View allAll Photos Tagged pathos
702 Agusta AW139 (31332) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Me'Lange Sparkle Denim in Black(system skirt-not mesh)
.ploom. Henna (Reds)
Curious Kitties Passionate Lover Eyes - Purple
#2::DUCE::2# Evolution Charcoal
Pathos Glitter Nails (purple)
**NOYA** Night & Day Make Up 2014 - Eyeliner + Lashes
Essences - Hangover Lipsticks 07
7 Deadly s{K}ins -September 2015 Girls skin v1 NOCleavage (marshmallow)
"Hot Stuff", by Famous Funny Men
Humor, wit, pathos, satire, and ridicule, repartee, bulls [?] and blunders, clerical wit and humor, lawyers’ wit and humor, anecdotes of great men, puns and conundrums, doctors’ wit and humor, political wit and humor, temperance anecdotes, Irish wit, negro wit, women’s pathos and humor, children’s wit and blunders, railway jokes and anecdotes, charades, riddles, puzzles, etc.
From a reproduction of Sears, Roebuck and Co. catalog of Fall, 1900.
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.
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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.
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
Mil Mi-35P Hind-F/ Panther Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
One of those post WWI memorials, dripping of pathos.
"Unseren im Kriege 1914-18 gefallenen Helden zum ehrenden Gedächtniss.
Und wer den Tod im heiligen Kampfe fand, ruht auch in fremder Erde im Vaterland."
This translates roughly to
To the honouring memory of our fallen heroes of the war 1914-18. Those who died in holy battle, in foreign soil in fatherland lie."
I loved the contrast between the hard stone and blocky letters with the friendly dandelion.
Cemetary in Kiel-Dietrichsdorf
A marble sculpture near the main (west) door of St Giles.
It forms a memorial of sensitivity, melancholy and pathos, having been gently achieved by John, later Sir John Steell of Edinburgh in memory of the 669 soldiers and families of the 78th Highland Regiment who died of cholera.
Later and after the Childers reorganisation of the British Army in 1881, the 78th became the Seaforth Highlanders.
The 78th (the Ross-shire Buffs) with some other regiments were summoned urgently from Britain as the news of the disasters in Afghanistan reached London in 1842. This refers to the annihilation of the HEIC and British Army of occupation in Kabul, which caused the recall of the Gov General of India, Ist and last Earl of Auckland, George Eden, who appears distantly on my family tree. The only military survivor to escape, from the entire British Army in retreat, was Assistant Surgeon William Brydon. A few hundred prisoners- soldiers and wives were later released from captivity. Brydon was famously painted into history by Lady Elizabeth Butler, he is buried in Rosemarkie.
Lady Butler also painted the Charge of the Royal Scots Greys at Waterloo, known as “Scotland forever”.
In 2013 the retreat from Kabul was termed, "the worst British military disaster until the fall of Singapore exactly a century later."
Also of continuing interest to me is Lt Col James MacBean, 78th Regt, who is buried in the St Cuthbert's cemetery in Edinburgh who was sometime commanding officer of one of the battalions. He was born Inverness in 1785, died at 27 Inverleith Row, Edinburgh, on 23 Oct 1845. The dates suggest he had already retired when the cholera catastrophe virtually destroyed the 1st battalion and their families in Sindh Provence.
On arrival in India the 78th were sent to the newly coveted province of Sindh and ordered to march up the banks of the Indus to the small town of Sukkur. Although they arrived in good health, illness soon overtook them. According to Captain Keogh of the regiment, - “a most virulent fever broke out, which continued, without cessation, throughout the stay of the regiment. Some lingered for weeks, some for days. It was not infrequent to hear of the death of a man to whom one had spoken but half an hour previously. The hospital was probably overwhelmed, some of the barrack-rooms were converted into wards, and at one time there were upwards of 800 under treatment.”
