View allAll Photos Tagged pathos
( Day's Break*ing . . Chasing(the)Light/Night . . Day*Break .. . )
Un*Latch the Light . * * . . (**).
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Everywhere I seem to travel, there is the Buddha. Maybe because I tend to travel in Asia a bunch, but that is besides the point. A few years ago, one of my co-workers gave me a tiny Buddha travel companion which I took everywhere. About a year ago my one year old daughter found it among my travel gear. She picked it out, looked at it, and then gave it a gentle kiss. =) Interesting ...
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Rodin, Rodin, you were a very talented and creepy man. I wonder if we would have been friends had we lived in the same time? But, I heard you were a bit harsh with Camille Claudel because you were jealous of her talents ... that was not cool. Either way, you made some great pieces of art, and my particular favorite is La Porte de l'Enfer also know as The Gates of Hell. I found this particular depiction of Dante's "Inferno" at Stanford's Cantor Arts Center.
When you see it from a distance it looks intriguing, and as you get closer and you start to make out more of the details and you get a deep gripping sense that something profound is being conveyed and before you know it you are caught in the sheer gravity of the scene. At first you are horrified at the wretched bronze portrayals of the human state, but there is something appealing that keeps you staring. It takes a few moments of quiet contemplation, but there is a bit of an inflection point when it ceases to frighten you and then becomes a thing of beauty. It is hard to explain unless you have stood in front of it, but that is why I chose to process the picture in a way that would make it look like some sort of discarded relic that you would find in a forgotten corner of heaven.
Caution: Do not listen to "Summer Overture" by Clint Mansell & Kronos Quartet while looking at this photo ... way too eerie.
Louis Messidor Lebon Petitot dit Louis Petitot, né à Paris le 22 juin 1794 où il est mort dans le 5e arrondissement le 1er juin 1862, est un sculpteur français.
Jeune chasseur blessé par un serpent (1824-1827)
Marbre
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Contexte artistique et historique
Le sculpteur et le Salon
Louis Petitot, élève de l’École des Beaux-Arts de Paris et pensionnaire à la Villa Médicis à Rome, appartient à la génération de sculpteurs néo-classiques formés dans la tradition académique française. Il remporte le Prix de Rome en sculpture et se forme au contact de l’art antique et de la Renaissance italienne, ce qui conditionne fortement sa pratique plastique et esthétique.
Il présente cette œuvre au Salon de 1827 à Paris, alors l’événement artistique le plus important de France : le Louvre l’achète à cette occasion, ce qui scelle la reconnaissance officielle de l’artiste.
Période et influences
La sculpture s’inscrit pleinement dans le néo-classique, mouvement dominant au tournant des années 1820 en France : celui-ci prône le retour aux formes claires, l’inspiration antique, la maîtrise du dessin et la rationalité formelle. En sculpture, cela se traduit par :
une finition lisse et polie du marbre exposant les volumes avec clarté,
une figuration inspirée des motifs héroïques de l’antiquité, valorisant la noblesse du sujet,
un traitement noble du nu masculin, hérité de l’antique.
Description formelle de l’œuvre
Dimensions et matériau
Marbre blanc : matériau noble, symbole de pérennité et de pureté, utilisé ici dans la tradition classique.
Hauteur : ~1,36 m format humain, proche de l’échelle réelle, favorisant l’identification du spectateur au sujet.
Composition générale
La sculpture montre un jeune homme, assis ou légèrement incliné, épaule légèrement basse, le corps tendu par la douleur. Il est blessé à la jambe : un serpent vient de le mordre. Le chasseur tente de réagir à cette blessure — à la fois physique et symbolique.
Les éléments caractéristiques :
Le corps masculin nu évoque la tradition antique (l’étude du nu est au cœur de l’enseignement académique).
Le héros n’est pas un dieu mythique, mais un personnage humain confronté à une épreuve tragique.
L’interaction avec l’animal (le serpent) introduit un élément dramatique et narratif hors des récits mythologiques traditionnels.
