View allAll Photos Tagged pathos
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.
CES PHOTOS NE SONT PAS À VENDRE ET NE PEUVENT PAS ÊTRE REPRODUITES, MODIFIÉES, REDIFFUSÉES, EXPLOITÉES COMMERCIALEMENT OU RÉUTILISÉES DE QUELQUE MANIÈRE QUE CE SOIT.
UNIQUEMENT POUR LE PLAISIR DES YEUX.
813 Mil Mi-35P Hind-F/ Panther (023364) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
The days when you weren't tall enough and had to hang on for grim death. But you insisted you could see everything through one of these... before the money run out. No... just me then.
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There is a series of cave systems that run under the huge mountains of Guilin in southern China. Reed Flute Cave is one of the more famous ones so I made a slight detour to go check it out. Like most places in China, there were a good number of tourists around so I quietly waited for them to pass so that I could have the place to myself and take pictures. The problem was that they would turn off the lights as soon as the tourists passed by so I was often left in the middle of a huge underground chamber with nothing but my cat eyes to guide me to safety. It was a little bit eerie, but all together awesome! I would point my camera at the ceiling and leave the shutter open for minutes at a time to collect all the faint light reflecting off some distant stalactite.
I finally made my way to the largest chamber where a mini lake made a perfect reflection of the alien-looking rock formation on the other end. As I was waiting for my camera to gather all the light, my mind started to wonder what was lying deep in this ancient underground lake. As I kept staring at the dark water, listening to the single drops of water sliding off the stalactites and delicately swan-diving into the lake, I started to feel a hypnotic pull to walk into the lake. Lucky for me I was traveling with my guide, Bart, who tripped over something, made a loud noise and brought me back to the present moment … and that is why you hire a guide, ladies and gentlemen. They can keep you from taking a dip in scary underground lakes.
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.
The slightly over-life-size bronze head of a bearded man was found in front of the tomb's facade, in the long entryway known as a dromos.' Rather than being permanently mounted, it appeared to have been propped up on the ground. As can be seen from the ragged edges of the bronze's neck, the head was crudely separated from the body of a statue, of which no trace was discovered in the tumulus? The excavators have speculated that the comprehensive equipment of the tomb with royal accoutrements despite the absence of human remains, together with the deposition of a reused partial portrait statue, suggests a symbolic rather than physical interment of the king.
The hollow-cast bronze itself is in an exceptional state of preservation. There are virtually no losses apart from the very tips of the beard and the central strand of hair over the forehead. The surfaces of both the hair and the flesh parts display a noble patina, in a palette between malachite green and dark chocolate browns, while the facial skin in particular conveys the impression that the cast only recently left the foundry, Most extraordinary, however, are the composite eyes, made from various materials, including alabaster for the sclera and glass in contrasting colors and opacity levels for the pupils, irises, and lacrimal caruncles. The eyes are inserted into open sockets of the hollow bronze, where they are framed by eyelashes cut from thin sheets of copper. The translucency and reflectiveness of the irises are such that the eyes retain their literal sparkle, giving the portrait an intense gaze that has rarely failed to stun viewers in the twenty years since the portrait's discovery.
The image of a mature man is characterized by an ovoid skull, with a rounded forehead, wide-set eyes under bushy eyebrows, a large and aquiline nose, long handlebar mustache, and an untrimmed, scraggly beard - spade-like and jutting forward. In the combination of these iconographic and physiognomic details, the head is unlike any known portrait of a Greek man, including philosophers or rulers. The context of the head's discovery in the tomb of Seuthes Ill makes it more than plausible that the portrait indeed represents that Odrysian king. Images of Seuthes Ill on his coins differ in the length and styling of the hair and beard, but they all show the long handlebar mustache, and those coin portraits closest to the bronze head also feature the king's curved nose.
While distinct from Greek rulers in its appearance, the portrait employs the stylistic vocabulary of Hellenistic art, namely the realism in individual traits and in the depiction of age, as exemplified by the crow's feet, bags under the eyes, furrowed forehead, and presence of a wart on the left cheek, as well as the receding hairline. The texturing of the beard has an almost expressionistic quality in that it appears as if the strands were not molded but combed into the wax model from which the bronze was cast. This effect further enhances the intensity of the pathos that gives the subject his distinctive character.
The casting technique and bronze-specific details-including "cold work" such as chasing of the surface, patination, and the means of assembling the eyes-are all consistent with Greek bronzes produced during the same period. The level of quality further suggests that the portrait - together with the full statue - was produced by a Greek workshop as a royal commission from the Odrysian court.
The head of Seuthes Ill from Golyama Kosmatka is one of the best-preserved large-scale ancient bronzes to survive and, together with the so-called Terme Ruler and the head of a man from Delos, ranks among the most accomplished bronze portraits in Greek art. More significantly yet, it is perhaps the earliest monumental image of a historic Thracian individual.
-- Text by Jens M. Daehner, Acting Senior Curator, Antiquities Department, J. Paul Getty Museum, Los Angeles.
ca. 310-300 BCE. Bronze, copper, alabaster, and glass. 32.5 × 21 x 26 cm.
Sofia, National Archaeological Institute with Museum (inv. 8594)
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Photographed at the Getty Villa Museum, part of the 'Ancient Thrace and the Classical World: Treasures from Bulgaria, Romania, and Greece' exhibition.
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I just got back from a weekend at Yosemite National Park. A couple of friends and I were standing in the freezing cold in the middle of a pitch dark meadow for an hour trying to figure out how to take night pictures of Upper Yosemite Falls. This is my first attempt at this but I really like it!
I couldn't resist the pathos of this image taken through the broken window of an abandoned home in New Brunswick last August.
Arriving in Pathos in Spring the sites and open places are ablaze with colour.
2015 04 09 074456 Cyprus Pafos Archeological Site
Never in history has man been taken as seriously as in prophetic thinking. Man is not only an image of God; he is a perpetual concern of God. The idea of pathos adds a new dimension to human existence. Whatever man does affects not only his own life, but also the life of God insofar as it is directed to man. The import of man raises him beyond the level of mere creature. He is a consort, a partner, a factor in the life of God.
-The Prophets, Abraham Joshua Heschel
April 2020
My hometown Kellinghusen is full of reminiscences to the military abyss. Transfiguration for us.
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Note: Do not invite this picture to private/hidden and so called award groups. Thank you.
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.
702 Agusta AW139 (31332) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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.
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.
Apollonius, Boxer at Rest, 1st century B.C.E. (may be a copy of a 4th century sculpture), bronze, Palazzo Massimo, Museo Nazionale Romano