View allAll Photos Tagged pathos
Logos: "word," "speech" or "reason." In persuasion, it is the logical reasoning behind the author's statements.
Ethos: "moral" and "showing moral character." For speakers and writers, their ethos is made from their credibility, presentation and similarity to their audience.
Pathos: "suffering" and "experience." In rhetoric, this translates to the speaker or writer's ability to evoke emotions and feelings from the audience.
Instruction #46 "Make a picture that is funny and sad at the same time. A photograph that simultanously evokes pathos, irony and humour." Jeff Mermelstein.
818 Mil Mi-35P Hind-F/ Panther (023369) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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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. =)
Emmett Kelly (1898–1979) was one of the most famous and iconic circus clowns in American history. As noted in the ad, he was a key featured performer with the Ringling Bros. and Barnum & Bailey Circus.
Key Highlights & Reputation
•The "Weary Willie" Persona: Unlike traditional, brightly dressed white-face clowns, Kelly created and perfected the persona of "Weary Willie," a sad-faced, down-on-his-luck hobo clown dressed in tattered, ragged clothes. Originally inspired by a cartoon character he drew in his youth, the character resonated deeply with American audiences during the Great Depression because of his pathos, resilience, and human warmth.
•Master of Pantomime: Kelly rarely spoke during his acts. Instead, he relied on silent, subtle physical comedy and expressive facial expressions. One of his most famous routines involved him wandering around the ring trying to sweep up a circle of light from a spotlight using an old broom, only for the light to jump away every time he tried to sweep it up.
•Unique Freedom in the Ring: In the circus, he was given the rare privilege of wandering freely through the ring and grandstands during other acts, interacting with the crowd and silently reacting to the performances going on around him.
•Pop Culture Legacy: Beyond the circus, Kelly appeared in movies (including Cecil B. DeMille’s Oscar-winning "The Greatest Show on Earth" in 1952), on television, and even served as the official mascot for the Brooklyn Dodgers in 1957. He is widely remembered as a legendary pioneer who elevated clowning into a poignant art form.
[Source: Google Gemini]
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.
110 Bell B206L-3 Long Ranger III (51148) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Piazza del Campidoglio, 8 settembre 2007, ore 24.00
Segna la mezzanotte il suggestivo concerto di Franco Battiato che propone il suo repertorio ricco di pathos e di emozioni. Sul palco il Maestro sarà accompagnato dall’ormai inseparabile poeta e filosofo Manlio Sgalambro, da Carlo Guaitoli al piano, da Angelo Privitera alle tastiere e da tre gruppi che si alterneranno: le MAB, band femminile di origine sarda, il trio rock degli FSC ed il quartetto d’archi del Nuovo Quartetto Italiano.
Evento promosso da: Regione Lazio - Assessorato al Turismo
ph. Valentina Cinelli, www.rivistaonline.com
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E' stato un onore poter stare sotto al palco a fotografare colui che io considero un "maestro". Franco Battiato è considerato uno dei più significativi autori di musica ed intellettuali italiani.
Combattuta fra il desiderio di fare cronaca e quello di ascoltare nuovamene i suoi testi, accompagati dalla sua gestualità pacata e teatrale, le immagini che pubblico di seguito è tutto ciò che sono riuscita a registrare della serata.
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Ringrazio:
D. per il pass ricevuto;
M. per avermi invitata ad andare con lei;
L. per avermi fatto da scudo umano nella calca.
3 :*
Another portrait from the nomad/shepherd community. The mother did not cooperate at all and kept asking for more and more money...shows what increasing tourism can do.
818 Mil Mi-35P Hind-F/ Panther (023369) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
811 Mil Mi-35P Hind-F/ Panther (023362) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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I recently found out that my camera has a monochrome setting and I have been going mono-happy. I took my new found affinity for a whirl at the Saratoga Hakone Gardens with the intent to see if photos look as cool in black and white as they do in color. Yup, they do. =)
Pothos
Pentelic marble inv. 1914 no. 261
This statue has been identified as a work described for the first time by the Bolognese scholar Ulisse Aldrovandi (1522-1605) who admired it in the garden of Cardinal Rodolfo Pio da Carpi on the Quirinal Hill in the 16th century. On the cardinal's death it was purchased by the young Ferdinando de Medici, probably in 1584. As with the second "Pothos" in the Uffizi, this one too was initially identified as depicting "Apollo with a Swan" before it was recognised in the early zoth century as a Roman copy of Pothos, the god of yearning and desire, after an original by Skopas of Paros, who worked in the 4th century BCE.
Uffizi Visiting Strategy: Book tickets early, use these top visiting tips, follow a 2-hour highlights route, and don’t miss the key sculptures.
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
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)
818 Mil Mi-35P Hind-F/ Panther (023369) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
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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!
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