Interprétation iconographique
Le serpent : symbolisme et métaphore
Le serpent dans l’art occidental a une longue histoire symbolique :
Il peut incarner le mal, la tentation, la fragilité face à la nature sauvage.
Il renvoie aussi à des récits anciens de la lutte humaine contre les forces naturelles.
Dans cette sculpture, le serpent mordant le chasseur est particulièrement significatif : il suggère l’imprévu de la nature, l’épreuve, le combat entre l’homme civilisé et le monde sauvage. Contrairement à certaines figures mythologiques où le serpent est un adversaire divin ou héroïque, ici il est un obstacle brutal et soudain.
Héroïsme et vulnérabilité
Petitot ne représente pas un jeune héros immortel triomphant :
Il met en scène la douleur, la vulnérabilité, et l’humanité du chasseur blessé. L’artiste s’éloigne ainsi du pur idéal héroïque (glorieux et triomphant) :
Le chasseur est en pleine souffrance : posture, tension musculaire, expression corporelle indiquent la lutte intérieure.
La lutte n’est pas mythologique mais concrète, presque documentaire dans sa violence.
Cette approche est intéressante car elle suggère que, même dans un style académique et néo-classique, il est possible d’exprimer un réalisme psychologique marqué : la sculpture ne célèbre pas seulement l’idéal antique, elle le nuance par une représentation plus humaine et empathique.
Comparaison stylistique
Bien que l’œuvre soit principalement néo-classique par sa finition et son équilibre formel, sa dramatisation rappelle aussi certaines préoccupations romantiques à venir : l’expressivité, la confrontation à la nature et le pathos physique. Ce mouvement vers l’expression de l’expérience humaine — au-delà de l’idéalisme strict — s’amplifiera dans les décennies suivantes dans la sculpture française.
Signification esthétique
Néo-classicisme humanisé
Petitot réussit à marier :
la rigueur classique du dessin et du nu sculpté,
à la dimension narrative et émotionnelle du sujet.
Le résultat est une œuvre bien équilibrée entre forme idéale et contenu dramatique, faisant de ce chasseur blessé un symbole universel de la lutte contre l’adversité.
Sens moral et philosophique
Plusieurs niveaux de lecture peuvent être envisagés :
✔ La lutte de l’homme contre la nature motif classique, mais rendu ici de façon immédiate et concrète.
✔ La fragilité humaine l’homme est blessé, vulnérable, mais digne dans sa résistance.
✔ L’émotion contenue loin de l’outrance romantique, Petitot exprime une émotion retenue, conforme à l’idéal académique, mais convaincante.
Place dans l’histoire de l’art
Cette sculpture est représentative d’un moment charnière de la sculpture française du début du XIXᵉ siècle :
encore héritière des canons classiques,
mais déjà ouverte à une dimension narrative et expressive accrue.
Elle préfigure, en quelque sorte, les tensions entre néo-classique et romantique qui marqueront les décennies suivantes.
Conclusion
Le « Jeune chasseur blessé par un serpent » est une œuvre profondément équilibrée entre :
la maîtrise technique du marbre héritée de l’antiquité,
et une sensibilité moderne à l’expérience humaine.
Plutôt qu’un simple hommage à la forme, Petitot met en scène un moment de souffrance universelle et, par là, enrichit la tradition académique d’une nuance émotionnelle qui annonce l’évolution de la sculpture française au XIXᵉ siècle.
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.
Pathos in Cyprus, but a distant memory now. I actually got told off for swimming with the little princess in this pool, needless to say I had words. C'est la vie. No grads on this one, used a tripod though
Humor, pathos, slogans, girls, cartoons, nicknames, hometowns, girls, patriotism, dishing it to the enemy, warriors, girls, youthful bravado, girls...these transcended nationality as both Allies and Axis pilots went to war in their individually marked chariots. Men at war separated from home, family, loved ones and a familiar way of life sought ways to personalize and escape the very harsh business surrounding them. For the most part they thought about women, represented on the sides of aircraft in the most tender of ways to the most degrading. These men spent many hours longing for the tenderness a woman could bring to their lives...and for the sexual pleasure they could provide. Whether top level commanders ordered it off the aircraft or not, the men let their feelings flow onto their machines.
