View allAll Photos Tagged pathos
nostalgic pathos
..grandfather, Chesapeake Bay 1984, in the galley of his cabin cruiser (Weekend Fever, on which I spent many a summers day).. he was a purple 💜 recipient from ww2, Normandy, and would actually pass on later that year from complications of emphysema.
He taught me how to drive a stick (3- on-the-tree manual transmission) and would shag pop flies and ground balls for me-- til I got it right (and made the high school baseball team)!
Many fond memories....
(one of my 1st ever portrait attempts)
.. (sc)analog archival project
Deutsche Kriegsgräberstätte La Cambe, hier ruhen mehr als 21.000 deutsche Soldaten, die im Zweiten Weltkrieg gefallen sind.
Ein ganz anderer Friedhof als der der Amerikaner. Ohne Pathos, eher bedrückend. Jedes Grab ist eine Ermahnung zum Frieden.
813 Mil Mi-35P Hind-F/ Panther (023364) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Olympus OM-D E-M10 _ Lr 5.4 _ Olympus M.ZUIKO DIGITAL ED 17mm f/1.8
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5 years flickr and 5 million clicks. Thank you very much!
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On my way down to see Everest, we stopped by one of Tibet's three largest sacred lake - Yamdrok. The lake is so long that is seems more like a river. It has a huge mountainous island in the middle surrounded by turquoise water. There was a little house near the edge of the water that caught my eye as we were driving by. All throughout the long ride, I kept asking my driver to make frequent stops so that I could jump out and take pictures. At one point I noticed he started getting a little annoyed that I kept asking him to stop, so I made sure to take his lunch box with me as an "insurance measure". Hey, you have to do whatever it takes to keep from getting stranded in the middle of Tibet. I don't know how to hunt Yack so I would not last long ...
...(démolie par la suite). Enlevée par les Français, elle reviendra à Anvers en 1815 pour occuper l'année suivante une place centrale dans la Cathédrale.
Après son séjour de 8 ans en Italie, Rubens introduit avec cette Érection de la Croix l'art baroque aux Pays-Bas. Ce chef-d'oeuvre plein de drame et de pathos, d'un aspect cohérent et harmonieux, frappe par sa force tourbillonnante et son dynamisme. La composition diagonale du panneau centrale (460x340 cm) représente les neuf bourreaux qui conjuguent leurs efforts pour dresser la croix sur laquelle est cloué le Christ. Rubens illustre ici, dans une beauté cruelle et de façon remarquablement expressive, voire impétueuse, ce thème rarement représenté par ailleurs.
ENGLISH :
The Erection of the Cross, triptych, oil on panel, Peter Paul Rubens. He made this painting in 1609-1610, at an age near to the age of the crucified Christ. This colossal work was originally part of the main altar of the St. Walburghe church (demolished later). Removed by the French, it will return to Antwerp in 1815 to occupy the following year a central place in the Cathedral.
After his stay of 8 years in Italy, Rubens introduced, with the Erection of the Cross, Baroque art in the Netherlands. This masterpiece full of drama and pathos, of a consistent and harmonious appearance, strikes by its swirling strength and dynamism. The diagonal composition of the central panel (460x340 cm) represents the nine executioners who are working together to draw up the cross on which Christ is nailed. Rubens shows here in a cruel beauty and in such a remarkably expressive and even impetuous way, this theme rarely depicted elsewhere.
nostalgic pathos
.. (sc)analog archival project
©MadDreamer ©2👽22/All rights reserved. Do not use without written permission from photographer/artist.
Strobist: One SB910 left behind subject, aiming on chest for muscles, one SB910 with silver umbrella (mounted reflecting the light) to fill up the gaps in the daylight. Used a Honeywell Industrial Ventilator as a windmachine, connected to a camping generator.
Tried to create some imagery with ancient greek iconography, but incorporated in contemporary switzerland (yes, that's how it looks everywhere here.)
