View allAll Photos Tagged pathos
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This is a composite picture made up of nine different digital photographs. There is an interesting history to these sorts of images. It stemmed from the work of renowned British art photographer Henry Peach Robinson in his 1869 book, “Pictorial Effect in Photography”.
His aim was “to set forth the laws which govern… the arrangement of a picture, so that it shall have the greatest amount of pictorial effect.” Robinson and other photographers, like the Swedish-born Oscar Gustave Rejlander, would use multiple negatives to produce a final combination print.
Robinson’s most famous example was “Fading Away” (1858). www.metmuseum.org/art/collection/search/302289
Using five different negatives he produced an albumen print of pure pathos supposedly representing a grieving family around a dying young woman's bed. As Michael Wilson writes, “Though the scene was a complete fabrication, Robinson’s picture was true enough to nature to incite public outcry that he would photograph an intimate deathbed gathering.” (Intoduction to “Pictorialism in California”, Getty Museum, 1994).
The backlash to this kind of photography came with the work of Peter Henry Emerson (1856-1936), who was a major influence on the American Pictorialists, and basically split Pictorialism between those who produced effects in camera (pure photography), and those who, like painters, constructed their work from the treatment of negatives. Emerson produced some outstanding examples of early soft focus compositions, and was a major influence on the first great American photographer, Alfred Stieglitz (1864-1946).
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Un pezzo di Sapporo
Qui non c’è effetto. Non c’è pathos. C’è solo presenza. Un incrocio qualunque, eppure simbolico: insegne che sembrano eterne, palazzi pieni di storia minuta, pubblicità che resistono al tempo. Tutto cambia attorno, ma qualcosa resta. E questa foto lo raccoglie — senza stupore, senza rumore. Solo un frammento, ma è già abbastanza: un pezzo di Sapporo.
札幌のひとかけら (Sapporo no hitokakera)
ここにあるのは、ドラマでも演出でもない。ただの存在感。何気ない交差点、だけど象徴的。変わりゆく街の中で、変わらないものがある。長く輝く看板、歴史の染み込んだ建物、時代を越えた広告たち。すべてが移ろう中で、それでも残るもの。華やかさはないが、この一枚がすべてを語る。ただの断片。それで十分。札幌のひとかけら。
A Piece of Sapporo
There’s no drama here. No spectacle. Just presence. A regular crossing, yet unmistakable: signs that feel eternal, buildings soaked in everyday history, ads that have outlived trends. Everything shifts around them, yet they remain. And this photo captures that — without glory, without noise. Just a fragment. But sometimes, a fragment is enough. A piece of Sapporo.
“Tutto il pathos e tutta l’ironia del lasciarsi la giovinezza alle spalle è implicito in ogni momento di felicità di un viaggio; ci si rende conto che non si possono riavere le prime gioie, e il viaggiatore, quello saggio, impara a non cercare di ripetere i successi ma a trovarne altri in nuovi luoghi.” (Paul Fussell)
Bribery and corruption, portrait of a good boy! Archie, who lives in Bo'ness, Scotland, was 3 years old when I took this photo of him in our home studio.
Shot in the early evening light.
I’m not sure how long the Royal Liver, Cunard, and Port of Liverpool Buildings (aka The Dock Office) have been called “The Three Graces”. It’s relatively recent, but recent to me goes back a few years, that’s what age does!
The Liverpool Pier Head has, since early childhood, had a very soft place in my heart. Ferries and ships of all sizes were there to see. My mother would take me there and later I'd go there on my bike, maybe on my way to North Wales.
At 1pm a gun was fired at Cammel Laird's Shipyard, not far from where I shot this image. At midnight, a whistle would be blown, at which point all of the many buses shot off like the start of an F1 Grand Prix, just in time for those running up from the last Ferry to miss their bus home. It was timed to perfection, delighting the owners of the snack bar who served steak pies before the last hungry customer departed for a long trek home.
There were always performers escaping from chained sacks and singers who couldn’t sing. A fun place, sometimes with added pathos.
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The six figures of Rodin's theatrical composition represents the leading citizens of Calais who in 1347 offered themselves as hostages to the King of England to end the siege of their city.Closely arranged they sometimes touch,and yet the burghers seem isolated from each other by their unique,often energetic poses and gestures.Already modeled larger than life,Rodin heightened the figures monumentally by enlarging their hands head and feet.Rodin ultimate desire for the original monument was to install it close to ground level as it is displayed in this gallery,where the bronze bodies are able to best communicate to us their tension and pathos.
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Unused porch swing, days of unopened newspapers, ignored new phone books, detritus, detached porch rails, crumbling steps, remnant of yellow caution tape, empty (I hope) pet carrier.What is going on here? Does anyone live here?