This Art on a Lockheed C-60 Lodestar:
The C-60 is a twin-engine transport based on the Lockheed Model 18 Lodestar. During World War II, the Army Air Forces used the aircraft for training and for transporting personnel and freight. First flown in 1940, the Model 18 was originally designed as a successor to the Lockheed Model 14 and the earlier Model 10 Electra. The Army began ordering military versions of the Model 18 in May 1941. Depending upon engines and interior configuration, these transports were given C-56, C-57, C-59 or C-60 basic type designations. Lockheed built more C-60As for the AAF (325) than any other version of the military Lodestar.
After the war, many military Lodestars were declared surplus and sold to private operators for use as cargo or executive transports. The C-60A on display was flown to the museum in 1981.
TECHNICAL NOTES:
Armament: None
Engines: Two Wright R-1820-87s of 1,200 hp each
Crew: Four (plus 17 passengers)
Maximum speed: 257 mph
Cruising speed: 232 mph
Range: 1,700 miles
Service ceiling: 25,000 ft.
Span: 65 ft. 6 in.
Length: 49 ft. 10 in.
Height: 11 ft. 1 in.
Weight: 18,500 lbs. maximum
Serial number: 43-16445
" Our spent time flutters and tumbles imperceptibly towards our feet where it gathers like the fallen blossoms of a pear tree. We bear this invisible umbra at all times, occasionally kicking up a discarded petal, a memory, through which we can precisely experience the ‘mono no aware’ of our lives."
From a little book of words and pictures I made a while back. You can download a free pdf at:
www.magcloud.com/browse/issue/194385
... that is, only if you want to!
Yashica Mat 124G | Fuji Neopan 400 | Rodinal (1+25)
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I took this picture during a photowalk in Monterey. The beach looked warm and inviting, but do not be fooled ... the water was freezing and I am sure there were a few sharks ready to seize the opportunity for an easy snack. I remember going into these cold waters many years ago when I got by scuba diving certification and I swore that I would never go diving in stupid-cold waters again. That promise is now coming into direct conflict with my desire to photograph polar mammals, but I will work it our somehow. Perhaps a protective underwater bubble with a heater system ...
La politica scritta con la velocità di un sms, la trovi oggi su Facebook, il moltiplicatore delle nostre ansie, il rivelatore dei processi locali e degli sforzi prodotti per influenzarli, compiuti da quanti sono convinti d’averla inventata loro, la politica, mica Demostene, Churchill, De Gasperi o Andreotti. Non v’è più traccia del pathos sublime, quello che rispecchiava le tensioni dell’assemblea e rimandava alla retorica assoluta. Ve li ricordate Pannella e Almirante nelle piazze d’Italia? Oggi i politici affidano alle pagine elettroniche, con scarso risultato pratico, teorie di basso livello intellettuale, coscienti che un post indesiderato si possa sempre eliminare con un click, mentre il confronto diretto lascia cicatrici indelebili. Anch’io mi sono fatto un profilo su Facebook, sebbene non vada in cerca di consensi. Anzi, ho una certa predisposizione per i dissensi, come quelli che provocherà quest’articolo, ma non sono uno sciocco sobillatore e non scrivo: “Vota Alì Babà, almeno sei sicuro che i ladroni sono solo 40” o “Io non commemoro un corrotto, corruttore, pluripregiudicato e latitante”, né do spazio sul mio profilo alla “Lettera di un cittadino qualunque a Silvio Berlusconi”. Meglio quelli che rispondono ai quiz: “Che verdura sei? A quale città somigli? Quanto ti piace la gnocca? Quale è la tua reale origine geografica?”