View allAll Photos Tagged pathos
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This collage presents eight gravestones found in the Old Ross Burial Ground on a hill above the historic town. Some of these were most definitely carved by Daniel Herbert, the former convict who earned his freedom by building the Ross Bridge. I have numbered them for reference.
The top row contains stones very likely to be carved by Daniel Herbert.
Number 3: This one is positively identified as a gravestone by Daniel Herbert (Greener and Laird, 1971), so it can act as a stylistic template. It is very touchingly “To the memory of our dear MAMMA”. But no name is inscribed.
Number 4: Simply inscribed JD. It has a Tree of Life motif and seems almost certainly Herbert’s work.
Number 1: Too worn to read. It would seem to date from the 1830s or 40s, but the urn carved into the top of the stone is identical to the actual urn carved by Herbert for his family memorial (see the previous photograph). There are also some stylistic elements to link it with numbers 3 and 8.
Number 2: Very worn near the bottom and dates impossible to read. The lovely floral carving is consistent with the sort of work Herbert loved to do.
Number 5: Has stylistic elements and shape similar to number 3, but the dates are not clear and this is also less likely to be by Herbert.
Number 6: This is interesting and has great pathos and simplicity as a memorial for a three year old child, but unlikely to be Herbert’s work.
Number 7: John Dickinson was the original owner of the Ross Bakery Inn. A free settler from Nottinghamshire, he was granted a publican’s license in 1833, but sadly died in 1836 aged just 39. Obviously Herbert was in Ross at the time, but may have been too busy completing the bridge to carve this. However, the quality of work would suggest an artist of comparable ability. A likely Herbert, but not certain.
Number 8: Philip Maher. Barracks Sergeant and a veteran of the Battle of Waterloo. He died in 1847. Although the dates fit, stylistically it doesn’t seem quite like Herbert’s work (especially the script), even though elements of number 3 can be seen here.
the head (detail in black and white)
Thomas Schüttes "Großer Geist" vor dem Neuen Museum Weimar kann als Antwort auf die Tradition "figürlicher Hoheitszeichen" gesehen werden. Mit dieser Figur lässt Schütte jedes Pathos zerfallen, um ein neues Zeichen zu setzen. "Im Widerstreben von Materie und Form führt er eine Ambivalenz des Menschen vor Augen, die Schwerkraft des Körpers, die Erhebung als kleiner oder sogar großer Geist." Die Plastik antwortet u.a. auf Ernst Rietschels Goethe-Schiller-Denkmal, nimmt aber auch Bezug auf die Helden des Buchenwalddenkmals von Fritz Cremer. Im Neuen Museum wurde zur Zeit des Nationalsozialismus auch die Ausstellung "Entartete Kunst" gezeigt, die in München ihren Ausgangspunkt nahm. In dieser Ausstellung wurde jede Art von moderner Kunst als "entartet" diffamiert. Heute zeigt das Neue Museum Weimar ausschließlich zeitgenössische Kunst.
Thomas Schütte's "Great Spirit" in front of the Neues Museum Weimar can be seen as a response to the tradition of "figurative emblems of majesty". With this figure, Schütte allows any pathos to disintegrate in order to set a new sign. "In the reluctance of matter and form, he presents an ambivalence of the human being, the gravity of the body, the elevation as a small or even great spirit." The sculpture responds to Ernst Rietschel's Goethe-Schiller Monument, among others, but also refers to the heroes of Fritz Cremer's Buchenwald Monument. At the time of National Socialism, the Neues Museum also hosted the exhibition "Degenerate Art", which started in Munich. In this exhibition, any kind of modern art was defamed as "degenerate". Today, the Neues Museum Weimar exclusively shows contemporary art.
Quelle: Neues Museum Weimar
In this delicate work the artist found the ideal solution to a problem that had preoccupied the sculptors of the First Renaissance: the placing of the Body of Jesus Christ dead in Mary's lap. For this he deliberately altered the proportions: the Christ is smaller than the Virgin, who is to give the impression of not crushing the Mother and showing that she is her Son, not to "come out" of the triangular scheme. The Virgin Mary was represented very young and with a noble resignation: the painful expression of the face is idealized, contrasting with the anguish that artists have traditionally impressed on her. Thus the influence of the pathos of the Greek classics becomes evident. And the author imagined Mary's youth, objections that raise her critics against him, as her expression of her incorruptible purity.
