View allAll Photos Tagged pathos
More images on Facebook I recommend to view it with lights out. Sometimes we forget how small we are... yeah that sentiment may has too much pathos :D Hope you like this one! via 500px ift.tt/1KG4TSk
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San Francisco's Palace of Fine Arts is another one of those places that seems to be inside of its own time bubble. Each step you take towards the entrance sends you back 100 years and by the time you reach the center, you are firmly in another era. The more you look around this colossal house of the old Greek Gods, the more likely it starts to become that you will turn a corner and see Zeus lounging on a throne or Ares studying a map in preparation for major warfare.
I felt like an ant as I walked around trying to capture its essence with my camera. Lucky for me the sun had just come up and the light was hitting it from a low angle that illuminated the inside of the dome with a warm glow. I hope you enjoy the final product as much as I enjoyed being there!
Home from sea, 1862.
The genesis of this painting began in 1857, when it was exhibited as The Mother's Grave. The original composition, known from a drawing in the Ashmolean, showed the boy desolate over the grave of his mother. The landscape was begun in the summer of 1856 in the old churchyard at Chingford, Essex. Around 1862, Hughes altered the background and added the figure of the sister, for which the artist's wife, Tryphena, posed. The detail is used to reinforce the pathos of the subject, so that the ephemeral nature of spider's webs, dew drops, dog roses and dandelion seeds all emphasise the theme of transience. The boy's loss is retold in the lamb separated from its mother by the barrier of the tomb.
Ashmolean Museum Gallery, Oxford.
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She awoke cold and hungry as she looked out onto the alien landscape. The days after she had left her home planet all seemed to bleed into one another. How long had it been since she was forced to flee to this barren outpost on the edge of the known solar system? Her body still ached from the fight leading up to the exodus, but it was a welcome pain. It was the only real proof she had that she was still alive. Her mind was still fragile and teetering on the verge of depression as she remembered losing her empire, her people and her beloved husband. She had to keep moving, keep fighting to survive. First things first … where can I find something to eat?
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.)
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Influenced by the work of the master of the Hakendover Altarpiece and later by the paintings of Rogier van der Weyden, a typical Brussels sculpture emerged. Characteristic are figures with complex draperies and an internalised pathos. This form of sculpture also influenced the altarpieces.
Royal Museums for Art and History, Brussels.
Website of the museum: www.kmkg-mrah.be/welcome-art-history-museum
The story about the Brabant alterpieces starts here: www.flickr.com/photos/38700906@N02/51849732193/in/datepos...
Scene from a Passion retable – Sepulture of Christ - Brabant - Brussels - circa 1460-1470 - polychromed oak
Onder invloed van het werk van de meester van het retabel van Hakendover en later van de schilderijen van Rogier van der Weyden, ontstaat een typisch Brusselse beeldhouwkunst. Kenmerkend zijn figuren met complexe draperieën en een verinnerlijkt pathos. Die vorm van beeldhouwkunst beïnvloedde ook de retabelmakers.
Koninklijke Musea voor Kunst en Geschiedenis, Brussel
Website van het museum: www.kmkg-mrah.be/nl/welkom-het-museum-kunst-geschiedenis
Het verhaal over de Brabantse retabels start hier: www.flickr.com/photos/38700906@N02/51849732193/in/datepos...
Tafereel uit een passieretabel – De graflegging van Christus – Brabant – Brussel – rond 1460-1470 – gepolychromeerd eikenhout
Influencée par l'œuvre du maître du retable d'Hakendover et plus tard par les peintures de Rogier van der Weyden, une sculpture typiquement bruxelloise a vu le jour. Les personnages aux draperies complexes et au pathos intériorisé sont caractéristiques. Cette forme de sculpture a également influencé les retables.
Musées Royaux d’Art et d’Histoire, Bruxelles.
Site web du musée: www.kmkg-mrah.be/fr/bienvenue-au-mus%C3%A9e-art-histoire
L’histoire sur les retables brabançons, commençe ici: www.flickr.com/photos/38700906@N02/51849732193/in/datepos...
Scène d'un tableau de la Passion - la mise au tombeau du Christ - Brabant - Bruxelles - vers 1460-1470 - chêne polychromé
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It is interesting how most of our day is spent perceiving the world from the vantage point afforded to us by our particular height. From my lofty stance of 5 foot-meh, I tend to focus my attention on things that are within a 15 degree radius from my eye-level (think of a cone extending outward from your eyes). I am willing to bet that most of us hardly venture past the visibility of our cones of view more than a few times a day. It makes you wonder what you are missing. Wouldn’t it be interesting if the world ceased to exist where you are not paying attention and only then materialized when you put your attention to it?
Anyway, not to get too metaphysical on you, but my point is that we tend to miss a bunch of cool stuff when we limit our point of view. If I had not bothered to look up while walking up the stairs of San Francisco’s City Hall, I would have totally missed this fantastic ceiling. Look how much detail and attention the designers gave to its construction and to think that most people who enter this place will probably miss it. That is true love for the art … putting together something that is completely awesome and not caring if anyone sees it.
About This Photo
I am going to start putting up more details on how I made these pictures to give you a behind the scenes idea of how I arrived at the final image. I hope this is helpful from a technical aspect but I also hope it inspires you to try your hand at creating photos.
This is an HDR photo taken with three different brackets (-2, 0, +2). I almost always use a tripod because it is important to have three identical photos and it gives you the best chance at having sharp pictures. I then used Photomatix to tonemap the three images into a single photo and then applied some PhotoTools finishing touches to bring out the colors a bit. The final touch was to apply the unsharp mask in Photoshop to sharpen the details. What I was going for is an abstract, detail-rich photo that almost looks like a magic carpet.