Knidos (Cnidus)
Ancient City, Turkey
Written By: The Editors of Encyclopaedia Britannica
See Article History
Cnidus, ancient Greek city on the Carian Chersonese, on the southwest coast of Anatolia. The city was an important commercial centre, the home of a famous medical school, and the site of the observatory of the astronomer Eudoxus. Cnidus was one of six cities in the Dorian Hexapolis and hosted the Dorian games every four years. The Cnidians claimed they were of Spartan origin.
First founded on the southern coast of the Reşadiye peninsula, it was moved in c. 330 bc to Deveboynu Burnu (Cape Kriyo), where a small island was artificially joined to the mainland. One of the two harbours thus created served ships of war, the other merchant shipping. Cnidus founded colonies on Lipara, north of Sicily, and at Black Corcyra (modern Korčula, Croatia) in the Adriatic Sea.
After a vain attempt to convert their peninsula into an island, the Cnidians submitted to the Persians soon after 546 bc; they supported Athens in the Delian League against Persia but revolted against Athens in 412. Cnidus became a democracy in the 4th century bc and was under Ptolemaic control in the 3rd century. It was a free city within the Roman province of Asia, enduring until the 7th century ad, when it was abandoned.
C.T. Newton, excavating the site in 1857–59, found a marble statue of the seated Demeter there. Later excavation revealed the axial plan of the ancient city, a few private dwellings, and numerous public buildings. The most significant of these is the Temple of Aphrodite, a circular Doric temple, excavated by Iris C. Love in 1970. At this site Love found the marble base and fragments of the famous statue of Aphrodite sculpted by Praxiteles in the 4th century bc. The statue, one of the most celebrated in classical antiquity, was purchased by the people of Cnidus after the citizens of the Cos had rejected it on account of its nudity.
www.britannica.com/place/Cnidus
www.triphistoric.com/historic-sites/knidos
The Lion of Knidos
www.britishmuseum.org/research/collection_online/collecti...
DEMETER FROM KNIDOS
The sculpture of Demeter, found in her sanctuary at Knidos in 1858, was first recorded in modern times by English travelers in 1812. The inherent pathos of the figure – the deep-set eyes and other facial characteristics – is often associated with works of the 4th century BCE. sculptor Skopas. However, the work is also often attributed to other sculptors, and some sources date the origin of the work to later centuries.
Here, Demeter is shown seated on a throne - the back part and arm-rails have broken away and are missing. Her lower arms and hands are also lost, though she probably once held a libation bowl or torch. The head was carved separately from the body and socketed into the neck. Demeter is portrayed as a model of Greek womanhood - serene, mature, motherly and modestly veiled. It is speculated that the piece may have originally been accompanied by a standing figure, presumably Persephone. It is also speculated that weary in her search, she sits alone.
Historical Context:
The Sanctuary of Demeter at Knidos was laid out at about the same time as the re-founding of the city, around 350 BCE. The sanctuary consisted of a long platform terraced into the side of an acropolis, with spectacular views of the city below and the sea beyond. Many votive sculptures were once displayed within the sanctuary. Most of these survive only as fragments, but this cult statue of Demeter herself is remarkably intact.
www.britishmuseum.org/research/collection_online/collecti...
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You have to hand it to the Chinese ... they know how to built ridiculously cool structures. This is the National Center for the Performing Arts (a.k.a. The Egg) situated in Beijing, near Tienanmen Square. I can just imagine how the planning meeting must have gone:
Chinese Official: We would like for you to design for us a hyper-modern structure of considerable proportions and extreme opulence.
Architect: How about a 12,000 square meter space egg surrounded by water?
Chinese Official: Will it be smooth, shiny and visible from space?
Architect: Yes, I think we can manage that.
Chinese Official: Deal!
I only got to walk around the perimeter, but The Egg is truly impressive not only in sheer size, but the amazing architecture and details. I can only imagine how beautiful it must be inside.
