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LAS FORMULAS DEL PATHOS Y SU SUPERVIVENCIA
Artículo de la Catedrática Victoria Cirlot.
En él "trata de plantear y comprender lo que el historiador del arte Aby Warburg denominó Pathosformel (fórmulas del pathos)"... "Se rastrea la aparición del concepto en su obra descifrando su significado y sus implicaciones para el análisis de las imágenes"... "Finalmente, el concepto es aplicado a una imagen fotográfica contemporánea lo que permite una comprensión mayor de su efecto en la recepción del público, estableciendo un diálogo entre la tradición iconográfica del pasado y la actualidad."
Artículo en English, Castellano www.raco.cat/index.php/Comparativecinema/article/view/cc....
Extracto del texto dónde se menciona la fotografía de referencia:
En Barcelona, el 1 de febrero de 1976, Manel Armengol realizó una serie de fotografías en blanco y negro que recogían puntualmente las cargas policiales contra los manifestantes, todavía en la llamada época de transición. De entre todas ellas, Georges Didi-Huberman escogió una para la portada del catálogo y el cartel de la exposición Insurreccions, inaugurada en el Museu Nacional d’Art de Catalunya en febrero de 2017 (DIDI-HUBERMAN, 2017). Aquí me interesa otra de las fotografías de la misma serie, la que según el propio testimonio del fotógrafo, lo invistió profesionalmente, dado el gran impacto que conoció en los medios de comunicación de todo el mundo. El interés que nos suscita ahora esta fotografía se debe a que resuelve la imagen según la misma fórmula del pathos de La muerte de Orfeo de Dürer (Fig. 7). Destacaré cómo el fotógrafo enmarcó la imagen, que se resuelve en el personaje de espaldas situado a la derecha del revoltijo de seres humanos caídos, que con el brazo derecho alzado está dispuesto a asestar el golpe con la porra. El revoltijo humano sustituye a Orfeo con su rodilla hincada en el suelo, aunque reitera la composición triangular del cantor y también repite el gesto protector del brazo. Frente a la ménade que vemos de cara en el dibujo de Dürer, y que funciona como una inversión simétrica de la ménade de espaldas, en la fotografía de Manel Armengol vemos a otro policía detrás del grupo de personajes caídos. Frente al claro eje vertical que marca el árbol en la composición de Dürer con el polémico cartel que parece hacer referencia a la homosexualidad del cantor (Orfeus der erst puseran, pues juró no amar a mujer si no era a su esposa Eurídice), en la fotografía son diversos árboles invernales y una cierta neblina, producida por los botes de humo lanzados por la policía, los que ocupan el fondo, en el que también interviene un letrero (Academia...). Pero todas estas variantes no pueden ocultar que ambas imágenes están recorridas por un mismo ritmo y que nos muestran una misma carga energética: el desencadenamiento de una violencia, contra la que la víctima (o las víctimas) nada pueden hacer. Se trata de una Pathosformel en la medida en que nos confronta ante una violencia extrema."
Head of Medusa from the first ships.
This is an example of refined craftsmanship. The detail of the hair, the scales, the snakes and nostrils were made using hand-held tools (burin and chisel). The resulting portrait combines the apotropaic function typical of the depictions of this monstrous figure with the pathos characterizing the humanized Medusa type. The bronze fittings are the most important set of objects found during work to salvage the Nemi ships. The head of Medusa was placed high up, as if to watch over the ship with her gaze.
The Ships.
The Nemi Ships were two ships built by the Roman emperor Caligula in the 1st century AD at Lake Nemi. Although the purpose of the ships is only speculated on, the two large ships are a unique example of ceremonial vessels, genuine palaces floating on the water of lake, created in the image of luxurious eastern residences of the Hellenistic period. The ships contained quantities of marble, mosaic floors, heating and plumbing such as baths among its amenities. The attribution to Caligula was confirmed by the discovery of some lead water pipes (fistulae) with inscriptions proving that the ships belonged to this emperor.