It was decided to send the survivors downriver to Hyderabad and it proved to be a ghastly journey. Keogh continues; “at last, on the 21st and 25th of December 1844, we embarked, or rather the men crawled, on board common country boats, which conveyed us to Hyderabad. The sun struck through the thatching by day, and the very heavy dews penetrated it by night, when it was extremely cold... When we moored in the evening we used to bury our dead, and I sewed up many of the poor fellows in their blankets and rugs, the only substitutes for a coffin we had. We dug the graves deep, and with the bodies buried the boxes and everything else that had belonged to them. We put layers of thorns inside, round, and on the top of the graves, in hopes of preserving the remains of our poor comrades from the attacks of the troops of jackals swarming in the neighbourhood.”
The analysis of the reasons for the disaster show how little was known about the cause of the disease. It was at first thought to be malaria.
A regimental history observed that; “The regiment marched into Sukkur apparently in excellent health, but disease must have been contracted on the way up, when passing through swampy tracts where the heat of the sun had engendered malaria. The excitement of the march kept the scourge from showing itself...[however]...the medical men attributed the sickness in a great degree to the improper time at which the regiment was moved, and the malaria engendered by the heat of the sun on the swampy plains which had been overflowed by the Indus.”
The casualties to the 78th were on a scale which caused serious discontent. The accusation that the problem had been exacerbated by excessive drinking and intemperance led the 78th to accuse General Napier of having obliged the regiment to march to Sukkur too late in the year, at the start of the hot season.
The Asiatic Journal and Monthly Miscellany reported, - "With reference to the exaggerated and unjust statements respecting this unfortunate regiment, a letter has appeared in a London newspaper (The Times March 24th 1845) from Sir William Napier vindicating his brother from the imputation cast upon him of being “the murderer” of the soldiers and showing that due precautions had been taken by him to secure... the 78th Regiment which was ordered up the river from Karachi to Sukkur... Although the 78th arrived at Sukkur in excellent health... the disease burst out suddenly with unusual violence and enraged till the end of the year “the sickness” he adds “has astounded the medical men who call it an extraordinary epidemic for which they cannot account, this then furnishes further evidence of the fatal as well as the deceitful character of the Sindh climate especially to Europeans. . . . We understand that the officers, NCOs and privates of HM 78th Highlanders have subscribed upwards of 1000 rupees or 100 pounds for the purpose of erecting a monument in one of the public churches of Edinburgh to the memory of their comrades who died in Sindh... This cenotaph will be raised to commemorate the victims of the noisome pestilence, the unhappy beings whose deaths at Sukkur put the last sad seal to the iniquity of the Sindh invasion.” (p 561).
John Steell was also the sculptor responsible for Alexander taming Bucephalus outside the Edinburgh City Chambers, Wellington outside Registry House, Robert Burns in both Manhattan and Auckland, Walter Scott under the Scott Monument on Prices Street, Allan Ramsay in Princes Street Gardens, and Prince Albert the Prince Consort in Charlotte Square.
Steell was born in Aberdeen, but his family moved to 5 Calton Hill in Edinburgh in 1806. He was one of the thirteen children of John Steell senior (1779–1849), a carver and gilder, and his wife, Margaret Gourlay, the daughter of William Gourlay, a Dundee shipbuilder. As the family grew they moved to a larger house at 20 Calton Hill. Due to his father's own fame as a sculptor, for much of his early working career he is referred to as John Steel Junior.
Steell initially followed his father, training to be a carver himself, being apprenticed in 1818. In 1819 his father was declared bankrupt by the Trades of Calton, bringing much shame on the family. However, John Junior showed artistic talent, and despite this, the family sent him to study art at the Trustees Academy in Edinburgh, under Andrew Wilson.
Working with his father from studios at 6 Hanover Street, his first major step came in 1827 when the North British Fire Insurance Company, at 1 Hanover Street, commissioned a huge timber statue of St Andrew to be placed on the outside of their office. Now housed within the Lodge Room premises of Lodge Dalkeith Kilwinning in Dalkeith.