. All’impegno fisico e intellettuale del politico (ma anche alle sezioni di partito, alle case del popolo, alle parrocchie e ai circoli ACLI) si è sostituito Facebook, che campa di stupidità come Di Pietro campa di Berlusconi. Dobbiamo rassegnarci: il dibattito politico è stato rimpiazzato dagli spot. Oggi, sinistra e destra non sono più categorie assolute ma gemelle metafisiche (direi, digitali), che hanno perso di vista la realtà del Paese. FB, la macchina celestiale con cui impicciarsi dei fatti altrui, oggi è un boschetto ameno, dove passeri solitari in cerca di un nido, si mescolano ad arrivisti della politica camuffati da precettori. Sulla pagina inneggiante alla Lorenzetti, apprendo di un “effetto svendola”, su quella di Daniele Mantucci, che “tra due mesi si voterà per il rinnovo del Consiglio Regionale, mentre la sinistra è allo sbando”. Ma va? Zaffini si scaglia contro Khamenei, perché in Iran un giovane matematico, che ha osato sfidarlo, è stato rapito. Il consigliere regionale di Spoleto è ancora in attesa della replica dell'Ayatollah. Intanto un’elettrice perugina spiega che ha votato Sbrenna, benché fosse di sinistra, perché anni prima la destra le aveva fatto pavimentare un marciapiede davanti a casa, in via Tuderte. Visto quanto ci vuole poco a strappare un voto? A Giovanni Carnevali, ex assessore alla cultura di Foligno, piace lo “stato” di Guendalina Pace. Bello sforzo. A me – che sono sensibile al fascino delle donne in preda alle passioni rivoluzionarie - piacciono (cercatele su FB) Guendalina Pace, Betty Rouge ed Elisabetta Piccolotti (quest’ultima, pupilla di Niki Vendola) che scrive: “ Vieni a ballare in Puglia, Puglia, Puglia!”. Mica in Umbria, Umbria, Umbria. Sergio Fortini, voce libera e imbarazzante della valle, “troppo impegnato a farsi gli affari degli altri per occuparsi seriamente dei propri”, si chiede se per politica dei due forni s’intenda “magnare il doppio”. Maurizio Ronconi, connettendosi da Spello, precisamente da Borgo, inneggia alla metropolitana di superficie, senza accorgersi che a Perugia c’è chi vorrebbe tirare su una muraglia cinese alle porte di Ponte San Giovanni. Catiuscia Marini ha “imparato a rispettare le idee altrui” ad arrestarsi “davanti al segreto di ogni coscienza, a capire prima di discutere, a discutere prima di condannare". E’ brava Catiuscia, specialmente quando duetta con Rita Zampolini, convinta che la speranza vada alimentata “continuando a crederci, coltivando desideri, senza smettere di sognare”. Il sindaco di Spello, Sandro Vitali, ha compreso l’inutilità del medium e non accende il computer dal dicembre scorso. A proposito. Volevo avvertirvi che Giuliano Nalli, il dinamico primo cittadino di Trevi, non è quello effigiato da un cane doberman con la scritta: “Non fare nulla è la cosa più difficile al mondo”. Trattasi di un suo omonimo. Valentino Valentini – mentre il suo successore, Donatella Tesei, studia da sommelier per rilanciare il Sagrantino - si è dato al calcio. Da juventino provo un certo fastidio nel leggere sul suo profilo: “ Godo! Ciao, ciao Juve”. Poi, come d’incanto, compare sul sito della Lorenzetti, tale Alessia Dorillo, che scrive commossa: “Grazie Presidente per quello che hai fatto. Ora ti chiedo di svolgere il ruolo più importante e decisivo per un dirigente politico. Far crescere la nuova classe dirigente, favorire il futuro”. Della serie, non è mai troppo tardi. Potrei continuare, ma mi limito a una considerazione conclusiva di Paolo Morbidoni, sindaco di Giano: “Le debolezze sono umane, ma i comportamenti sono politici. Anche nella vicenda Del Bono a Bologna, così come nei casi di Marrazzo e Del Turco, gli interessati si sono dimessi appena indagati. In tempi bui, un briciolo di etica resiste nel centrosinistra”. E allora ripartiamo dalle briciole, da che altro, se no? Beata umbritudine, umbra beatitudine.