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I just got back from an eight day trip through Tibet and it was awesome! I am still waiting for the dust to settle before collecting my thoughts, but it is clear that there are no easy answers. I planned out the trip with the help of a local guide and when I arrived I was essentially escorted through the country at all times. There are strict rules to follow and a lot of paper work to fill out, but for anyone interested in visiting the Land of Snows, I highly recommend it.
This photo was taken on my way down from Lhasa to Everest Base Camp. This is just one of the many amazing natural beauties you will find sprinkled throughout the Tibetan Plateau. Although it looks more like a river, this is actually a lake. Yamdrok Yumtso is one of the three largest sacred lakes of Tibet and is said to me the transformation of a goddess into physical form. The lake water is an amazing emerald color (which unfortunately was hidden by the cloud cover in this photo.) This lake runs for many many miles and there are a lot of great vantage points, but I found this great place with the help of my guide.
High up on a ridge we saw a cluster of prayer flags flapping furiously in the wind. Prayer Flags are supposed to be hung in clean, high up places where there is a lot of wind so that each time the wind flaps the flag, the owner will receive the merit of the mantra written on it. It is a beautiful custom and these flags can be found all over Tibet. Some mountains are so densely covered with them that from a distance, they look like spider webs. It was a great experience to be able to travel across such a rich landscape.
354 Aerospatiale SA342-L1 Gazelle (2197) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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I know everyone comes away with the same shot of Yosemite Valley, but I had to try my hand at it. I made all my friends wake up at 4:30 and drive over to the vista point to ensure we would get a good spot. The problem was that it was the first day of daylight savings when the hour changes and the sun rise was an hour later than we all expected so we ended up standing in the dark cold for almost three hours waiting for the sun to rise. By the time it was coming up, all the guys were frozen and fed up with all the waiting, so I took a few quick last minute shots before a full mutiny ensued. I am glad I persisted =)
Taken during a dress rehearsal of the Tip Top Production “Girls Night Out” Devised by Paul Farrah. Written by Dave Simpson. The production runs from February 6th-9th 2019 at Theatr Clwyd.
Synopsis:
Why has Tony been recently spending so much time in his bedroom listening to Rod Stewart’s hits at full volume? Nothing strange about that thinks his Mum Ivy, UNTIL she organises a hen night for the heavily pregnant Jane, for Tony’s fiancée Nicola and the worldly Sara at ‘The Feast of Flesh’ male strip club. It turns out to be a hen night like no other!
Full of humour, pathos and secrets, and directed by Chris Dukes, who has directed Stags and Hens, Misery, Shirley Valentine and Brassed Off for Tip Top, the production will take place in Theatr Clwyd in February.
Cast:
Tony - Samuel Thompson
Robbie - Des Hinks
Darren - Finn Hibbert
Phil - Danny Taurus
Nicola - Amy Robinson
Sara - Natalie Brett
Jane - Katie Deyes
Ivy - Paula Condliffe-Hughes
Compere - Steve Lancashire
Production Team:
DIRECTOR Christine Dukes
Tickets: www.theatrclwyd.com/en/
www.tiptopproductions.co.uk/productions/production.php?id...
#ChesterCulture
Gaulois blessé
(IIe siècle après J.-C.)
Marbre
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Identification et description
Le Gaulois blessé est une sculpture en marbre datant du IIe siècle après J.-C., réalisée à Rome, copie d’un original hellénistique en bronze issu d’un monument commémoratif pergaménien.
Matériau : marbre de Dokimeion
Technique : ronde-bosse avec usage du trépan pour les détails capillaires
Dimensions : env. 94 cm de haut
Posture : guerrier nu, demi-agenouillé, appuyé sur un bouclier, à côté de son épée
État : fragmentaire, avec nombreuses restaurations modernes
Il représente un Galate (Gaulois) vaincu, probablement au moment où ses forces l’abandonnent.
