View allAll Photos Tagged pathos
HALF MOON OVER LANSVALE by Aloisia Fenyes
One cold, lop sided, half moon night
Smithy’s lens eye scans amorphous territory
well it's his territory
for an hour or two
and there in the darkest of shadows
soft edges and shapes appear
while silver night spiders
weave another shroud
brief illumination, and then pale winter moon
draws her cape and slips away again
but Smithy is quick
aim, focus, shutter speed, click click goes the Pentax
click again .... yeahhhhh gotch ya!
THANKS ALOISIA. SO NICE OF YOU... Lynn
This imposing monument sits above Rudesheim with a commanding view of the Rhine River and the Middle Rhine valley.
The monument (Niederwalddenkmal) was erected between 1877-1883, based on a design by Johann Schilling of Dresden.
The monument was constructed to commemorate the foundation of the German Empire after the end of the Franco-Prussian War. The first stone was laid on September 16, 1871, by Kaiser Wilhelm I.
The 38 m high statue with the pathos so typical of its time no longer appeals to current taste. It symbolizes re-establishment of the German empire, a direct result of the outcome of the French-Prussian War of 1870-1871. The war lead to the unification of Germany under Prussian hegemony as an imperial monarchy.
The main figure is that of Germania, the classical mythic female figure representing Germany. In her raised right hand is the imperial crown. The imperial sword is in her left hand. For years the monument reflected national pride and the much belated creation of a single German nation.
Today, within the context of “Europe,” such feelings are passé. But it is an important relic of an epoch and an era, and, like the dinosaur, part of the past.
This sculpture was first presented at the inaugural exhibition of the Sculptors Society of Canada in 1928. It depicts a dejected mother clutching her child close to her breast as she walks barefoot down a rocky path. This was a poignant and all too familiar subject during the Great Depression. As one critic noted about the work, "It conveys much of the pathos and appeal of one of the world's greatest problems."
Jour 51, 4/4
Nous terminons nos focus exposants avec l'un de nos généreux partenaires : Pathos Tale ! <3
Un grand merci à eux pour leur générosité ! ^^
Malheureusement ils ne seront pas présents au festival mais vous pourrez retrouver leurs magnifiques dolls sur leur site web ! ^_^
____
Day 51, 4/4
We conclude our focus on exhibitors with one of our generous partners : Pathos Tale ! <3
A big thank you Pathos Tale for your generosity ! ^^
Unfortunately they will not be present at the festival but you will be able to see their gorgeous dolls on their website ! ^_^
The Lamentation of Christ is a painting of about 1480 by the Italian Renaissance artist Andrea Mantegna. While the dating of the piece is debated, it was completed between 1475 and 1501, probably in the early 1480s. It portrays the body of Christ supine on a marble slab. He is watched over by the Virgin Mary, Saint John and St. Mary Magdalene weeping for his death.
Mantegna may have made this painting for his personal funerary chapel. It was found by his sons in his studio after his death and sold off to pay debts. The painting is now in the Pinacoteca di Brera of Milan, Italy.
The theme of the Lamentation of Christ is common in medieval and Renaissance art, although this treatment, dating back to a subject known as the Anointing of Christ, is unusual for the period. Most Lamentations show much more contact between the mourners and the body. Rich contrasts of light and shadow abound, infused by a profound sense of pathos. The realism and tragedy of the scene are enhanced by the perspective, which foreshortens and dramatizes the recumbent figure, stressing the anatomical details: in particular, Christ's thorax. The holes in Christ's hands and feet, as well as the faces of the two mourners, are portrayed without any concession to idealism or rhetoric. The sharply drawn drapery which covers the corpse contributes to the dramatic effect. The composition places the central focus of the image on Christ's genitals – an emphasis often found in figures of Jesus, especially as an infant, in this period, which has been related to a theological emphasis on the Humanity of Jesus by Leo Steinberg and others. The space the figures are present in appears to be confined, small, and somber, indicating to be a morgue.
By the way Christ is painted, viewers have difficulty in pinpointing the real dimensions of Christ’s body. His rather large torso, hands and feet are depicted to be closer to the spectators, it is hard to tell the size of his proportions. Art historian Hubert Schrade points out, “the agitation of dimension of the work, which allows immediate proximity but denies any intimacy.” Mantegna also reduced the size of the figure's feet, which would cover much of the body if represented true to size. German scholar Hans Jantzen suggests the painting has a orthogonal perspective, a perspective he believed to be of the highest meaningful value.