Pallavi Guru Kiran is wife of Gurukiran Shetty, Kannada Film Music Director, Composer and Actor.
"She is my inspiration for all my songs which have a touch of pathos,” he jokes. Without her support, I couldn’t have come this far. She is my biggest critic ." Gurukiran
On the path to love, Albert Nostran borrowed a short cut that was to cost him more dearly after than just before. The Big Jiggety humorously yet rigorously plumbs the struggle of a young man full of stars in his eyes also eager to sink his teeth into America and himself.
all-ways--------------and in a way a way to say that The Road is the book that lead me back to the road i never abandoned, on the road where i met the Iliad, a road towards wuthering heights, towards an étranger, away from smelly Paris and Grenouille, a road to ugly ducklings that don't need to be swans, a road to mice and men, to Orlando and the woolf, the wolves and eagles i seek around my camping spot, a shadow line under my heart of darkness, and a light in the trees following a rampant baron that looks like me. Please stop me, not anygod, not anybody, not a drink with Charles, two of them. I love Huckleberry Finn, the fin whale that left his hunter in a bible of all seas, not in Las Vegas, fearing and loathing, infuriating the sound of impossible love, Caddy! Benji! of impossible life in maison Karamazov, uncontainable love in the windmill of pathos, dancing on the feet of Zorba. Back to my little feet, my web in Charlotte’s strings, in a lawn counting numbers and dead dogs at midnight. Or alone onehundred years like a spy in the cold of Berlin, in a desert mirage, the Tartars! the Mermaid! the Steppenwolf! The rime, an ancient mariner told me, an old man mirrored in the sea, of my words in leaves of grass, papermoons, bitten tongues.
Mil Mi-35P Hind-F/ Panther Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
L'odio
Guardate com’è sempre efficiente
come si mantiene in forma
nel nostro secolo l’odio,
con quanta facilità supera gli ostacoli
come gli è facile avventarsi, agguantare.
Non è come gli altri sentimenti,
insieme più vecchio e più giovane di loro,
da solo genera le cause
che lo fanno nascere.
Se si addormenta il suo non è mai un sonno eterno,
l’insonnia non lo indebolisce ma lo rafforza.
Religione o non religione
purché ci si inginocchi per il via
Patria o non patria
purché si scatti alla partenza
Anche la giustizia va bene all’inizio,
poi corre tutto solo,
l’odio. L’odio.
Una smorfia di estasi amorosa
gli deforma il viso.
Oh, quegli altri sentimenti
malaticci e fiacchi!
Da quando la fratellanza
può contare sulle folle?
La compassione è mai
arrivata per prima al traguardo?
Il dubbio quanti volenterosi trascina?
Lui solo trascina, che sa il fatto suo.
Capace, sveglio, molto laborioso…
Occorre dire quante canzoni ha composto?
Quante pagine ha scritto nei libri di storia?
Quanti tappeti umani ha disteso
su quante piazze, stadi?
Diciamoci la verità:
sa creare bellezza
splendidi i suoi bagliori nella notte nera
magnifiche le nubi degli scoppi nell’alba rosata
innegabile è il pathos delle rovine
e l’umorismo grasso
della colonna che vigorosa le sovrasta.
È un maestro del contrasto
tra fracasso e silenzio
tra sangue rosso e neve bianca
e soprattutto non lo annoia mai
il motivo del lindo carnefice
sopra la vittima insozzata.
In ogni istante è pronto a nuovi compiti.
Se deve aspettare aspetterà.
Lo dicono cieco. Cieco?
Ha la vista acuta del cecchino
e guarda risoluto al futuro.
Lui solo.
WISLAWA SZYMBORZKA
FashionNatic - Pathos Jeans Pants (Avaiable - Fatpack)
Store:
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A distinctive olive tree, located inside the first courtyard, with a window overlooking the second courtyard of the convent of the Missionary Sisters of the Immaculate Queen of Peace.
I was struck by the light that streamed through the window and created a certain pathos.
