View allAll Photos Tagged pathos
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This collection of photographs was the result of a happy mistake while walking through the Hakone Garden’s bamboo forest in Saratoga. I was messing around with my camera on manual mode, trying different angles and motions when I noticed the resulting images resembled impressionist paintings. I liked how the bamboo forest was implied though color, light and movement, so I sat there for a while and tried different things until I got the look I wanted. All of these photographs are single shots with very minor adjustments in Photoshop.
I will put up one piece every Monday, Thursday and Saturday for the next three weeks.
Pathos, inhabited since neolithic times its Roman mosaics are considered among the most beautiful in the world. They include:
The House of Dionysos, dating back to the 2nd century A.D. The house is named “House of Dionysos” thanks to the many depictions of Dionysos, the god of wine.
The House of Theseus, also 2nd century, geometrical decorations as well as mythological representations.
The House of Aion, dating back to the 4th century, Five mythological scenes: "The bath of Dionysus", "Leda and the Swan", "Beauty contest between Cassiopeia and the Nereids", "Apollo and Marsyas", and the "Triumphant procession of Dionysus".
The House of Orpheus
Dating back to the 3rd century A.D Three mythological representations worth seeing, “ Orpheus and his Lyre”, “ Hercules and the Lion of Nemea” and “the Amazon”.
The House of Four Seasons
This house lies north of the House of Orpheus. It was named after the mosaic that represents the personification of the four seasons, which dates back to the first half of the third century A.D.
I spotted this old Studebaker Commander while riding my bike home from the beach. The pathos of this fine automobile was evident, with its "For Sale" sign, and booted tire.
The heart ay's the part ay That makes us right or wrang. Know, prudent, cautious self-control is wisdom's root. The rank is but guinea's stamp. The man's the cowd for a' that. To make a happy fireside clime to weans and wife. Tha't the true pathos and sublime of human life. Copyright © by Scott A. McNealy Photographer. www.noboundaryphotography.co.uk
702 Agusta AW139 (31332) Cyprus Air Force - Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Tales From The Dollie Dungeon: A Holiday Interlude
Sequence Two: in which the production commences, and pathos ensues.
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.
The identity of the figure represented in this work has been disputed. The particular arrangement of the slightly 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 would enable this probable identity to be confirmed; but, after the "damnatio memoriae" established by Roman Senate, 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).
Source: Louvre WEB Site
Roman marble portrait
About 50-70 AD
From Cilicia, Turkey
Paris, Musée du Louvre
Your Ethos
Your Pathos
Your Porthos
Your Aramis
Your Brut Cologne
You're writing home
You are hopeless
Your hopelessness
Is rising around you, rising around you
You like it
It gives you something to do
In the day time
Hey buddy, you need a hobby
You are tired of moving forward
You think of the future
And secretly you piddle your pants
The puddle of piddle
Which used to be little
Is rising around you, rising around you
You like it
It gives you something to do
In the night time
Well, you travel to bars
You also go to Winchell's Doughnuts
And hang out with the Highway Patrol
Sometimes you'll go to a pizza place
You go toSharkey's to get that
American kind of pizza
That has the ugly, waxey, fake yellow kind
Of yellow Cheese on the top...
Then you go to Straw Hat Pizza,
To get all of those artificial ingredients
That never belonged on a pizza in the first place
(But the white people really like it...)
Oh well, you'll go anyplace, you'll do anything
Oh you'll give me your underpants
I hope these aren't yours, buddy...