abcabc@cline.it
Giovanni Picuti
(dal Corriere dell'Umbria del 30.1.2010)
Progetto Giovedì per i Giovani con Liceo Michelangelo, in occasione della mostra Bronzi ellenistici. Firenze, primavera 2015
Progetto Giovedì per i giovani realizzato in collaborazione con il Liceo Michelangelo di Firenze, in occasione della mostra Potere e pathos. Bornzi del mondo ellenistico (14 marzo-21 giugno 2015).
foto: Martino Margheri
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Ok, one more horsie picture then I am done … I took these at the new Palladio shopping center in Folsom, CA.
Tried this old Leeke wig on Nait and absolutely love the colour on her, I think she might keep it for now.
Quello che vedo non è mio. Mentre quello che sento in ciò che vedo è mio: la sensazione, il sentimento, l'emozione, l'armonia, il pathos, la ragione, il racconto, l'attimo. Dunque, ciò che fotografo non è mio, mentre è mio ciò che sento in quello che fotografo. È questo "sentire" che voglio comunicare agli altri, condividere, e sarebbe assurdo rinchiuderlo in qualche stupida rivendicazione di proprietà, materiale, commerciale o intellettuale che sia. Con le mie foto non sto vendendo, lucrando, guadagnando; sto parlando, per essere ascoltato e non per essere comprato. E il mio parlare non ha copyright. Buona visione. E buon ascolto
Questi sono alcuni degli scatti realizzati al mercato nei pressi del Castello medievale di Bran, comune della storia regione della Transilvania, dimora dimora, secondo la leggenda, del sanguinario conte Dracula, personaggio ispirato alla figura del principe Vlad III che nel XV secolo fece parlare di sè per la ferocia e la crudeltà del suo animo .
La fortezza tuttavia, non è il vero maniero appartenuto all'imperatore Vlad ma era utilizzato dal sovrano come residenza di caccia. Curioso è l'aver appreso che i rumeni sono venuti a conoscenza di Dracula e di tutta la leggenda ad esso annessa ai primi anni '90, dopo che l'ex dittatore comunista Ceacescu è stato destituito dei suoi poteri.
Sapere questo ha suscitato curiosità prima e riflessione poi: mi trovavo li, in mezzo alla popolazione locale portatrice di tradizioni in parte costruite e piegate al consumismo frenetico, recitando la mia parte da turista occidentale, inconsciamente privo del reale contatto con quel mondo di genti diverse . Ero in Transilvania per vedere il castello di un vampiro? Ero in Transilvania per poi raccontare di esserci stato?
Come il pezzo di una carovana di passanti ciechi e sordi che si autocompiace perchè viaggia e conosce, che prende tutto per oro colato, che non si pone un perchè, un percome. Ecco come mi son sentito. Volutamente cieco.
La Romania non è una leggenda. Non è un vampiro.
Sono persone.
Che non conoscevo e non conosco.
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It was my second day in the mountain village of Dazhai and I had very quickly gotten used to randomly walking into houses with none of the usual pesky repercussions (such as being thrown in jail or chased away with a cleaver). This particular house was owned by the Tofu Man. When my guide, Bart, and I walked in we just made our way through the massive three-story wooden house into one of the smaller rooms where Tofu Man was already hard at work cooking the tofu.
He had been expecting us, and when we entered the steam-filled room, he beckoned us to sit down on the tiny wooden stools next to the little fire pit. I sat down and he looked at me with all seriousness and suddenly burst out a mad cackle before going back to work. The light from the fire danced on his face as he intently stirred the pot, looking like a mad scientist working on his Franken-fu. When he was done cooking, he took the pot into another room and poured the content into a large white mesh and hand-strained the water out of the tofu until it was a solid white mass. When it was all done, he produced a bowl out of one of his pockets, looked at it inquisitively and decided it was clean enough for this interloper and served me up some yummy tofu. Mmmm.