Aphrodite pensée
Ô toi douce luxure charnelle,
Dans la chaleur suave de l’Eros,
Dans le spectre céleste du Pathos,
Tu nourris les amants en bagatelle.
Les caresses libres de la chair,
Les corps se pâment dès la nuit des temps,
Dans un tango lascif ensorcelant,
Les baisers ne laissant nul mystère.
Siamoises, deviennent les deux âmes,
Les corps nus se croisent, se partagent,
Le cœur de l’un, de l’autre en otage,
La douce étreinte sans nul blâme.
Des couches chaudes, dans l’ombre mordue,
Naît la bougie parfois éphémère,
De deux êtres perdus de vie amère,
Seul le sexe pour durée défendue.
Dans les lits aux mille embrassements,
De l’amour, la fiévreuse lumière,
Fait voyager les amoureux en terre,
D’éden la vie en enlacement.
Lorsque l’amour devient flamboiement,
On bâillonne la pensée de mort,
Chaque moment ensemble est un trésor,
Le temps est un torrent de diamant.
Michaël Overberg
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The Dying Galatian - Roman marble copy of a Hellenistic work of the late 3rd century BC. Capitoline Museums, Rome.
La statua raffigura, con grande realismo (specie nel volto), un guerriero galata morente, semisdraiato e col volto rivolto in basso. Il soggetto presenta i tratti tipici del guerriero celtico, considerando gli zigomi alti, l'acconciatura dei capelli, dalle folte e lunghe ciocche, e i baffi. In tale gusto si nota un accento sulla particolare erudizione che circolava alla corte di Pergamo.
Eccezion fatta per una torque intorno al collo (la collana tipica di quelle popolazioni), il guerriero è completamente nudo. Sulla base, attorno ad esso alcune armi abbandonate. Col tipico patetismo della scuola di Pergamo, l'artista evidenziò il dolore dello sconfitto, accentuandone il coraggio e il valore e quindi, dall'altro lato, le qualità militari dei vincitori.
The statue depicts, with great realism (especially in the face), a Galatian warrior dying, half-sided, and face down. The subject presents the typical traits of the Celtic warrior, considering high cheekbones, hair hairstyles, thick and long strokes, and mustaches. In this taste, there is an emphasis on the particular erudition that circulated at the court of Pergamo.
Except for a torque around the neck (the typical necklace of those populations), the warrior is completely naked. On the base, around it some abandoned weapons. With the typical patheticism of the Pergamian school, the artist highlighted the pain of defeat, accentuating the courage and the value, and on the other hand, the military qualities of the winners.
The artistic quality and expressive pathos of the statue aroused great admiration among the educated classes in the 17th and 18th centuries and was a "must-see" sight on the Grand Tour of Europe undertaken by young men of the day. Byron was one such visitor, commemorating the statue in his poem Childe Harold's Pilgrimage:
I see before me the gladiator lie
He leans upon his hand—his manly brow
Consents to death, but conquers agony,
And his drooped head sinks gradually low—
And through his side the last drops, ebbing slow
From the red gash, fall heavy, one by one...
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PATHOS settles heavy and shimmering
Laced with feeling, dressed in shine, and carrying more than it lets on
Soft at first glance, but never light where it lands
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The top end of Ebrington Street where commerce starts to fizzle out and the life of the street takes on a different meaning, from standing in a vacant shop doorway waiting for a bus or the pathos of an unanswered plea spelled out in the window frames of a run down building.
in der Seeschlacht bei Lissa I, 1878-80 | in the Naval Battle of Lissa I, 1878-80
Öl auf Holz | oil on wood
Anton Romako (1832 Atzgersdorf, now a part of Vienna - 1889 Vienna)
"One of the most famous clashes in 1866 Third Italian War of Independence was the battle of Lissa. Not far from the island Lissa/Vis off the Dalmatian coast, the Austrian navy - also commanding the Venetian frigates - fought a numerically superior Italian fleet. On July 20, 1866, Austrian commander Admiral Wilhelm von Tegethoff achieved a surprinsing victory. This work by Viennese painter Anton Romako differs from traditional nineteenth-century battle paintings.When it was first publicly exhibited in 1882, the painting was even seen as a caricature, for it revealed none of the conventional pathos and hero worship." (Information text in the exhibition)
From the exhibtion "Viva Venezia! The Invention of Venice in the 19th Century" in the Lower Belvedere www.belvedere.at/en/viva-venezia
Anton Romako's "late works are painted in a nervous expressionist style which disturbed his contemporaries. More than a decade passed before his works were reconsidered and appreciated. [...] His best-known work, the portrait of Admiral Wilhelm von Tegetthoff during the naval Battle of Lissa, shows the admiral and a few sailors without the usual heroism at the moment when his ship Ferdinand Max is going to ram an Italian flagship." en.wikipedia.org/wiki/Anton_Romako
Россия, Ленинградская область.