They're very nice, though
You'll go to Santa Monica Boulevard,
You'll go to the Blue Parrot
No problem, you'll go anyplace
You'll do anything
Just so you can hang out with the others
The others just like you
Afraid of the future
(Death Valley Days, straight ahead)
The future is scary
Yes, it sure is
Well, the puddle is rising
It smells like the ocean
A body of water to isolate England
And also Reseda
The oil, in patches
All over Atlantis, Atlantis
You remember Atlantis
Donovan, the guy with the brocade coat,
Used to sing to you about Atlantis
You loved it, you were so involved then
That was back in the days when you used to
Smoke a banana
You would scrape the stuff off the middle
You would smoke it
You even thought you was getting ripped from it
No problem
Ah Atlantis, they could really get down there
The plankton, the krill
The giant underwater pyramid, the squid decor
Excuse me. Todd
The big ol' giant underwater door
The dome, the bubbles, the blue light
Light, light, light, light
Blue light blue light
The seepage, the sewage, the rubbers, the napkins
Your ethos, your pathos
Your flag hole, your port-hole
Your language
You're frightened
Your future
You can't even speak your own fucking language
You can't read it anymore
You can't write it anymore
Your language
The future of your language
Your meat loaf
Don't let your meat loaf
Heh, Heh, Heh
Your Micro-Nanette
Your Brut
Cologne
(Frank Zappa)
by Garrett, my 12-year-old stepson. Thought bubble reads: "When they ask you what you want to be when you grow up in preschool, they say it as if you have a choice."
©1976 by Ed Passi
—inside the old Alcatraz federal penitentiary, Calif. My perspective was of an “end-of-the-road” vanishing point convergence—an aura of a dark, terminal fate.
[TriX film400/NikonFTN]
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
Eros (Cupidon), Dieu de l’amour
Marbre
d’après un original grec, II–IIIe s. av. J.-C., Italie, IIe s. ap. J.-C.
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Website : GALERIE JUGUET
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Website : MÉMOIRE DES PIERRES
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La statue représente Eros/Cupidon, le jeune dieu de l’amour, en marbre, il tient/supporte un bouclier dans lequel sa mère, Aphrodite, se regarderait geste qui évoque le thème de la Vénus regardant son reflet (la référence à la Vénus de Milo souligne une pose gracieuse de la figure féminine originelle). L’ensemble suggère une scène intime et narrative davantage qu’un simple portrait statique : la figure du jeune dieu est tournée vers un objet (bouclier/miroir), créant une interaction entre sujet et reflet implicite.
- Contrapposto : appui sur une jambe, hanche décalée et torsion douce du torse qui crée une diagonale dynamique. Typique du langage hellénistique tardif qui privilégie le mouvement et l’expressivité.
- Lignes de force : une S-curve modérée qui guide l’œil du haut de la tête vers le bouclier puis vers la jambe d’appui, construisant un rythme visuel fluide.
- Proportions juvéniles : musculature adoucie, traits enfantins/ado Eros est souvent représenté jeune, parfois presque enfantin, parfois adolescent selon le message voulu (légèreté vs passion).
- Expression : si visible, un visage aux traits doux, mélancoliques ou rêveurs l’hellénisme aime l’intériorité.
Traitement de la surface : poli sur les zones de peau, possible traces d’outils sur les drapés ou le dos, et (si examen microscopique) traces d’anciens polychromes ou insertions (bronze, ornement en métal) beaucoup de copies romaines ont perdu leurs couleurs d’origine.
Technique et matériau, pourquoi une copie romaine en marbre ?
Bronze grec → marbre romain : nombre d’« originaux » grecs connus par des copies romaines en marbre. Les œuvres hellénistiques créées en bronze (matériau plus fragile pour la survie) furent souvent copiées par des sculpteurs romains en marbre, plus massifs et adaptés aux goûts et aux commandes romaines.
Sculpture en marbre : la densité, la finesse du grain et le polissage permettent un rendu sensuel de la peau. Les marbres romains peuvent provenir de carrières variées (carrara, pentélique, etc.) l’identification nécessite une analyse pétrographique.
Restaurations : beaucoup de pièces du Louvre ont subi des compléments (mains, parties du bouclier, éléments du socle) au XVIIIe–XIXe s. pour « reconstituer » l’ensemble. Repérer les joins et différences de pierre permet d’évaluer l’intégrité originelle.
Datation et style : hellénistique tardif vers copie romaine
Original grec (IIIe–IIe s. av. J.-C.) : période d’hellénisme tardif où la sculpture devient plus narrative, expressive, passionnée. On voit une plus grande liberté de pose, de mouvement et une attention au pathos (émotion).