The Sciarra amazon ' often attribuyed to Kresilas) offers a completely different reading : pathos, studiously avoided by the others is the keynote. Both her breasts are bare and she uses her dead horse's bridle for a belt ; she has clearly been raped. Exausted, she leans one elbow on a pillar (a boundary of the sactuary ?) , resting the other hand on her head as if about to faint . These responses to her situation regulate the poise or the entrire stature, wich employs polycleitan contrapposto as a purely sencondary aesthetic device , to unify the composition. No attemp is made to integrate the wound into all this : placed below and behind the right breast, it appears almost as an afterthought. Yet whareas it was the polycleitant amazon (Sosikles ?) that reportedly gained the prize, it is the Sciarra with its momentary pathos, and indications of settings, that announces the future. Andrew Stewart
The Berlin type was discovered in Rome near the Baths of Diocletian in 1868 and acquired the next year by the Pergamon Museum. Stylistically, this Amazon has been identified with Polycleitus (given the affinity of the head with that of his Doryphoros). Here, one can discern the pathos of the Amazon, who leans exhausted on a pillar (which Stewart suggests may be a boundary marker of the sanctuary). The entire right arm and left forearm, both hands and feet, and the pillar and its plinth have been restored.
It also is known as the Lansdowne or Sciarra type from two other copies.
One is said to have been acquired by the painter and antiquary Gavin Hamilton in 1771 to decorate the house of Lord Shelburne, Marquis of Lansdowne. It now is in the Metropolitan Museum of Art (New York), a gift of John D. Rockefeller in 1932. It preserves most of the right arm, part of the hand, and the upper portion of the pillar. The head, which was described by Hamilton at the time as one "which surpasses much any that I have yet seen," required only that the nose be restored, which was cast from the Sciarra statue, as were the missing feet The lower legs are plaster casts from the Berlin Amazon. The left hand, as in all the types, was missing and has not been restored.
The other copy is in the Ny Carlsberg Glyptotek (Copenhagen) and was acquired in 1897 from the Palazzo Sciarra and, in turn, from Cardinal del Monte in 1628 on whose property it was found, the former gardens of Sallust. The pillar has not been restored nor the right hand or left arm below the shoulder.
There is a bleeding wound to the side of the right breast, which may explain the gesture of the arm and the stance, the Amazon wearily leaning against the pillar for support. It also may signify the bravery of the warrior or, given that the wound is not consistent with the pose, simply be the invention of the copyist as an analogy to the wounded type.
The belt that ties the chiton is distinctive to the Berlin type and shows a leather strip that loops around hooks held in place by rivets at each end of a rectangular buckle. (The belt of the Mattei type is tied with a Herculean knot, with the loose ends hanging down; and the Capitoline type is simply a flat band that is not tied at all.) It may represent the broken rein of a horse, used on the battlefield by the distressed Amazon.
L'amazone lève le bras droit et passe l'autre devant le torse pour dénuder le sein gauche blessé. Cette composition est connue par une série de répliques dont la meilleure copie, signée par le sculpteur Sôsiclès, est conservée au musée du Capitole à Rome. Elles reproduiraient un original attribué au bronzier argien Polyclète, réalisé lors d'un concours organisé vers 440-430 avant Jésus-Christ, pour le sanctuaire d'Artémis à Ephèse. Les plus grands sculpteurs classiques y participeront parmi lesquels Crésilas, Phidias et Polyclète qui sera déclaré vainqueur.
model: Krissy
Found your heart and lost your lover;
Lick your wounds and run for cover.
Take your time there'll be another
And don't make the same mistake twice,
Unless you can pay the price.
All those years that you spent in growing
End up one more line you're towing
Don't look now but your age is showing
And its much too late to turn back
You better pull in the slack.
Captured Angel
Aching to make your break
Your freedom's at stake
You better fly now...
Fly now, fly now
While your wings are still young
Your cage door's been flung
Wide open...
