapel. The chapel was later demolished by Bramante during his rebuilding of the basilica. According to Giorgio Vasari, shortly after the installation of his Pieta Michelangelo overheard someone remark that it was the work of another sculptor, Cristoforo Solari, whereupon Michelangelo signed the sculpture. Michelangelo carved MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T] (Michelangelo Buonarroti, Florentine, made this) on the sash running across Mary's chest. It was the only work he ever signed. Vasari also reports the anecdote that Michelangelo later regretted his outburst of pride and swore never to sign another work of his hands. In subsequent years the Pietà sustained much damage. Four fingers on Mary's left hand, broken during a move, were restored in 1736 by Giuseppe Lirioni. The most substantial damage occurred on May 21, 1972 (Pentecost Sunday) when a mentally disturbed geologist named Laszlo Toth walked into the chapel and attacked the sculpture with a geologist's hammer while shouting "I am Jesus Christ". Onlookers took many of the pieces of marble that flew off. Later, some pieces were returned, but many were not, including Mary's nose, which had to be reconstructed from a block cut out of her back. After the attack, the work was painstakingly restored and returned to its place in St. Peter's, just to the right of the entrance, between the Holy Door and the altar of Saint Sebastian, and is now protected by a bullet-proof acrylic glass panel.
Several things made this image difficult to capture: The lighting was fairly dim, and the image required a high and somewhat noisy ISO, the crowd was very large, and the image had to be captured over their heads, and the protective glass is highly reflective and thus I had to relocate myself several times to somewhere where those reflections did not mar the resulting image. I took some thirty shots, most of them with some part of the statue missing and others with reflections marring part of the image. This was one of only two shots worth keeping.
Pieta is Renaissance scuplture by Michelangelo which is housed at St. Peter's Basilica, Vatican City. This is located on the right hand side when one enters.
La Pieta' Oratorio Del Castello Savona Scolpita nel 1833 Da Stefano Murialdo
ultimo restauro fatto nel 2001 in processione e' portata da 12 portatori e vari cambi
To Rome, the eternal city, or so they say. It’s 30-plus years since I’ve been here, and my first port of call was St Peter’s Basilica, to see what in my opinion is the most perfectly beautiful sculpture in the world – La Pietà (‘The Pity’), created by Michelangelo in 1498 and 1499, when he was just 23 years old.
The work of course depicts the body of Jesus on the lap of his mother, the serenely beautiful (and way too young) Mary Magdalen. The sculpture is also the only piece that Michelangelo ever signed (a fact that had escaped me until my visit).
This glorious masterpiece was created from a block of blue and white Carrara marble selected by Michelangelo himself. Perfection, pure and simple.
Explore, sept. 21
Michelangelo Buonarroti, La Pietà, St.Peter's Basilica in Vatican, Rome
This is considered by some to be one of Michelangelo's greatest works of art, completed when he was 24 years old in 1499 AD. It is the only work signed by Michelangelo (on a diagonal ribbon carved across Mary's breast) possibly indicating his satisfaction with his work. Another account states the artist chiseled his name out of rage for a false attribution to one of his contemporaries. When it was unveiled in 1500, Michelangelo overheard a crowd admiring it. Going closer, he soon discovered that another artist was stealing his glory. The people could not believe that a previously unknown young artist had produced something of such staggering beauty. That night, out of a caustic combination of injured pride and jealousy he chiseled a message to all future viewers on the sash across Mary's chest: MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBAT (Michelangelo Buonarroti, Florentine, made this). However, he later regretted this action. In 1972 the statue was vandalised by Laszlo Toth wielding a hammer; he was later declared insane.
Details best viewed in Original Size.
According to Wikipedia, La Pieta is the first of a number of works on the same theme by Michelangelo Buonarroti. The statue was commissioned for the French cardinal Jean de Billheres, who was a representative in Rome. The sculpture, in Carrara marble, was made for the cardinal's funeral monument, but was moved to its current location, the first chapel on the right as one enters the basilica, in the 18th century. It is the only piece Michelangelo ever signed. This famous work of art depicts the body of Jesus on the lap of his mother Mary after the Crucifixion. The theme is of Northern origin, popular by that time in France but not yet in Italy. Michelangelo's interpretation of the Pietà is unique to the precedents. It is an important work as it balances the Renaissance ideals of classical beauty with naturalism. The sculpture took less than two years and its first home was the Chapel of Santa Petronilla, a Roman mausoleum near the south transept of St. Peter's, which Cardinal Billheres chose as his funerary chapel. The chapel was later demolished by Bramante during his rebuilding of the basilica. According to Giorgio Vasari, shortly after the installation of his Pieta Michelangelo overheard someone remark that it was the work of another sculptor, Cristoforo Solari, whereupon Michelangelo signed the sculpture. Michelangelo carved MICHAELA[N]GELUS BONAROTUS FLORENTIN[US] FACIEBA[T] (Michelangelo Buonarroti, Florentine, made this) on the sash running across Mary's chest. It was the only work he ever signed. Vasari also reports the anecdote that Michelangelo later regretted his outburst of pride and swore never to sign another work of his hands. In subsequent years the Pietà sustained much damage. Four fingers on Mary's left hand, broken during a move, were restored in 1736 by Giuseppe Lirioni. The most substantial damage occurred on May 21, 1972 (Pentecost Sunday) when a mentally disturbed geologist named Laszlo Toth walked into the chapel and attacked the sculpture with a geologist's hammer while shouting "I am Jesus Christ". Onlookers took many of the pieces of marble that flew off. Later, some pieces were returned, but many were not, including Mary's nose, which had to be reconstructed from a block cut out of her back. After the attack, the work was painstakingly restored and returned to its place in St. Peter's, just to the right of the entrance, between the Holy Door and the altar of Saint Sebastian, and is now protected by a bullet-proof acrylic glass panel.