The work appears closely based on a sketch of a statue of St Andrew in Rome by François Duquesnoy. As the office stood immediately opposite the Royal Scottish Academy it was quickly noticed by Edinburgh's artistic society, and acknowledged as a fine work. In 1829, spurred on by the success of this work, he travelled to Rome to study sculpture more intensely.
The first work to attract international attention was Alexander taming Bucephalus carved in 1832–33 (cast in bronze in 1883, and now standing in the quadrangle of Edinburgh City Chambers). Around 1838 he was appointed as Sculptor to Her Majesty the Queen, a post which was later recognised as part of the Royal Household in Scotland. In 1840 he opened Scotland's first foundry on Grove Street in Edinburgh, dedicated to sculpture, to cast his statue of Wellington himself.
In 1854 he commissioned a new house for himself at 24 Greenhill Gardens and lived there for the rest of his life. His fame by then was international, receiving commissions from the United States, Canada and New Zealand. Prior to this he had lived at 3 Randolph Place on the edge of the Moray Estate in Edinburgh's West End.
He exhibited at the Royal Scottish Academy and the Royal Academy, and was knighted in 1876 following the unveiling, by Queen Victoria, of his statue The Prince Consort, which stands in the centre of Charlotte Square in Edinburgh.
Steell died at home, 24 Greenhill Gardens in Edinburgh's southern suburbs, on 15 September 1891 and is buried in an unmarked grave in Edinburgh's Old Calton Cemetery. This grave was purchased by his father John Steell senior and many members of the Steell and Gourlay families are also interred there.
These fragments of an equestrian statue probably represent Nero. The execution tinged with a certain pathos reflects a sensibility that was different to that of the classical-style portraits of the Julio-Claudian family. It also reveals the origins of the work, which was found in Asia Minor, as well as the absolutist tendencies of the reign of Nero, who craved an imperial role like that of the Hellenistic monarchs.
Fragments of an equestrian statue
The equestrian group was a mode of representation created in Greece and adopted in Rome. Equestrian statues of the emperor emphasized his role as commander-in-chief of the armies. The Louvre holds fragments of a large statue of this type.
The left arm, lost below the biceps, was cast separately and was probably fitted into some sculpted drapery. The left hand held the reins. The work is executed in a naturalistic manner; the artist paid special attention to the rendering of the muscles and veins. The head with its fleshy proportions is turned to the left. Thick hair with full, wavy locks tops a face whose eyes and parted lips impart a highly expressive appearance and a rather brutal sensuality.
A vestige of the damnatio memoriae
The identity of the figure represented in this work has been disputed. The particular arrangement of the slighly parted bangs favors the hypothesis that it is a prince of the Julio-Claudian family. There is general agreement on the name of Nero, by comparison with coin portraits, though on the coins he does not wear this hair style. Further comparison with other portraits of the sovereign would enable this probable identity to be confirmed; but Nero's excesses led the Senate, after his suicide in AD 68, to condemn his portraits to "damnatio memoriae," that is, to destruction and oblivion. Therefore, only a few remnants remain of the images of this emperor - some portraits of him as a child, and statues saved from destruction by their geographical distance (perhaps the case of these fragments found in Turkey).
Memory of the Hellenistic kings
This portrait marks a break with the classical-style treatment of Julio-Claudian works. The face remains idealized, but with a note of pathos foreign to Augustian moderation: on the contrary, the sharp movement of the head, the movement in the hair and the facial expressiveness hark back to the traditional Hellenistic royal portrait.
These stylistic elements, which reflect an enduring baroque sensibility in Asia Minor, are well suited to a representation of Nero, whose political ideology they highlight. Fascinated by Greek civilization, the prince sought to infuse the role of emperor with the absolutism of the Hellenistic monarchies.
Huile sur bois, 35 c 27 cm, 1935, Kunst museum, Bâle.