Although the ancient sources do not mention the Nemi ships, recent studies have succeeded in reconstructing the architecture of the vessels. The first was used as a sort of annexe to the sumptuous residence owned by the emperor on the banks of the lake. The second was used for ceremonial proposes, as proven by the discovery of cult objects connected with the goddess Isis.
Recovery from the lakebed succeeded in October 1932. The ships were put on display in a museum built on the shores of the Lake Nemi, where they were almost completely destroyed by fire in 1944 during the second word war.
Bronze, lost-wax casting
Age of Caligula
37 – 41 AD
Roma, Palazzo Massimo alle Terme
Everyone's entitled to a holiday... even a hard working digger machine. Now sitting there just catching the rays and waiting for a cocktail or two.
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It has been a very busy past few months, but I finally unpacked my computer and got some much needed photo time last night. I couldn’t wait to process this picture of the Berkeley Marina. I arrived there just in time to see the sunset and had to scramble over some rocks to get to this position while there was still color in the sky. After the constant rush that has been my life over the past few months, it was very satisfying to stand still and simply observe the sunset over this beautiful marina.
Atkinson Art Gallery, Lord Street, Southport, Merseyside.
Napoleon's Retreat from Moscow, c1890.
By Lady Elizabeth Butler (1846-1933).
Watercolour and Gouache over pencil.
Lady Butler enjoyed huge acclaim for the complex battle scenes she specialised in. Although thrillingly lifelike, they were posed by models and usually painted years after the event. This lone figure of Napoleon after his defeat in 1812 was probably a study for a larger composition.
From 1862 Lady Elizabeth Butler began her studies of art in Italy, then in 1866 she went to South Kensington, London where she enrolled at the Female School of Art. Moving to Florence in 1869 where she studied under Giuseppe Bellucci and attended the Accademia di Belle Arti. She often signed her works as Mimi Thompson.
Famous for her paintings of battle scenes, Lady Elizabeth Butler was a remarkable artist, being one of only a few 19th century women to acquire fame for their historic paintings. Prior to her fame as a battle scene artists she had focussed on religious subjects, but in 1870 she was inspired by the works of Jean Louis Ernest Meissonier and Edouard Detaille, from then on she changed her focus to depicting heroic actions of soldiers of the ranks. In her 1922 autobiography she wrote about her military paintings: "I never painted for the glory of war, but to portray its pathos and heroism."
Born at Villa Claremont in Lausanne, Switzerland, her other works include the Crimean War and the Battle of Waterloo, The Roll Call (purchased by Queen Victoria) and The Defence of Rorke's Drift.
Her marriage to the distinguished British Army Lieutenant-General Sir William Francis Butler in 1877 resulted in six children, and a new era in her life as she travelled the British Empire. During their empire travels both she and her husband started to believe that the empire rulers of Britain and Europe may not provide the most positive experience for those whose land they ruled over. Even so, she continued to paint scenes showing the valour of the ordinary British soldier. Although she herself never witnessed war, she achieved more than any woman before or during her time in this field of art.
On her husband's retirement from the army, they moved to Bansha Castle, County Tipperary, Ireland. During the Irish Civil War a collection of watercolours she had created from their time in Palestine were moved to Gormanston Castle for safe keeping, later they were moved to London. Ironically they were almost all destroyed during the German Blitz of London.
Lady Butler was widowed in 1910, passing away herself in 1933.
I'm obsessed with Buffalo Bill Cody, the Wild West showman who brought to life the drama and pathos of the settling of the American frontier. I can imagine what Buffalo Bill would have done with Twitter, Facebook and YouTube! Imagine: #cowgirlbeauty or #belleofthewest
Kactus Kate is my alter-ego--and this beguiling cowgirl is how I picture her. I finally found a copy of the ad featuring the cowgirl--I bought a page from Life magazine so I could make a high-resolution clip of what I call "Cosmic Cowgirl".
I layered her over W.F. Cody's face on an Internet copy of one of his famous Buffalo posters, with the not-so-modest announcement, "I am Coming". I have photos that I took of reproductions of this iconic buffalo while visiting the Buffalo Bill Museum at Lookout Mountain. I plan to work with those images soon.