Being placed at eye level at Christ’s feet, directly in front of his open wounds, invites the viewers to remember the reason for his death. Mantegna presented both a harrowing study of a strongly foreshortened cadaver and an intensely poignant depiction of a biblical tragedy. The portrayal of Jesus Christ's suffering prior to this event is meant to inspire not only pain, but hope. The idea of scherzo, a musical term referring to the lighthearted, playful segment of a symphony, is present in this scene, invoking slight lightness, hope, and promise in anticipation of Christ's future resurrection. The painting is another mirror to the Middle Ages inscriptions on images related to a Christ on the cross or the Passion of the Lord that would say, “Aspice qui transis, quia tu mihi causa doloris (look here, you who are passing by, for you are the cause of my pain).” In addition to being in front of his open injuries, the fabric Christ lies on indicates that this is the time to mourn before he is to be buried. The stone Christ lies on is also known as the Stone of Unction, or the Stone of Anointing, and is the slab onto which Christ's body was laid after being crucified. Viewers are meant to feel that they cannot reach out and touch his body, Shrade noted: "None of the mourners dare touch the corpse, He is untouchable."
One symbolic meaning of a subject being presented feet first in perspective is to indicate that the individual has lost a battle or war. However, it is usually meant to imply that the individual is a degenerate or a loser affected by unfortunate events, such as a flood, or misfortune. This is especially used as imagery for those who were denied of holy or divine protection. Here, however, Mantegna paints one of the most holy figures in such a position. The feet are also considered the lowest parts of the human body, and present among the individuals in the painting is Mary Magdalene, who washed Christ's feet with her tears and hair as an act of deep respect and a plea for forgiveness.
In the painting, Christ’s head is somewhat turned away from Mary, John, and Mary Magdalene to face the direction of the illumination. This is depicted to symbolize the teachings and promise of God when one is nearing the end of her or his lifespan.
"Wealth converts a strange land into homeland and poverty turns a native place into a strange land."
- Ali ibn Abi Talib
At a busy New Delhi intersection (on the first red light moving out of CP on the KG Marg) asking for alms with folded hands. I eventually gave him some for being quite a character and not pestering my vociferously like many other do but instead standing with dignity and showing his genuine need for empathy.
I made this shot with serendipity, as we were heading for dinner, me and my friend Gabbar, he was holding my camera in his lap and so the camera was ready for the 10 second stop at the red light of this busy crossing. I have noticed that some of my better pictures have been shot when I was not looking or preparing for them.
54th position in Explore.
Thirty minute scribbles #kishibashi :
Kishi Bashi 151a Full Album - Deluxe Edition
ibnpatuta Published on May 24, 2015
Tracklist:
1. Intro / Pathos, Pathos (Instrumental) - 0:00
2. Manchester - 4:02
3. Bright Whites - 8:04
4. It All Began With A Burst - 12:22
5. Wonder Woman, Wonder Me - 15:24
6. Chester's Burst Over The Hamptons - 18:45
7. Atticus, In The Desert - 20:35
8. I Am The Antichrist To You - 24:54
9. Beat The Bright Out Of Me - 28:51
10. Conversations at the End of the World (Bonus Track) - 34:26
11. Evalyn, Summer has Arrived (Bonus Track) - 39:26
12. Unicorns Die When You Leave (Bonus Track) - 43:29
The Australia / New Zealand Deluxe Edition of this album contains three extra tracks ("Conversations at the End of the World", "Evalyn, Summer has Arrived"," and "Unicorns Die When You Leave") from the Room For Dream EP that preceded this album's release. Also, "Intro / Pathos, Pathos" has been replaced with the instrumental version of the track on the deluxe edition.
The sculptor chose scenes full of grief and pathos from the story of Achilles at Troy for this Roman sarcophagus.
Here, Achilles has finally agreed to return Hector’s dead body to his family. It is weighed to determine how much gold they must pay as a ransom.
Hector’s grieving widow Andromache sits on the left with their son Astyanax. The short side on the left probably showed Achilles’ mother Thetis (now missing) presenting him with new armour.
2月22日は猫の日。
February 22 is the cat of the day in Japan :3
Tops: Sweet Thing. Plushie Baby Top - Pointed (A)
Bottoms: Sweet Thing. Plushie Baby Shorts - Fluffy (A)
Collar: Sweet Thing. Clear Kitty Collar - Pink
Tail: #17 NEKO'NEKO Arctic Tail {aii}
Ears: .tsg. Neko Cosplay Ears Headband - White
Gloves: .tsg. Neko Cosplay Glove - White
Hair: [^.^Ayashi^.^] Angelica hair
Head: =ASR= Sophia aeon Head
Body: =ASR= Sophia Pathos Body+Tattoo(1.5 for bento)
Decor: DREAMS - star bed RARE
Pose: ::SWSK::NEKO Pose001
Location: BACKDROP CITY
*Pathos*, -Belleza-, .Ecko., :::Phoenix:::, Flippant, fri.day, ItGirls, Logo, Maitreya, Perfect Ten, SaNaRae, Serenity Style, Simply Marvelous, Slink, Stuff Sales Room, The Liaison Collaborative, Your Dreams, [Buzz], {Q-Essentials}
thecollectivemusingsofcat2.wordpress.com/2017/02/13/love-...