La toile fut réalisée alors que la guerre civile espagnole battait son plein. Elle fait partie d'une série de toiles destinées à exprimer "le pathos de la guerre civile considérée comme un phénomène d'histoire naturelle". Le peintre ajouta dans sa Vie secrète de Salvador Dalí :"De tous les coins de l'Espagne martyrisée montait l'odeur d'encens, de planètes, de gros curés brûlés vifs, de chair spirituelle équarrie, mêlée à d'autres odeurs, de cheveux en sueur, de chairs concupiscentes et paroxystiquement mises en morceaux de fornications et de mort".
Au premier plan, une femme immense, à la tête rouge sans visage tend ses bras. Son tronc est soutenu par des béquilles, sous sa poitrine il y a un tiroir ouvert. Sa jambe gauche est munie de 7 autres tiroirs ouverts. En second plan, une autre figure féminine noire porte un drap rouge ou un lambeau de chair et en troisième plan, figure une girafe en feu. Ces personnages sont disposés sur un sol ocre désert et au fond une montagne dans la mer avec un chemin de lave.
Dans un télégramme adressé à l'Art Institute qui lui avait acheté la toile, Dalí expliqua le sens de la girafe qu'il avait représenté : "Suis heureux et honoré de votre achat. Selon Nostradamus, l'apparition de monstres est présage de guerre. Cette toile fut peinte sur les montagnes du Semmering quelques mois avant l'Anschluss et a un caractère prophétique. Les femmes-cheval représentent les monstres fleuves maternels, la girafe en flamme le monstre cosmique apocalyptique masculin" (cf. wikipédia).
One windy day in the mid-1990s, less than ten years after leaving the Soviet Union for life in the West, a husband-and-wife artist team grab a video camera and descend from their studio into the mostly deserted streets of Chelsea. In a neighborhood where taxi garages still outnumber art galleries, they begin filming pieces of litter and random objects as they are blown around the streets and sidewalks of the West 20s. Rather than being a documentary record of urban neglect, the resulting video is full of pathos and comedy. Through their eyes scraps of trash become living beings. A plastic spoon flips over like a restless sleeper. A small paper bag puffs up like blowfish. A coiled length of rope does acrobatic tricks. A tiny piece of Styrofoam plays tag with a black plastic bag. A McDonald’s box assaults a to-go coffee cup. A white glove performs a set of somersaults, only to be outdone by a neatly tied up plastic bag that can’t stop tumbling. A cardboard box slides down the street like a skateboarder. A toilet paper roll sets off on a journey into the unknown. A plastic bag takes flight, or at least attempts to do so. Never stated in the video is its relationship to their own lives, blown by the “winds of history” into exile from a nation that would soon cease to exist, buffeted continually by the turbulence that comes with being artists in New York City, always at risk of being tossed aside by the vagaries of the art market, or by the vagaries of life itself.
(Igor and Svetlana Kopystiansky)
Contributor
Raphael Rubinstein
Raphael Rubinstein is the author of The Miraculous (Paper Monument, 2014) and A Geniza (Granary Books, 2015).
brooklynrail.org/2020/09/miraculous/18-Chelsea
From the archive of "Incidents"(1996/7)
kopystianskyincidents.tumblr.com/
We worked at "Incidents" in a period of two years: 1996-97. After the work was accomplished in 1997 it was exhibited:
1997 “L'Autre. 4e Biennale de Lyon, Art Contemporain," Lyon, France. Curated by Harald Szeemann, (cat.).
1997 "2nd Johannesburg Biennale,” South Africa. Curated by Okwui Enwezor (cat.).
1997 “In Medias Res,” Dolmabahce Palace, Istanbul. Curated by René Block (cat.).
1999 “Szenewechsel” (Change of Scene) Museum of Modern Art, Frankfurt/Main. Curated by Jean-Christophe Ammann and Mario Kramer.
1999 “Trace” Liverpool Biennial of Contemporary Art, Tate Gallery Liverpool. Curated by Anthony Bond, (cat.).
1999 “Wait,” Kunst-Werke, Berlin. Curated by Klaus Biesenbach
2000 Folkwang Museum in Essen, Germany. Curated by Klaus Biesenbach
2000 “Moment,” Dundee Contemporary Arts, Great Britain. Curated by Katrina Brown
2000 “Incidents,” Vor und Zurück. Curated by Sylvia Martin. Kunstmuseum Düsseldorf, Germany.