Several things made this image difficult to capture: The lighting was fairly dim and the image required a high and somewhat noisy ISO, the crowd was very large and the image had to be captured over their heads, and the protective glass is highly reflective and thus I had to relocate myself several times to somewhere where those reflections did no mar the resulting image. I took some thirty shots, most of them with some part of the statute missing and others with reflections marring part of the image. This was one of only two shots worth keeping.
A personal note: I first saw La Pieta at the Vatican exhibit at the New York's World Fair of 1964-65. The statue was fairly close to the viewers and it was not then behind protective glass. Although viewing had to be done from a people mover similar to those "flat escalators" now common in airports, I had the opportunity to view it half a dozen times and can easily say that neither this photograph, nor any other I have seen, do the Pieta justice. The statue is simply a wonder to behold.
ASSALTO VANDALICO
Il 21 maggio 1972, giorno di Pentecoste, un geologo australiano di origini ungheresi di 34 anni, Laszlo Toth – eludendo la sorveglianza – riuscì a colpire con un martello l'opera di Michelangelo per quindici volte[1] in un tempo di pochi secondi, al grido di I Am Jesus Christ, risen from the dead! ("Io sono Gesù Cristo, risorto dalla morte!"), prima che fosse afferrato e reso inoffensivo.
La Pietà subì dei danni molto seri, soprattutto sulla Vergine: i colpi di martello avevano staccato una cinquantina di frammenti, spaccando il braccio sinistro e frantumando il gomito, mentre sul volto il naso era stato quasi distrutto, come anche le palpebre. Il restauro venne avviato quasi subito, dopo una fase di studio, e fu effettuato riutilizzando per quanto possibile i frammenti originali, oltre che un impasto a base di colla e polvere di marmo. Fu effettuato nei vicini laboratori dei Musei Vaticani, sotto la responsabilità del direttore Deoclecio Redig de Campos e, grazie all'esistenza di numerosi calchi, fu possibile reintegrare l'opera fedelmente, senza rifacimenti arbitrari delle lacune[1].
L'autore dello sfregio, riconosciuto infermo di mente, fu tenuto in un manicomio italiano per un anno e poi rimpatriato in Australia. Da allora la Pietà è protetta da una speciale parete di cristallo antiproiettile.
GOOD FRIDAY 2013
replica of Michaelangelo's La Pieta inside Brasilia's Catedral Metropolitana.
Cathedral architect Oscar Niemeyer.
© 2010 | Rodel Joselito Manabat | All Rights Reserved
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Michelangelo Buenarroti's "La Pieta" is one of the world's most recognized works of art, a sculpture that beautifully portrays the scene of faith and sorrow - that of the battered body of Jesus Christ cradled in the loving arms of the Virgin Mary. It is a poignant reminder of the great sacrifice both the Mother and the Son so willingly endured for the salvation of man.
The original work of art, made from Carrara marble, is reverently enshrined at St. Peter's Basilica in Vatican City. A mold was later produced from the original and was kept at the Museum of Casa Buonarroti in Florence, Italy. This mold was used to create the replica now located at Loyola Memorial Park in Marikina, Philippines. This, too, was made of the same material from the same quarry, as the original.
Today, the Manila Cathedral- Basilica, whose thrust is to preserve the historical, cultural and spiritual heritage of Filipino Catholics, holds the distinction of having acquired an exact copy of this legendary work of art.
This "La Pieta" at the Manila Cathedral reflects the Filipino Catholics' strong affinity to Jesus and Mary's sacrificial love of mankind. His Eminence Gaudencio Cardinal Rosales, Archbishop of Manila, officially unveiled and blessed this "La Pieta" on 27 September 2009 in celebration of the Feast Day of St. Vincent de Paul, tha Patron Saint of Charitable Societies.
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