Der untere Text ist wirklich schaurig. Es ist wohl der Versuch, Schmerz und Trauer mit falschem Pathos zu überdecken und nutzlosem Sterben einen Sinn zu verleihen. Als Ausgleich dazu noch das hier:
Für Karl und Fritz
Großmutter wäre heute 124 Jahre alt geworden -
sie war noch im alten Jahrhundert geboren.
Früher lebte sie im Winter bei uns.
Beim abendlichen Fernsehen war sie sehr wählerisch
und verließ wortlos den Raum,
wenn Filme oder Nachrichten zu aufregend waren
In ihrem Zimmer hingen über’m Sofa
ein Dutzend gerahmter Bilder.
Es waren sehr alte Familienfotos,
auf denen ich nahe Verwandte erkennen konnte.
Ihre Gesichter waren mir fremd und gleichzeitig vertraut.
Zwei Bilder hingen in der Mitte. Sie zeigten zwei junge Männer
in altertümlicher Uniform mit Pickelhaube und Gewehr.
Beide ähnelten sich stark und zeigten seltsam ernste Gesichter zu ihrer merkwürdigen Verkleidung.
"Wer sind die beiden Männer mit den komischen Helmen?“
habe ich irgendwann mal meine Mutter gefragt.
Sie hatte ihre Stimme gedämpft, sich nach ihrer Mutter umgeschaut: "Das sind Karl und Fritz - die Brüder von der Großmutti. Sie sind deine Großonkel“.
"Ich wusste ja gar nicht, dass die Großmutti Brüder hat"
Unwillkürlich flüsterte auch ich.
Sie waren ja auf keinem Familientreffen gewesen
und man hatte auch nie von ihnen gesprochen.
Mit noch leiserer Stimme sagte meine Mutter:
"Sie sind gefallen - schon vor 70 Jahren"
"Gefallen?" fragte ich.
„Sie sind 1914 als Freiwillige begeistert in den Ersten Weltkrieg gezogen, mit neunzehn und einundzwanzig,
einer nach Belgien und einer nach Polen.
Nach zwei Wochen waren sie tot - alle beide".
Man hat nur Fritz gefunden,
er hatte noch von Karls Tod erfahren.
Von diesen Kriegsfreiwilligen des Sommers 1914 ist fast keiner zurückgekehrt.
“SECOND PHOTO CHALLENGE“
MISS SL ♛ Japan mixed match red which is symbolically used for the Japanese flag and cyber blue to express the pathos and science of “NEO Japan”. In a futuristic way, she expressed both sides of Japan, which is said that “technological superpower” and also passion with human fever soaked in history in various ways. In addition, the cherry blossoms in her chest are a national flower of Japan, symbol of the Japanese spirit. They symbolize how the samurai lives - the way to live for righteousness without obsessing the present world, like the cherry blossoms that are scattered soon after blooming. She believes that the spirit still flows in the Japanese even if the times change.
----
- Styling Card
NEO-Japan event items
+ Dress | .Shi - Enduo Wrap (PVC Red) by Joy Laperriere
+ Earcuff | NOIR - Drogon Earcuff by Guilhermedandretti
+ Choker | NOIR - Selina Choker by Guilhermedandretti
+ Hat | Zibska - Shizuko by Zib Scaggs
+ Nail | Eclipse Art Studio - Tunderstrike Claw Woman by Shina Shan
+ Sakura | NAMINOKE - SAKURA FUBUKI by taiko McCaw
+ Eyeshadow | Zibska - Shizuko Eyemakeup by Zib Scaggs
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+ Top | CLBlue - Leathre Top by clblue
+ Pants | AdN - Agata by Adabetha Nayl
+ Bracelet | MANDALA - OKAKI Bracelets set (Black) by kikunosuke Eel
+ Shoes | NewWish - Crystal Soul Shoes by Pixie Ruby
+ Hair | booN - Cor.009 hair pieces (Black Pack) by boo Nakamura
+ Lipstick | Izzie's - Applier Red Lipstick Set by Izzie Button
+ Tattoo | Divine Tattoo - Sakura Beauty by NicholasLuvs
+ Petals | Persefona - Floating Rose Petals by Persefona
STRAID CHURCH IN STRAID, NEAR CLONMANY EXUDES AN EERIE CHARM. BUILT IN 1772, IT WAS IN USE UNTIL 1925 BUT NOW ABANDONED. THE GRAVEYARD IS AN UNUSUAL PLACE WITH ANCIENT GRAVESLABS TIERED IN ROWS ALMOST MAKING A CRUDE PAVEMENT, MOST OF THESE ARE UNMARKED, AND EXUDE A MYTHICAL PATHOS.