Copie italienne (IIe s. ap. J.-C.) : l’art romain aimait reproduire et collectionner modèles grecs classiques et hellénistiques les romains copiaient pour des villas, collections privées, décorations publiques.
Indications stylistiques : la douceur des transitions musculaires, la pose en torsion, le traitement délicat du visage et l’intérêt pour une anecdote (Eros regardant) pointent vers l’hellénisme plutôt que vers un classicisme austère.
Iconographie et significations possibles
Eros/Cupidon : dieu de l’amour, ambivalence entre jeu et puissance destructrice de la passion. En tant que jeune, il incarne l’imprévisibilité et le charme.
Le bouclier/miroir : motif narratif un enfant soutenant un miroir où sa mère se contemple possible référence aux thèmes de la beauté, de la vanité, et du reflet. Le bouclier peut également renvoyer au thème du paragone (comparaison entre arts) ou à la représentation de la mère Aphrodite (Vénus) dans la posture célèbre (Vénus de Milo). Le miroir comme motif met en jeu le regard, la conscience de soi et le statut de l’image (la déesse se regarde à travers l’objet tenu par l’enfant).
Relation mère/fils : si la scène inclut explicitement Aphrodite, la statue raconte une relation mythologique tendre, mais aussi un double jeu : Eros instigateur d’amour pour sa propre mère ? Non plutôt Eros instrument de la beauté d’Aphrodite, ou simple motif pour montrer l’art du reflet.
Lecture allégorique : l’épisode peut servir de prétexte pour montrer la beauté féminine idéale, la douceur juvénile d’Eros, et la maîtrise sculpturale souvent les Romains commandaient des œuvres pour afficher culture et érudition.
Contexte culturel et usage
Collection romaine : ces sculptures ornaient villas, jardins et portiques. Eros, figure ludique, se prêtait aux contextes domestiques et aux espaces de plaisir (banquets, jardins).
Fonction votive ou décorative : selon la taille et le socle, la statue pouvait être placée dans un sanctuaire, une niche domestique, ou servir d’ornement. Si le bouclier fait référence à Aphrodite, la statue pouvait accompagner un culte privé de Vénus.
Appropriation et goût : au IIe s. ap. J.-C., les élites romaines collectionnaient copies grecques pour témoigner d’un goût « hellénisant » et d’éducation.
Langage stylistique points précis à observer
Dynamique corporelle : torsion du buste et jeu d’équilibre ; la tension est contenue, pas dramatique comme dans l’expressionnisme baroque ultérieur.
Recherche du pathos : l’hellénisme connaît une intériorisation des affects Eros pourrait paraître pensif, rêveur, plus qu’espiègle.
Détails anatomiques : veines, muscles adoucis, plis du corps traités pour la continuité plastique. Les détails du visage (yeux, bouche) sont souvent traités pour séduire le spectateur plutôt que pour la fidélité physiognomonique.
Interaction avec l’objet (bouclier) : élément essentiel pour la lecture il crée un axe visuel et narrative.
Conservation, polychromie et apparence d’origine
Polychromie : la plupart des sculptures antiques étaient peintes. La blancaille marbre « nu » est une illusion moderne ; traces microscopiques de pigments peuvent subsister. Un examen scientifique (spectroscopie, UV) permettrait d’identifier des pigments et métaux (dorures pour les cheveux, yeux inlayés).
Compléments modernes : restaurations visibles (mains, doigts, nez) ; considérer l’histoire du musée quelles interventions ont eu lieu au XIXe siècle ?
Patine : le poli et la patine apportent l’effet « peau ». Les altérations et craquelures informent sur conditions de conservation.
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UNIQUEMENT POUR LE PLAISIR DES YEUX.
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The North Carolina Museum of Art has a large display of sculptures of French artist Auguste Rodin (1840-1917). This is my favorite. When I was there, the late afternoon sun coming in made every photo almost impossible. Neither the color nor the black and white convey the full impact of this masterful depiction of anguish. I never realized how much emotion can be conveyed in bronze. This viewing experience has enhanced appreciation of sculpture in general and of Rodin in specific.