I don't have mad Photoshop skills, but I'm playing with layers--trying to build in a digital sense, one of the lushly detailed backgrounds featured in Buffalo Bill's Wild West Posters.
"Pathos. La tragedia delle Troiane" da Euripide e Seneca per la regia di Micha van Hoeck a Giardini Naxos con la presenza di un mimo ironico e giocoso, Lindsay Kemp.
The slogan at the bottom is from the National Association of Ice Industries ad in The American Home. Doomed technologies and their last gasps for relevance have a pathos all their own. See following pitch.
Manet s'ispirò per il suo quadro "Le déjeuner sur l'herbe" al "Concerto campestre" di Tiziano. Bernhard Gillessen, artista tedesco che vive in Umbria, potrebbe ispirarsi ad un déjeuner trevano tra i piantoni di Bovara, per celebrare "Pic & Nic", evento musico- conviviale, svoltosi quest'anno sotto un'ostile pioggerella, che nulla ha tolto - se non un po’ di pubblico - al pathos di stampo rurale dell'iniziativa. La colazione tra gli ulivi è una abitudine da non trascurare, in tempi di ristrettezze finanziarie. Forse è questo il sensato suggerimento che ci viene da Trevi, ma anche da Preci, dove si festeggia “Il Maggio”, con gli strumenti musicali della tradizione umbra, gli organetti, i tamburelli, le ciaramelle, i mandolini, le zampogne e i flauti, che ci permetteranno di ballare saltarelli e mazurche e di ascoltare i canti della tradizione etnocoreutica dell’Appennino centrale. Insomma, per dirla con i preciani, "chi arriva sona", considerato che agli umbri piacciono i poeti a braccio, gli stornellatori e i cantanti nei modi della memoria. Il CEDRAV ha inserito l'iniziativa nel progetto Comunità Sonore del Comitato per la Promozione del Patrimonio Immateriale Italiano. Questa di Trevi e di Preci è l’Umbria che ci piace di più. E anche l’Umbria adatta per le scampagnate a basso costo e ad alto rendimento culturale che, a parte i cassonetti della differenziata sparsi qua e là, colpisce l’occhio e appaga la mente, riecheggiando i temi della musica romantica, degli ozi - non solo pastorali - la rappresentazione parallela del visibile e dell'invisibile, del praticabile e dell'impraticabile, del probabile e dell'impossibile. E se l'opera di Tiziano è considerata un "manifesto" dello sviluppo stilistico della pittura veneta all'aprirsi del Cinquecento, i faccioni dei candidati stampati sui manifesti delle prossime amministrative svolgono un loro ruolo, realizzando un inno all'umbritudine più stagnante, quella che ignora i requisiti basilari della comunicazione e ci restituisce il folclore di certa politica, attraverso una lettura ironica dei localismi. Perché l'ironia non è soltanto ironica. E’ analisi seria, sentimento di vibrante e nativa pietas, nella sua inflessibile accezione del termine. Gli umbri sono condannati a ricercare il bello, mentre i loro faccioni palesano un decadentismo estetico faticosamente arginabile. Ci sembra di vederli, questi candidati, mentre s'aggirano tra i piantoni e le tovaglie a quadretti, lasciando trapelare il loro spleen. La parola viene dal greco, perché in inglese significa milza. Lo spleen umbro, invece, descrive una sorta di scontentezza meditativa, accompagnata da sguardo melanconico, intervallato, ma solo di rado, da carsica vena atrabiliare, che a volte assume, improvvisamente, le forme della veemenza passionale o di una carnale disposizione godereccia, nel corso della quale bisognerebbe fotografarli, questi "most wanted" da appendere al muro. Siparietto. Candidati, quanto sono forzati i sorrisi che compaiono nei vostri manifesti. Per non parlare degli sfondi, dove avremmo preferito pastori, paesaggi, quinte vegetali, come quelle che spuntano nei quadri dell'umbratile Frappi. Avremmo preferito rappresentazioni di giovani che brindano in un prato, di donne dai piedi nudi che, invece d'indossare occasionali tailleur, avessero ballato il saltarello. Mica per altro, per poter esprimere la nostra preferenza in base ad un’allegoria musicale del bello e della poesia purificatrice. S’avverte in questa vigilia elettorale la necessità che i poeti a braccio interpretino quel lirismo neoplatonico, semplice e comprensibile, che attinge a pochi elementi essenziali, rappresentati dal fuoco, dall'acqua, dalla terra e dall'aria. E dall’armonizzarsi di questi elementi nelle nostre valli, in cui gli aspiranti, oltre alle promesse di buon governo, si fossero mostrati, nei manifesti elettorali, suonando il flauto campestre, strumento rustico e divino, prerogativa dei semplici e dei puri. Invece capita spesso che “chi arriva, sona”, come dicono a Preci. Beata umbritudine, umbra beatitudine.