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.
Vincenzo Campi (Cremona, 1536 - Cremona, October 3, 1591) - Incredulity of St. Thomas - oil on canvas - Ala Ponzone Museum, Cremona
La sua carriera pittorica si svolse in particolare a Cremona, ma lasciò opere anche a Milano, Pavia e Busseto. Le prime opere documentate sono committenze per la decorazione del Duomo di Cremona: una Pietà nella sala del capitolo ed una serie di Profeti sulla navata. Successivamente, nel Cristo inchiodato alla croce della Certosa di Pavia, Vincenzo diede prova di sapersi calare perfettamente nell'atmosfera di solenne drammaticità richiesta agli artisti negli anni della controriforma, quando si sentiva l'esigenza di dare all'arte sacra sentimenti di forte pathos che ispirassero ai fedeli la meditazione e la preghiera.
His painting career took place particularly in Cremona, but he also left works in Milan, Pavia and Busseto. The first documented works are commissions for the decoration of the Cathedral of Cremona: a Pietà in the chapter house and a series of Prophets on the nave. Later, in the Christ nailed to the cross of the Certosa of Pavia, Vincenzo proved to know how to fit perfectly in the atmosphere of solemn drama required of artists in the years of the Counter-Reformation, when there was a need to give the sacred art feelings of strong pathos that would inspire the faithful meditation and prayer.
(wikipedia)
"Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
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.
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
Dress: Mikunch Dolls banquet - Romantic dress RARE
Head dress: Mikunch Dolls banquet - Head dress (pink) 11
Umbrella: Mikunch Dolls banquet - Maiden's umbrella(pink) 17
Stuffed animal: extra)Romantic dress / USAKUMA BABY
Shoes: Mikunch Dolls banquet - Forehead platform shoes pink 6
Collar: [^.^Ayashi^.^] Yuimi Collar(Light set)
Hair:*barberyumyum*66 (pink)
*barberyumyum*bangs (D)
*barberyumyum*bangs (C)
Head: =ASR= Sophia aeon Head
Body: =ASR= Sophia Pathos Body+Tattoo(1.5 for bento)
Location: . {mystical fae forest}.
Luca Signorelli, pseudonym of Luca d'Egidio di Ventura (Cortona, 1441-1445 circa - Cortona, October 16, 1523) - Lamentation over the dead Christ (1502) - Chapel of San Brizio - Cathedral of Orvieto
La cappella, ricavata nello spessore della parete destra, conteneva i corpi dei santi Faustino e Pietro Parenzo entro un sarcofago ancora in loco, oggetto di grande devozione in città. Sotto le mensole che reggono la cassa marmorea, Signorelli dipinse un toccante Compianto di Cristo morto tra i due santi orvietani, affresco di grande pathos soprattutto se letto alla luce del racconto di Vasari secondo cui nel corpo di Cristo l'artista ritrasse quello del figlio Antonio appena morto di peste a Cortona, nel 1502. La scena sarebbe infatti una replica autografa del Compianto del Museo diocesano di Cortona. Sui fianchi della cappellina si vedono le scene di martirio dei due santi
The chapel, built into the thickness of the right wall, contained the bodies of Saints Faustino and Pietro Parenzo in a sarcophagus still in place, the object of great devotion in the city. Under the brackets that hold up the marble case, Signorelli painted a touching Lamentation of the dead Christ between the two Orvieto saints, a fresco of great pathos especially if read in the light of Vasari's account according to which in the body of Christ the artist portrayed that of his son Antonio who had just died of the plague in Cortona in 1502. The scene would in fact be an autograph replica of the Lamentation in the Diocesan Museum of Cortona. On the sides of the chapel are the martyrdom scenes of the two saints
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.
"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.