2000 “Igor and Svetlana Kopystiansky” Museum Sztuki, Lodz, Poland
2000 “Incidents” Art Gallery of New South Wales, Sydney, Australia. Curated by Anthony Bond.
2004 “9th Triennal of Small Sculpture” Fellbach, Germany. Curated by Jean-Christophe Ammann.
2005 “Igor & Svetlana Kopystiansky,” Kunsthalle Fridericianum, Kassel, Germany. Curated by René Block.
2005 “Igor & Svetlana Kopystiansky,” Fine Arts Center of the University of Massachusetts, Amherst, MA. Curators Loretta Yarlow/Gregory Salzmann
2005 “From the permanent collection. Kopystiansky, Roth, Orozco, Cahn, Muniz.“ AGNSW, Sydney. Curated by Anthony Bond.
2007 “Igor & Svetlana Kopystiansky,” ESPOO Museum of Modern Art (EMMA), Espoo, Finland. Curated by Timo Valjakka (cat.)
2008 "From the permanent collection.” AGNSW, Sydney. Curated by Anthony Bond.
2009 “Igor and Svetlana Kopystiansky” Cinema 2, April 22. Musée National d'Art Moderne Center Pompidou, Paris, France. Curated by Philippe-Alain Michaud.
2009 "False Twins” S.M.A.K., Stedelijk Museum voor Actuele Kunst, Ghent, Belgium, Curated by Guillaume Désanges.
2009 “From the permanent collection. Roman Opalka, Brice Marden Igor and Svetlana Kopystiansky and Rachel Whiteread,“ AGNSW, Sydney. Curated by Anthony Bond.
2009 KunstFilmBiennale, "From the collection of the Center Pompidou Paris.” Medienkunstraum der Bundeskunsthalle Bonn, Germany. Curated by Philippe-Alain Michaud.
2010 “Radical Conceptual. Positions in the MMK Collection.” MMK Frankfurt/Main, Germany. Curated by Susanne Gaensheimer.
2010 “Image by Image. Film and Contemporary art from the collection of the Centre Pompidou,” Museum Ostwall, Dortmund, Germany. Curated by Philippe-Alain Michaud and Olivier Michelon.
2010 “Igor and Svetlana Kopystiansky, ” Musée d’Art Moderne de Saint-Etienne Métropole. 6th of February – 18th of April, France. (cat.)
2011 “Energy and Process. Igor and Svetlana Kopystiansky. Presentation of the collection. TATE Modern London. Curated by Stuart Comer.
2011 “Wunder,” Deichttorhallen Hamburg and Siemens Stiftung. Curated by Hürlimann | Lepp | Tyradellis (cat.)
2011 “From Trash to Treasure,” Kunsthalle zu Kiel, Germany. Curated by Anette Hüsch, (cat.)
2012 “Wunder,” Kunsthalle Krems, Austria. March 4th to July 1st Curated by Hürlimann | Lepp | Tyradellis.
2012 “Igor and Svetlana Kopystiansky: Incidents (1996/7),” From the permanent collection. MoMA, New York.
2013 “Incidents,” in works from the collection selected by Rineke Dijkstra for The Krazy House. February 23-May 26. MMK Frankfurt. Catalogue.
2013-2014 “Everyday Epiphanies. Photography and Daily Life Since 1969.” Curator Douglas Eklund. The Metropolitan Museum of Art. June 25, 2013–January 26, 2014.
2014. Collection Display. MMK Frankfurt, Germany.
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The Shanghai skyline as seen from the top of the Pearl Tower. The resulting photographs were an interesting mistake of camera shake while zooming in on sections of the heavily smog filled city. They gave me a sense of a long forsaken metropolis so I named this series – Vestige.