Giovanni Picuti
abcabc@cline.it
dal Corriere dell'Umbria del 5.5.2011
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My previous attempt to make it up to Jin Mao Tower by sunset was foiled when our driver took a wrong turn and deposited us into the 9th circle of Shanghai-traffic hell. We were nearing the end of our stay in China and I still had not gotten any “I am looking down on you mere mortals”, shots so I was extra determined to get here. On this day, I had already dragged my family to Suzhou and back and we were dangerously low on fun-happy-sparkles-energy because our last meal had been over fourteen hours ago (except for the baby, she eats a man-sized meal every two hours). The baby gave me an annoyed look as I used her as an excuse to bypass the huge line to the elevator that took us to the observation deck. A quick ride up to the top and the doors opened up to reveal pandemonium.
There were droves of Chinese tour groups, school kids and guides with megaphones waving those silly flags around. It was a photographer’s nightmare. I found a place for my family to sit down while I squeezed through hot, sweaty masses of people to finally find this spot. I waited for the light to be just right, fired off a few shots and got the heck out of there. Even as we were in the elevator just about to escape the craziness, an old man decided to jump out as the doors were closing. Oh man …
I wish I could say the rest of the evening went any better, but we ended up spending over $100 dollars on crappy food at a fancy restaurant and having to make a quick exit as the baby’s good will finally ran out and she let us have it. My poor family endured a lot to get this shot, but now that a few weeks have gone by and emotions are no longer raw, they saw the final product and begrudgingly decided it was worth it. Thanks for your patience ladies. Enjoy the view of Shanghai’s sprawling megalopolis at your leisure. =P
… this photo looks awesome on a big screen … you can almost see the big boss through the window, yelling at his employees in the building 30 miles away.
This old chair won't last much longer. It has been retired from use and is literally falling apart...almost melting into the ground, but it holds so many nice memories that I can't bring myself to throw it away...
The torment of Marsyas illustrates the taste for pathos in Hellenistic art. Marsyas was a silenus, or companion of Dionysos; a celebrated pipe-player, he boasted that he was a better musician than Apollo. Beaten in a musical contest with the god, Marsyas was condemned to be flayed alive by a Scythian slave. Suspended from the trunk of a tree, he awaits his terrible punishment. The scene is based on an original Hellentistic group from the late third century BC.
A silenus in torment
This large statue portrays a silenus, a member of Dionysos's retinue, whose animal nature is indicated by his pointed ears, wild mane of hair and tail emerging from the small of his back. His arms, lashed to a tree trunk at the wrists, bear the weight of his body, which is stretched and pulled, elongating the stomach and causing the ribs to stick out. The silenus's aged face is taut - racked with fear and pain.
The punishment of Marsyas
The statue is clearly a depiction of the torment of Marsyas. After learning to play a flute discarded by the goddess Athena, Marysas arrogantly challenged Apollo to a musical contest. The Muses declared Apollo the victor, and the god punished Marysas for his pride (or hubris) by condemning him to be flayed alive by a Scythian slave.
A number of copies and reliefs attest to the existence and popularity of the original statuary group depicting the legend. Thanks to these, the original composition may be reconstructed as follows: Marsyas, hanging from the tree, would have been flanked on the left by a crouching slave, sharpening his knife and raising his head towards the silenus, who returns his gaze. The figure of Apollo was probably standing to the right.