Деревня Родионово. Церковь Георгия Победоносца.
Внутреннее пространство церкви едино и неделимо − это впечатление усиливает и отсутствие внутренних опор.
В храме нет пафосного обилия декоративных религиозных деталей.
Первым церковь в Юксовичах, во второй половине XIXв., исследовал Л.В. Даль. Именно он обнаружил на храмовом кресте дату освящения- 1493 год.
Л.В. Даль писал: "Столь глубокой древности едва ли можно было бы поверить, если бы в пользу ее не говорило несколько обстоятельств, из числа которых: необыкновенная крепость тамошнего, выросшего на каменистой почве, леса, который принимает даже часто на солнце темно-рыжий, как в Швейцарии, цвет."
Этим брёвнам более 500 лет!
Russia, Leningrad region.
The village of Rodionovo. The Church of St. George the Victorious.
The internal space of the church is single and indivisible − this impression is reinforced by the absence of internal supports.
There is no pathos abundance of decorative religious details in the temple.
The church in Juksovichi, in the second half of XIX century, was first investigated by L.V. Dahl. He was the first who discovered the date of consecration of the church cross, 1493.
L.V.Dal wrote: "One could hardly believe such a deep antiquity if it were not supported by some circumstances, among which is an unusual fortress of the local forest, grown on the stony ground, which is often dark reddish colour like in Switzerland".
These logs are more than 500 years old!
Wrapped in the winter of life, with glimpses of remorse and loneliness, you still beautifully plug away at this world as only you could do. I see it, and I see you.
Those are not bright-eyed and bushy-tailed expressions. For many, wabi-sabi is probably just a weathered patina. Nonetheless, these elements of pathos are how my Western mind understands the Japanese philosophy of wabi-sabi in art, i.e., 1. mortality, 2. imperfection, 3. in the end having to face it alone, but 4. having the strength of still contributing, such as a broken tea cup serving tea or a bent rusted screw still holding down a plank. Heavy stuff. I suspect it is also how sculptor Henry Moore has expressed the idea in his weathered female sculpture. Whether he did or not, I certainly attempted to. ;-)
CCWeek32: Wabi-sabi
—
Sculpture title: Reclining Figure: Angles (1979)
Sculptor: Henry Moore (Britain, 1898-1986)
Material: Bronze
Venue: University of Louisville's Speed Art Museum
Demeter awaits ever so eargerly for the Spring. The long cold Winter has been one of great torment to her soul. The reunion of the Mother and Child is the whole of her being.
"Credo in una danza,
madre, onnipresente
rivelatrice del cielo e della terra,
di tutte le cose visibili e invisibili:
Luce del corpo,
Vera danza di vere anime,
Generata, non creata,
Sempre presente,
Dal quale tutte le cose sono trasfigurate.
Che per noi uomini e la nostra salvezza,
Discese dal cielo
Prima di tutti i mondi
E si è incarnata nel corpo dei mortali
E li ha resi umani.
E fu crocifissa durante la società dei consumi,
soffrì e fu sepolta
ma risorge ancora in luoghi isolati
dove non esistono scritture.
E torna di nuovo con gloria
Ad animare i vivi e i morti:
il cui regno non avrà fine.
Credo in una sola danza sacra,
Signora, datrice di vita,
che procede da comunità indipendenti
che parla con la carne degli esseri umani,
invece che dei profeti.
Riconosco che costituisce un battesimo
per la remissione dei peccati e delle afflizioni
la risurrezione di arti morti,
e la vita del mondo che verrà." - Alkis Raftis
For the phenomenology of religion the prophet represents a type sui generis. The pathos of God is upon him. It moves him. It breaks out in him like a storm in the soul, overwhelming his inner life, his thoughts, feelings, wishes, and hopes. It takes possession of his heart and mind, giving him the courage to act against the world.
---Abraham Joshua Heschel, Between God and Man, An Interpretation of Judaism, pg 124
Chanteuse, comédienne, dessinatrice, Lou est aussi à l'aise en lisant des poèmes d'Emily Dickinson que derrière une table de mix avec Etienne Daho après des heures d'enregistrement. J'aime et respecte cette artiste, pour son élégance, sa liberté et sa profondeur. Lou cultive la discrétion en étant dans la lumière, sans postures, sans pathos, sans bruits inutiles. Un être libre à la recherche de la justesse. Un âme qui résiste dans un monde faussement épique qui confond le choix et la bannière, ne peut-être que celle d'une poétesse. Réécoutez sa musique, elle fait du bien.