Edward III, King of England, claimed authority over France at that time. In 1346 he began an 11-month siege of the port city of Calais in an early battle in the Hundred Years’ War. Unable to take the city by attack, Edward decided to starve the city into submission. His plan succeeded. He would spare the lives of the citizens of Calais if six of its prominent leaders would come to his encampment; they would be barefoot and without headwear, nooses around their neck, and hand over the keys to the city and beg for mercy. Six burghers ultimately volunteered in this act of selfless heroism. They expected to be executed but were saved through the intervention of England’s pregnant queen, Philippa of Hainault. She feared the killing of the burghers would be a bad omen for the birth of her child. Pierre de Wissant is one of those six burghers.
To honor this act of self-sacrifice, the city of Calais commissioned Rodin in 1885 to execute a monument. His finished work was The Burghers of Calais (Les Bourgeois de Calais). Rodin used the head of Pierre de Wissant alone in a larger-than life sculpture. The modeling of the head was done in 1884-1885 and enlarged in 1909. The figure in the North Carolina Museum of Art was cast in 1980 by the Musée Rodin.
The bust shows Pierre de Wissant with parted lips, eyes nearly shut, head leaning slightly to the side, and an elongated neck—all features contributing to the pathos of the situation of self-denial and sacrifice. His features reveal the emaciation resulting from the effort to starve out the city. His decision shows in the facial agony to sacrifice his life for his fellow citizens. Rodin remarkably creates a human being in flesh and blood using only bronze.
See also www.flickr.com/photos/universalpops/5714783308/ and www.flickr.com/photos/universalpops/5714221433/
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License
Digital Photography: Still Images Of Moving Water
Nowadays, we see lot of businesses provide their service online. Therefore far more need arise for the sites which are and built to trade. A good looking website might achieve the objective of delivering and shaping the strong brand.
The basics...
www.premayogan.com/blog/digital-photography-still-images-...
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In late February the weather man was talking crazy about how it was going to snow in San Francisco. I was like, "This is madness", and the weather man was like, "This is Sparta!". Even though I didn't believe him, I could not pass up the chance that by some fluke there would actually be snow in the city of fog, so I called up a friend and we met up in the city at six in the morning to see if we could get some nice pictures or snow-covered San Francisco.
As you can see in this picture of the city from Dolores Park, the weather man had lied to us once again. Not only was there no snow, there was zero precipitation. Ice Man couldn't turn a snow cone in this weather. There were only two tiny, feeble-looking clouds hanging low on the horizon. I guess the weather man thought these two scary storm clouds would somehow produce enough snow to blanket the city. Weather men seem to be optimistic gamblers. Can you imagine the damage they would do to their life savings if they were let loose upon Las Vegas?
At least I was able to get this cool shot of San Francisco waking up. I hold no grudge weather man, I know it is tough having to guess what mother nature is going to do from day to day. Just stop pretending it is some sort of science.
Weather Man = 1
Christian = 0
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Ok, I will be honest with you. I had a complete and utter lack of inspiration today so here is a random picture of a gnome fixing a clock. The unsettling thing is this was taken at a kid's winter play land ... "Christmas at the Park" in downtown San Jose. Sleep tight.
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I met this cool little kid in the mountain town of Dazhai near the Longji rice terraces. During my short stay there he became my little shadow and would go around leaving mischief in his wake. He was very curious about my camera which gave me plenty of opportunities to photograph him in his natural state. There was something very innocent about his humble farming life that I wanted to accentuate through this picture.
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I was visiting my family a couple of weeks ago in Folsom, so I brought them with me on a brief photo excursion. On the opposite side of Highway 50 there is a huge open area full of hills and rolling pastures. I found this awesome path leading to nowhere and I stopped to get a picture of it. I can only assume this is where the Smurfs live. Well, maybe not the Smurfs who got their own TV show, but perhaps their distant non-commercially-adept cousins.
On our way back to civilization, the sun was setting over a nice hill so I waited to catch the light just right for this shot. The clouds seemed to explode off of the hill and I almost expected to see the silhouette of the next evolution of man coming up over the horizon. However, Neom (next evolution of man) did not make an appearance. Perhaps next time …
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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.