And I'm hoping you see
That there's a place beside me,
If you ever need it.
Sold your dreams for sweet salvation
Left with righteous indignation
Now it seems that you face starvation
And nourishment doesn't come cheap
You better go back to sleep.
Captured Angel
Aching to make your break
Your freedom's at stake
You better fly now...
Fly now, fly now
While your wings are still young
Your cage door's been flung
Wide open...
And I'm hoping you see
That there's a place beside me,
If you ever need it.
words by Dan Fogelberg
Johann Elias Grimmel (1703-1759). "Jonah ejected by the whale" (1739).
The restoration of this painting was taken by the Lions Club Memmingen. Stemming from a Memming merchant family, had the born on October 28, 1703 Johann Elias Grimmel himself trained as a painter with Johann Friedrich Sichelbein and after his death with Jerome Hau in Kempten. During his twelve-year period of study at the Imperial Academy of Arts in Vienna (1726-38), in 1734 the Second Price falls to him in the held annually painting competition. After a brief interlude in Memmingen, he was appointed in 1741 as a teacher of drawing and painting at the Academy of Sciences in St. Petersburg, where he died on January 12, 1759 on "apoplexy". The workshop tradition of Sichelbein connecting with the pathos of Viennese Baroque, Grimmel in his panel paintings for St. Martin achieves considerable painterly quality.
Johann Elias Grimmel (1703 - 1759). "Jonas vom Walfisch ausgeworfen" (1739).
Die Restauration dieses Gemäldes wurde vom Lions Club Memmingen übernommen. Aus einer Memminger Handelsfamilie stammend, lässt sich der am 28. Oktober 1703 geborene Johann Elias Grimmel bei Johann Friedrich Sichelbein und nach dessen Tod bei Hieronymus Hau in Kempten zum Maler ausbilden. Während seiner zwölfjährigen Studienzeit an der Kaiserlichen Kunstakademie in Wien (1726-38) fällt ihm 1734 der II. Preis im alljährlich stattfindenden Malwettbewerb zu. Nach einem kurzen Intermezzo in Memmingen wird er 1741 als Lehrer für Zeichnen und Malen an die Akademie der Wissenschaften in St. Petersburg berufen, wo er am 12. Januar 1759 am "Schlagfluss" stirbt. Die Werkstatttradition Sichelbeins mit dem Pathos des Wiener Barock verbindend, gelangt Grimmel in seinen Tafelbildern für St. Martin zu beachtlicher malerischer Qualität.
Chevaliers de la Croix avec l'Étoile Rouge, Caballeros de la Cruz con la Estrella Roja
Kreuzherrenkloster Memmingen
Church building with its distinctive tower from the Hallhof (depository)
Detail of richly with Wessobrunner stucco decorated church ceiling
Church ceiling frescoes
The Kreuzherrenkloster (monastery of the Knights of the Cross with the red stars) Memmingen is a former monastery of the Order of the Holy Ghost in Memmingen in Bavaria in the diocese of Augsburg.
History
The beginnings of the Holy Spirit consecrated monastery date back to the 13th century. Counterfeit refer to the year 1010, which was before the founding of the city of Memmingen in 1160. It was probably in 1210 by the Staufian Empire bailiff in Upper Swabia, count Heinrich von Neuffen-Weißenhorn and his wife Hedwig, donated. This ones established at the eastern edge of the central city in front of the gate Kalchtor a hospital, equipped it with landed property and handed it over to the Hospitaller Order of Canons Regular of the Holy Spirit in Rome, whose main activity focus was the care of the sick and the homeless and the admission of pregnant women and foundlings. After a devastating fire in 1223, the monastery and the hospital had to be rebuilt, in this context, it is also for the first time mentioned in the municipal document.
