View allAll Photos Tagged pathos
April 2020
My hometown Kellinghusen is full of reminiscences to the military abyss. Transfiguration for us.
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Street Photography Now Project - 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
Although my B-side is somewhat funnier and certainly lighter, I am submitting this one as a response to Instruction #46. I thought it was funny when I took it, but the more I look at it the more I think it is a sad demonstration of what the world of some people has come to.
In his later version of the Theseus myth, Canova shows a scene of turbulent struggle. Theseus raises his club in his right hand ready to strike, while already kneeling on the chest of the centaur, who is arched backwards and lying on the ground. The dominant shape of the design is a large triangle formed ofTheseus's right foot, the centaur's left hand propping himself up, and the helmet as the apex.
Although Canova's group resembles the Laocoön group of Antiquity in its expression of pathos and in the presentation of strain in a duel, the rhetorical and scholarly elements dominate in Canova's style, and it was on these that academic tradition would later be based.
Apollonius, Boxer at Rest, 1st century B.C.E. (may be a copy of a 4th century sculpture), bronze, Palazzo Massimo, Museo Nazionale Romano
As photographers, we all understand the interplay of negative and positive space. When I took the shot, I was thinking about the pathos of the scene, but as I worked in Photoshop, my reaction to it changed. Slowly the grave lost is melancholy, I began to think of this as contemplation on the idea that birth and death might be more in balance and harmony than we normally appreciate. Perhaps they are just two expressions of the one, same, much greater, reality. And then I thought, “Without death, the birth of Christ would have very little meaning. After all it is his resurrection after death that is all important.” So for Christian, having death in the picture must not be such a sad thing after all. Not being a person of faith, I then thought, “Throughout history; the celebration of the Solstice was always linked to the preceding darkness. It was only the loss of light during the preceding months that motivated the celebration.” Which made me think that perhaps the message of the Christmas Season is that without death, life has very little significance? That in turn led me to think that perhaps death might be the one Christmas gift we are all born with, a gift that forces us to seek meaning in life, and it is this search which leads us to art, another gift. Is art how we as humans attempt to transcend the grave? All this eventually led me led me to ask, is possible that the overarching message of Christmas is that, there is a spirit, a driving force, inside us all that can and sometimes does transcend the grave, so we should not live in fear of the grave but celebrate this very short gift of life and the perspective we have been given on the value of that gift.
As photographers, in the era of the internet, we can use our art, not just to give meaning to our own life, but to share that meaning, insight and connectedness with people everywhere. Somehow all this convoluted logic led me to believe that all this was sufficient to reason for me to wish you all a very Merry Christmas.
This Scania was new to West Midlands Travel as H225 LOM. During its time in the Midlands it wore a version of Birmingham Transport livery for a period.
Now part of the CitySightseeing Paphos fleet and seen parked up at the Harbour bus station one breezy evening.
Der interessante Bogenschütze ist eigentlich ein Ehrenmal für die gefallenen Flaksoldaten des ersten Weltkriegs. Das Flakregiment 12 wurde im 2. Weltkrieg nach Stalingrad abkommandiert und ist dort untergegangen. Deshalb wurde das Ehrenmal von Überlebenden auch auf Gefallene des 2. Krieges ausgeweitet.
Die Ausformung als Bogenschütze ist eine ausgefallene Idee, die mit erfreulich wenig Pathos auskommt.
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.)
110 Bell B206L-3 Long Ranger III (51148) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
I've just seen that this picture has been explored! Its my first one!!!! Yuppi! Thank you all for all the support, its thanks to you!!!!
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Hi all,
This one is rather humoristic:)
Just before Easters we went to that amazing Blue Fairy Forest in Halle, near Bruxelles. The views were amazing, and its just for few weeks in a year like this.
We took around 400 pics that day and here is the one I found funny, little disturbing too:) Little change from all this pathos filled conceptual from weeks before! Enjoy!
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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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again - with pathos
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love will tear us apart again - june tabor
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I have had a few opportunities to visit Shanghai and I am never disapointed with the sights. This is a view the Pudong District from across the river. It was late and I had been walking all night and was about to call it a day when I came across this view. I setup my rig and took a few shots right before they literally shut off the lights. I got an image of some technician in a dingy little room throwing a switch and laughing to himself in the dark. I looked around wondering if someone was playing a practical joke on me, but I guess there is no need to show off after 11pm.
("A" Side) 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
This young man stopped and told me hello, when he realize i was taking a photo of him, then went on doing his work collecting cardboard to earn his life, he was very kind, and looked happy even though he is very poor!
Here there are a picture of these workers at night when they have full (twice their high) their trolley and take the train (that specially run for them and their trolleys) to go out the city:
www.flickr.com/photos/28466129@N02/5962502490/in/set-7215...
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