110 Bell B206L-3 Long Ranger III (51148) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
The high point of the Brussels altarpieces falls in the second half of the 15th century. The Brussels altarpieces belong to the late Gothic style, but from the second half of the 15th century onwards they evolved into a separate style, with a lot of pathos and somptuous robes. Between 1490 and 1530, the Borreman family brought this style to a climax with elaborate details and exotic accents.
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...
Jan II Borreman - Saint George Retable - Brabant - Brussels - 1493
Het hoogtepunt van de Brusselse retabels valt in de tweede helft van de 15de eeuw. De Brusselse retabels sluiten aan bij de laatgotiek, maar evolueerde vanaf de tweede helft van de 15 de eeuw naar een aparte stijl, met veel pathos en somptueuze gewaden. Tussen 1490 en 1530 voerde de familie Borreman deze stijl naar een hoogtepunt met uitgewerkte details en exotische accenten.
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...
Jan II Borreman – Sint Jorisretabel – Brabant – Brussel – 1493
Le point culminant des retables bruxellois se situe dans la seconde moitié du XVe siècle. Les retables bruxellois appartiennent au style gothique tardif, mais à partir de la seconde moitié du 15e siècle, ils ont évolué vers un style distinct, avec beaucoup de pathos et de robes somptueuses. Entre 1490 et 1530, la famille Borreman a porté ce style à son apogée avec des détails élaborés et des accents exotiques.
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...
Jan II Borreman - Retable de Saint Georges - Brabant - Bruxelles - 1493
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The Shanghai skyline as seen from the top of the Pearl Tower. The resulting photographs were an interesting mistake of camera shake while zooming in on sections of the heavily smog filled city. They gave me a sense of a long forsaken metropolis so I named this series – Vestige.
Limited Edition Prints | Blog | Google+
I was only a couple hours from Everest Base Camp when my driver suddenly stopped the car and motioned for me to get out. I looked around and surmised that this was probably not an ambush so I took my camera with me and climbed a nearby hill. When I got to the top, I was greeted by this view of Lady Everest. I took a few quick photos and got back in the car before I froze my nose off, not knowing how lucky I was to get this unusually clear shot of the peak.
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Hmm, not much to say about this one. Let me see ... it is your standard brick corner complete with arches, located at one of the most prestigious Universities in the US. It comes complete with long hallways leading to equally good educational prospects. While you are considering which direction to take, you can enjoy a refreshing drink at the nice little water fountain. Come by and join me for a pensive good time at the Stanford University corner.
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I just got back from two weeks of exhausting travel through China and I am pretty sure that I am REM-ing as I type this with one eye open and the other shut … and drooping a little …
I took this picture of San Francisco’s Legion of Honor a few weeks ago during a late-night photo run with a friend. This fine art museum is situated on a fantastic vista point overlooking the Golden Gate Bridge. On a good day you can see the sailboats dotting the water through the treeline. On a bad day you just stand there hugging yourself in the cold, staring at a fog bank.
We spent a while there freezing our butts off and trying to squeeze through the security gates in vain. The clouds had a cool wispy look from the wind and there was a single blue star in the top of the frame. The lights caused a bit of lens flare but I liked the effect so I left it in there. Just inside the gate is a large courtyard housing a replica of Rodin’s “The Thinker”. The guy is the epitome of concentration because he is sitting butt naked in good old San Francisco weather in the middle of the night without even flinching. I sure hope he figures out what he is trying to solve so he can put on his clothes and get home before his wife wonders where he has been. Hmm … how did he manage to squeeze through the security gate to get inside?
Image © Jim Gormley.
Award winning comedian Nina Gilligan presents 'Rescued'
A darkly comic 'tail' follows the journey of a woman spinning out of control.
Alice has waited and waited for life to happen but is frustrated, dispondent and ultimately desperate.
Can a bull terrier called 'Dog', rescued from a shelter from John - aka The Wolf Man - change her perceptions as Alice is finally forced to confront the question:
What does it mean to be Rescued?
Rescued explores themes of Love,Loss and Salvation
Nina Gilligan leads a professional cast in this fast paced, pathos filled, doggy 'romp' com.