As seen from One World Observatory, which is the lookout point on top of the reconstructed One World Trade Center. Tough overloaded with patriotic pathos, it's certainly one of the most spectacular views in the world.
Back to the ever reliable Mr. French and the Lawrence Collection today and a change from the pathos of the eviction scene and the sunken dredgers of the last few days. A young lady stands at the entrance to a beautiful walkway lined with trees and no doubt filled with flowers and the songs of birds? I am sure her boater hat and clothes will give us a good hand at establishing a date?
Incidentally yesterdays quiz question was a trick, the horse in the image was the original "Horse with no name" famed in song and story!!!!
Photographer: Robert French
Collection: Lawrence Photograph Collection
Date: Circa 1865 - 1914
NLI Ref: L_CAB_06439
You can also view this image, and many thousands of others, on the NLI’s catalogue at catalogue.nli.ie
8 Sqn's Shack's were named after characters from the children's TV programme 'The Magic Roundabout', '57 was named 'Florence'.
This a/c was one of those left to rot at Pathos Airport in Cyprus.
Series: Last Orders"
From a site of two derelict buildings in the dOKUMENTA city of Kassel that over 40 years ago housed BIER GROSSHANDLUNG NEUENHAGEN, a wholesale German beer distribution company.
A dear flickr contact who runs a construction company in the process of clearing out and renovating this site generously provided me access to photograph on August 16, 2012.
"Last Orders" is what pub owners call out to their customers, a few minutes before closing time.
Si tratta di un'opera composta da sette figure a grandezza naturale in terracotta con tracce di policromia. L'anno di realizzazione dell'opera e l'identità di chi la commissionò sono avvolti nel mistero, così come l'esatta disposizione delle statue. Le ipotesi di datazione più accreditate oscillano tra il1463 e il 1490. Al centro sta il Cristo morto, disteso con la testa reclinata su un cuscino. Attorno si dispongono le altre figure, tra le quali spiccano le due Marie, Maria di Cleofa e ai piedi del Cristo, Maria Maddalena, straziate dal dolore con le vesti gonfiate dal vento. Più composte sono le altre figure, anche se i loro volti mostrano una dolorosa partecipazione. Si riconoscono poi la Madonna, con le mani giunte, Maria di Giuseppe (madre di Giacomo il Maggiore e Giovanni l'Evangelista) seguiva Gesù come discepola, che stringe le cosce in un gesto di rammarico, mentre san Giovanni è rappresentato in un silenzioso pianto, con un palmo che regge il mento. Staccata dagli altri è una figura inginocchiata in abiti rinascimentali, generalmente collocata a sinistra, che rappresenta Giuseppe D'Arimatea e che guarda verso l'osservatore. It is a work composed of seven life-size figures in terracotta with traces of polychrome. The year of realization of the work and the identity who commissioned it are wrapped in mystery, as well as the exact arrangement of the statues. The most credible dating hypotheses oscillate between 1463 and 1490. At the center is the dead Christ, lying with his head reclining on a pillow. Around the other figures are arranged, among which stand out the two Marie, Mary of Cleophas and at the feet of Christ, Mary Magdalene, torn by grief with clothes swelled by the wind. The other figures are more composed, even if their faces show a painful participation. Then we recognize the Madonna, with folded hands, Mary of Joseph (mother of James the Greater and John the Evangelist) followed Jesus as a disciple, who tightens her thighs in a gesture of regret, while Saint John is represented in a silent cry , with a palm that supports the chin. Detached from the others is a figure kneeling in renaissance clothes, generally placed on the left, which represents Giuseppe D'Arimatea looks towards the observer. www.wikipedia
...fu la voce che sentii alle mie spalle.
"No per favore" disse il Don del paese,
occhiali molto spessi che gli deformavano incredibilmente gli occhi e che aggiungevano pathos alle parole che continuava a ripetermi...
Mi stavo solo avvicinando al muro con la bicicletta per scattare una foto su questo bellissimo muro giallo, spiegai.
Il Don visibilmente scocciato acconsentì replicando "appoggi, appoggi..."
Poi scomparve dentro alla chiesa.
20022026_R0000108 | Muro della Chiesa di Pettinengo (BI)
West Palm Beach 2011
instruction #46 - "Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
Another magnificent and poignant sculpture in Vigeland Sculpture Park Oslo. It was a dark and wet but it added to the pathos and fear of this harrowing sculpture.
"Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
Well, you need to have some kind of relationship to write a joke over a street dog ("being raffled"). It's like a college party prank.
Pino Daniele ci lascia oggi... una bella voce e un grande pathos:
lo voglio ricordare con questo pezzo
www.youtube.com/watch?v=d716FTzdBAo&index=1&list=...
Pino Daniele leaves us today ... a beautiful voice and a great pathos:
I want to remember with this piece