Analyse iconographique : le barbare héroïsé
Un ennemi identifiable
Le personnage appartient au type du Galate, reconnaissable dans l’art antique par :
la nudité héroïque (mais ici ambivalente : vulnérabilité autant que noblesse)
la chevelure épaisse et désordonnée
parfois des attributs celtiques (torque dans d’autres œuvres du groupe)
l ne s’agit pas d’un Grec, mais d’un ennemi historique des royaumes hellénistiques.
Un moment dramatique
La scène ne montre pas le combat, mais l’instant de bascule vers la mort :
corps affaissé
appui instable
tension musculaire qui se relâche
C’est une iconographie du seuil : entre vie et mort.
Une inversion du regard antique
Traditionnellement, l’ennemi est dévalorisé. Ici, c’est l’inverse :
Le Gaulois est représenté :
avec dignité
sans caricature
dans une souffrance noble
Cette représentation participe d’un phénomène essentiel de l’art hellénistique :
l’héroïsation de l’Autre vaincu
Analyse stylistique : pathos hellénistique
Bien que copie romaine, le style renvoie clairement à l’art de Pergame (IIIe–IIe s. av. J.-C.).
Le pathos (expression dramatique)
Caractéristiques majeures :
torsion du corps
tension asymétrique
expression de douleur contenue
naturalisme anatomique
On est loin de l’idéal classique : ici, le corps souffre.
Dynamique et instabilité
La composition est construite sur un déséquilibre :
diagonales (jambe fléchie, torse incliné)
point d’appui fragile (bouclier)
Le spectateur ressent la chute imminente.
Le réalisme anatomique
muscles contractés puis relâchés
détails du torse et des flancs
travail des mèches au trépan
Le corps devient un vecteur d’émotion, pas seulement de beauté.
Contexte historique : Pergame et la propagande
Les Galates et Pergame
Cette sculpture dérive d’un ensemble commémoratif commandé par les rois de Pergame (notamment Attale Ier).
Objectif :
célébrer la victoire sur les Galates (peuples celtes installés en Anatolie)
Ces groupes comprenaient :
le Gaulois mourant
le Gaulois blessé
le Suicide du Galate
Une propagande raffinée
Contrairement à une propagande brutale :
ici, la glorification du vainqueur passe par :
la grandeur de l’ennemi
la noblesse de sa défaite
Message implicite :
"Si l’ennemi est si grand, notre victoire est encore plus admirable.”
Copie romaine : transmission et transformation
La sculpture du Louvre est une copie romaine impériale (IIe siècle ap. J.-C.)
Les Romains :
admirent l արվեստ grec
collectionnent et reproduisent les chefs-d’œuvre hellénistiques
Mais ils modifient parfois :
surfaces repolies
restaurations modernes (ici nombreuses)
adaptation du support (plinthe en bouclier ajoutée)
Lecture esthétique : tragédie sculptée
Une esthétique de la compassion
Le spectateur n’est pas en position de domination :
il est invité à ressentir :
la douleur
la solitude
la fin imminente
On est proche d’un effet tragique, presque théâtral.
Le silence de la mort
Contrairement au Laocoon, ici :
pas de cri
pas d’explosion dramatique
La souffrance est intérieure, contenue
Une humanisation universelle
Le Gaulois n’est plus un “barbare” :
il devient un homme
il devient même un héros
C’est une des grandes révolutions de l’art hellénistique :
l’universalité de la condition humaine
Comparaisons essentielles
Pour enrichir le regard au Louvre :
Gaulois mourant (Rome, Capitole) → plus étendu, plus pathétique
Suicide du Galate → dimension héroïque et morale
Laocoon → pathos explosif
Pergame (Grand Autel) → violence dramatique maximale
Le Gaulois blessé se situe entre :
retenue classique
et expressivité hellénistique
Conclusion
Le Gaulois blessé est une œuvre capitale car elle condense plusieurs transformations majeures de l’art antique :
passage de l’idéal à l’émotion
regard nouveau sur l’ennemi
naissance d’une esthétique de la compassion
art au service d’une propagande subtile
C’est une sculpture qui ne célèbre pas seulement une victoire :
elle donne une dignité à la défaite.
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