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This is another shot from my visit to Berkeley Marina. My family was at a restaurant waiting for their food while I took a very quick drive over to the docks and took a few pictures before meeting back up with them. It was a perfect little evening ...
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Last night's sunset was just awesome. I rushed out of my house and ran down the street waving my camera in the air like a mad man looking for the right angle to catch the fleeting light. In my haste I forgot to bring my tripod and change out my portrait lens but I managed to get a nice picture anyway. The colors in the sky were changing so fast; within a few seconds this same cloud system was dressed down to simple white and blue. I don't know what is going on lately, but the sunsets have been getting more and more beautiful. Yay, 2012!
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Have you ever seen Leping Zha's amazing photography of the Yellow Mountains? They look like something out of a fable. I spent a lot of time and energy getting to this place and unfortunately, the weather was not great so I only managed to get a few good pictures, but it was still worth it. I was so exhausted by the time I got there that most of it is a blur. I do know for sure that the experienced involved hiking with a friendly Thai dude, getting up way too early and looking down on the tops of clouds from jagged mountains. I am not sure where I took this photo but it was in my camera so I am fairly certain it was real =)
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I spend a day at the Monterey Bay Aquarium with my family not too long ago. It was hard to tell who was more excited by all the sea life, my 10 month-old daughter or me. I suppose the wide-eyed stares of wonder are more socially acceptable on the face of a baby, but whateva. I was especially fascinated by the jellyfish exhibit … these strange creatures float about with a slow grace in an abstract vastness. Their fragile, see through bodies hold a certain menacing poise that force you to observe with reverence. They are intoxicating to watch.
It was only until recently when I was going through my pictures that I felt compelled to create a collection of photos that would accentuate their strange fluid existence. That is how this project began and rather than posting them intermittently, I will post the whole collection over the next few weeks; one new piece every Monday and Thursday.
Sit back, relax and let your imagination loose for a while. I hope you enjoy*.
* The Abstract Jelly collection is best viewed while listening to ambient music and enjoying your favorite drink. =)
AD 37-41. Bronze, lost-wax casting, retouched by hand with burin and chisel.
The head of Medusa is an example of refined craftsmanship. The details of the hair, the scales, the snakes and nostrils were made using handheld tools. The resulting portrait combines the apotropaic function typical of depictions of this monstrous figure with the pathos characterizing the humanized Medusa type. The moulding of the face takes on a more vivid expression when seen from below, indicating that the work must have been positioned high up.
THE NEMI SHIPS
The two ships are a unique example of ceremonial vessels, genuine palaces floating on the waters of the lake, created by the emperor Caligula in the image of luxurious eastern residences.
The attribution to Caligula was confirmed by the discovery of some lead water pipes with inscriptions proving that the ships belonged to this emperor, fond of whimsical creations and constructions judges to be impossible.
The emperor’s architects were familiar with earlier examples from the Greek world, dating to the Hellenistic period. The most complete description is provided by the Greek writer Athenaeus of Naucratis who recalls the “floating palaces” of Hiero II of Syracuse and Ptolemy IV Philopater: vessels richly adorned with marbles, mosaics and hanging gardens used as “cruise ships” in accordance with a tradition passed down from ancient Egypt to the Hellenistic princes. Although ancient sources do not mention the Nemi ships, recents studies have succeeded in reconstructing the architecture and function of the vessels. The first was used as a sort of annex to the sumptuous residence owned by the emperor on the banks of the lake. The second was used for ceremonial purposes, as proven by the discovery of cult objects connected to the goddess Isis, assimilated to Diana in the nearby Sanctuary. The complex consisting of the villa, the sanctuary and the ships formed part of a specific political, religious and architectural program devised by the emperor, who intended to revitalize a cultural model passed down to him from the Egypt of the Pharaohs via Hellenistic Greece.
THE BRONZE FITTINGS OF THE NEMI SHIPS
The bronze fittings are the most important set of objects found during work to salvage the Nemi ships. The first group of objects was acquired by the Museo Nazionale Romano in 1906, following the explorations undertaken in the lake by the antiquarian Eliseo Borghi in 1895 on behalf of the Orsini family, Princes of Nemi, with the authorization from the Minestero della Pubblica Istruzione.
The second group of objects came to light during excavations between 1929 and 1932.
The objects form a decorative apparatus of exceptional richness: the ships were clearly ostentatious luxury vessels used as an expression of power. Belonging to the decorations of the first ship are the group of animal heads, a common ornamental motif in ancient art. The three lions and the panther adorned the ends of the beams running across the ship, the four wolves decorated the ends of the lengthwise beams; the two lions’ heads on cylindrical caps crowned the long shafts of the side-rudders. The head of Medusa was placed high up, as if to watch over the ship with her gaze.
From the second ship come the hands adorning the beams next to the four rudders and the railing with two-faced herms. Within the structure of the ships the bronze decorations stood out from the painter wooden parts and the rich marble cladding.
Photographed at the Palazzo Massimo alle Terme, Rome.
818 Mil Mi-35P Hind-F/ Panther (023369) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
I never fail to amaze myself with the pathos I endow upon a simple discarded chair. These types are the worst, I can't help myself, I think of all the stories, all the conversations, all the love, hate, anger and joy that these things have seen and how in the end we stick em out in the rain hoping that someone with remove them from our sights now we have no more use for them.
Pentacon Six TL | Carl Zeiss Jena Biometar 80/2.8 | Fuji Neopan 400 | Rodinal (1+25)
Hanging basket with Pathos in it. There is a bird’s nest in there. Every year they come and build their nest even with Moby our cat and Shady Sadie who thinks she’s a hunting hound.