Pathétique pergaménien
The work is a Roman copy of a Hellenistic original created at Pergamon in Asia Minor, in the second half of the third century BC. The legend of Marsyas was a favorite subject among artists as early as the fifth century BC, as seen in the early sculptural group by Myron, represented in the Louvre by a figure of Athena (inventory number Ma 2208). The Myron group illustrates the preceding episode in the story, namely the musical contest and its tragic ending. Here, the Hellenistic artist has chosen to represent the instant before punishment - the moment when victim and torturer exchange one last look, and the tension is at its peak.
This dramatic atmosphere corresponds perfectly to the Pergamene school's taste for pathos. The subject is a pretext for a study of the face and the human body; the theatricality and emotionality of the scene are heightened by the play of light across the uneven surfaces of Marsyas's body, distorted by pain.
This statue is also a formidable counterpoint to the history of Greek sculptural experimentation. From the frontal static pose of the early kouroi, to the contrapposto of the fifth century BC, Greek sculptors sought to place the human body upright, and to study the resulting musculature. Here, by depicting a suspended body, the sculptor has freed Marsyas from the weight of his own body and circumvented the problem of contrapposto. The statue represents an entirely new approach to the representation of the male nude: no longer a study of musculature and human strength in action, but an exploration of heightened muscular tension as a result of external duress.
Bibliography
Borbein (A. H.), "Die Statue des hängenden Marsyas", in Verlag des Kunstgeschichtlichen seminars, Hans Herter zum 75. Geburtstag, 1974, p. 37-52, fig. 9-12
Weis (A.), The Hanging Marsyas and its copies, Rome, 1992, p. 185-187, n 32, fig. 17, 19 et 32
Sismondo-Ridgway (B.), Hellenistic Sculpture, t. II, The University of Wisconsin Press, 2000, pp. 283-285
A partnership between man and animal, which has lasted more than a millennium. A fisherman needs to catch enough fish to sell and feed himself and his family. Sometimes, this means that he needs an assistant. Along the rivers of China that assistance came from a member of the order pelicaniformes bird - the bird that we call the Cormorant.
Cormorants are treated with the utmost care and attention and become accustomed to living with their new friends in a surprisingly fast way. The training period only lasts about two weeks and soon they are fully ready for your new lifestyle.
Cormorant fishing is considered an ancestral survival craft. The customs in rural China are conserved in such a way that leaving the big cities in areas of Guangxi province, we can observe the traditional fishermen with cormorão walking through the city with their birds balanced on a bamboo.
Cormorants are by nature experienced fishermen and so accompany their owners on a fishing trip tied to a hemp cord. The fisherman moves to the fishing area on a bamboo boat or raft, and once in place, lights his lantern or lantern to feed the fish and places the bird in the water.
The bird dives up to 10 meters, picks up a fish with its beak and when it comes to the surface its owner removes the fish from his mouth and gives a loaf of fish fillet to the bird as a positive reinforcement. And the cycle repeats itself. We may think it is an exploration - and we would not necessarily be wrong. However, what relationship between man and any animal is not so? Once the journey is completed, the fisherman releases the cormorant so that it can fish by itself.
If you have heard about this before, then there is great chance that you will associate fishing with cormorants with the Chinese. Although the activity predominates in this part of Asia, it has also once been very common in Japan. In fact, fishing with cormorants has already been done even in Macedonia.
Of course, today there are much more efficient methods of catching a fish. Cormorants are now maintained more to attract tourists than as subsistence. However, this ritual can be enjoyed by a magnificent walk along the Li River, one of the most majestic in China.
Our attempts to regain paradise.
Disregarding humanity warnings.
And the anticipation of pathos.
Communications constrained to political cliché.
And powerful abilities to monopolize.
The determined playing field is prepared.
For the
Civilian deaths.
Torture.
And assassinations.
The justification and cause are set.
Those who question are placed on the fringe.
Read more: www.jjfbbennett.com/2021/09/fallen-from-great-height.html
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
Family outing. There are two dogs in the chair, annoyed I didn't get a better angle.