Since 1353, the City Council took part in the management of the hospital, in 1365 the hospital complex was divided into a lower and an upper Hospital. To the now directly managed by the Imperial City Lower Hospital belonged the Poor room on the ground floor and several adjoining rooms, to the remaining with the monastery Upper Hospital belonged furthermore the Church of St. Peter and Paul and the upper floors of the monastery and convent building. In the room for needy persons concentrated the imperial city charitable organisations. Together with the Antonite monastery the Crusaders shaped the intellectual and cultural life of the imperial city.
In a fire in 1477, again large parts of the complex were destroyed. The hospital church was rebuilt in 1480-1484 as a Gothic hall church and the whole complex obtained the form of a towards to the south lain Hallhof open three-winged complex. 1484 was southwards adjacent to the church building a tower built. In the years 1709-1711 the church was remodelled in Baroque style and fitted out with Wessobrunner stuck by Matthias Stiller and his son Michael Stiller (plasterer). The ceiling paintings stem from Johann Friedrich Sichelbein.
Shortly after the mediatization of the Free Imperial City and the transfer to the Electorate of Bavaria in 1802, the monastery was secularized. All expendable and movable properties of the monastery in 1803 were auctioned, the last Canons 1804 left the house. Still until the year 1806, the church was used as a parish church, after which it served as a timber warehouse. The room for the needy until 1816 served for the accommodation of prebendaries, in the monastery premises Bavarian officials were housed. Although the church and the steeple first in favor of a new toll and customs building should be demolished, but they would do without it from 1819 on since other areas were vacated and the demand for a new building was not given. Therefore, from 1820 the room for the needy served as storage space. The church was rebuilt into a goods hall, in the northern and southern side wall each a large gate entrance was broken, orchestra and pulpit were demolished. The stucco in the lower area was knocked off and vault and basements were demolished in order to obtain a ground-level access. In the nave itself a false floor was inserted and a wooden crane mounted. To the north, the entire complex was provided with a classicist facade.
Due to the foundation of the German Reich, the building as depository and Customs Office was increasingly without function, which is why the City Council in 1920 requested to expose in the former vestry works of Memminger painters. After a water pipe breakage was discussed in 1932 to relocate the municipal art collection to the unused nave, for cost reasons but this solution was discarded, and only from 1947 on the upper part of the nave was used as an exhibition and concert hall. The ground floor was combined with the room for the needy persons and from 1960 as a hospital arch as an open walkway used. In the convent building various municipal facilities were housed: the sing and music school, the Stadtjugendring (city youth council) and psycho-social support center.
The as a whole neglected complex from 1998 to 2003 was according to original plans elaborately rehabilitated and restored. In the process, inter alia, the intermediate floor in the nave was removed and restored the room for needy people of the hospital. Today the church hall serves again as an exhibition and event space, the Poor facility as a café.
Buildings
Steeple
The compex consisted of a hospital with attachments for economical use, as well as an east adjacent church and a convent building. The complex burned down several times, as part of the reconstruction work it was repeatedly extended and modified.
Poor facility
The oldest still surviving part is the Poor facility. Its two-aisled, four-yoked and vaulted by a ribbed vault hall dates from the early 15th century. By hospital master Elias Bruggberger extensive construction were induced from 1675 to 1680, at the same time, he Poor facility was expanded to additional floors in which two large halls were housed. The room on the second floor was provided in 1691 with a wooden coffered ceiling, which is largely still intact.
Monastery church
→ Main article: St. Peter and Paul (Memmingen)
1477 the abbey church of St. Peter and Paul in a fire was destroyed and rebuilt in the following years as equally two-aisled and four-yoked late Gothic hall church. As is common in many hospitals, it forms an extension of the Poor facility. After hospital master Sigismund Teufel it was from 1709 remodelled in Baroque style and the ceiling vaults probably by Matthias Stiller with Wessobrunner stucco coated. In each field of bays there are ceiling paintings, probably stemming from Memminger painter Johann Friedrich Sichelbein. Supported is the around 14 meter high vault of three stucco marble columns.
"Hot Stuff", by Famous Funny Men
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From a reproduction of Sears, Roebuck and Co. catalog of Fall, 1900.