Réécoutez I C U :
I wake up some mornings,
Thank god not as often as I used to,
Slow and heavy from dreams with you
You've found a way back in,
Once again my long lost friend,
Funny to see that after all these years,
I miss you the same
So I drag myself to the corner cafe,
And for a second I see you there,
Like in the good old days,
And I wonder what you're doing?
What are you up to these days?
I sometimes wish you would call me,
But then I wouldn't know what to say
And I see you, in every cab that goes by, in the strangers,
At every cross road, in every bar.
I see you in every cab that goes by, in the strangers,
At every cross road, in every bar.
I found this scene of abandonment and decay to have a beauty of its own kind. The colors of the bricks are marvellous and the contrast between the ruin and the flowery wall trying to cheer things up and suffering its own deterioration adds a kind of pathos to the image. The puddle, empty parking lot, and tire marks add compositional interest.
....nel mio giardino magico *****explore 19.05.2008
La parola passione proviene dal latino passio, a sua volta derivato dal verbo pati che significava sopportare, patire. In realtà, in latino classico passio voleva dire solo turbamento dell’animo: il significato di sofferenza, patimento è nato traducendo il greco dei Vangeli, nei quali con pathos si indicava appunto il martirio di Gesù.
Proprio perché è una delle parole chiave della predicazione cristiana, passione è stata usata fin dagli inizi della nostra letteratura, da autori come Dante e Iacopone da Todi.
Nella cultura medievale il significato principale di passione è quello di sofferenza del corpo, tormento fisico, legato inizialmente alla narrazione evangelica e poi esteso a qualsiasi dolore Un altro significato antico, poi caduto in disuso, è quello della filosofia medievale, nella quale la passione era la caratteristica dell’essere passivo, la condizione di un oggetto quando viene sottoposto a una certa azione.
In questo senso la passione era contrapposta all’azione; e questa contrapposizione rispecchiava quella grammaticale tra verbo attivo e verbo passivo.
Accanto al significato di sofferenza fisica si trova quello di sofferenza morale, per cui la passione è un’emozione tanto violenta da dominare la volontà di chi la prova. Questo significato è giunto fino a noi, con diverse sfumature. Chiamiamo infatti passioni i sentimenti incontrollabili come l'amore, l’odio o la gelosia, che spingono chi li prova ad azioni definitive, senza ritorno.
In particolare, passione può significare l’amore sensuale, anche violento, e indicare la persona che è oggetto di quell’amore. E’ passione il trasporto totale per un’idea o un’opinione: la passione politica, ad esempio, è l’attaccamento alla propria idea, visto sia in positivo, come impegno, appunto, appassionato, sia in negativo, come mancanza di quel distacco critico che permette di avere una visione chiara dei problemi e delle opinioni altrui. Via via che si indebolisce l’idea dell’incontrollabilità e della sofferenza, la passione prende un significato positivo: fare qualcosa per passione significa farla spontaneamente e senza motivi economici; chi studia, si allena, lavora con passione lo fa dedicandosi completamente a queste attività.
Le parole collegate con passione ne sviluppano soprattutto i significati positivi, il senso di curiosità, interesse e scoperta, talvolta una vera vocazione che ci spinge verso qualcosa.
Una persona passionale non sa o non vuole nascondere le proprie passioni, soprattutto quelle che riguardano l’amore.
Viene dallo spagnolo, infine, la parola pasionaria, che si usa, anche scherzosamente, per le donne che sostengono posizioni politiche di estremistiche: la Pasionaria era il nome di battaglia di Dolores Ibarruri, una famosa comunista spagnola, eroina della guerra civile.
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Pathos sundown, Cyprus. One of two nights we had any cloud cover at all, I tried to make it last! 3-stop nd grad (h) and the Little Stopper
"I suggest that the most significant basis for meeting of men of different religious traditions is the level of fear and trembling, of humility and contrition, where our individual moments of faith are mere waves in the endless ocean of mankind's reaching out for God, where all formulations and articulations appear pear as understatements, where our souls are swept away by the awareness of the urgency of answering God's commandment, while stripped of pretension and conceit we sense the tragic insufficiency of human faith." This "tragic insufficiency sufficiency of human faith," according to Heschel, coupled with an acute yearning for God's presence, could foster the spiritual companionship of "humility mility and contrition," open-mindedness, as a precondition of true interfaith dialogue.'
--Abraham Joshua Heschel, (as quoted in Edward K. Kaplan, Spiritual Radical: Abraham Joshua Heschel in America, 1940-1972)
"The supreme issue today is not the halakhah for the Jew or the Church for the Christian-but the premise underlying derlying both religions, namely, whether there is a pathos, a divine reality concerned with the destiny of man which mysteriously impinges upon history."
--Abraham Joshua Heschel, (as quoted in Edward K. Kaplan, Spiritual Radical: Abraham Joshua Heschel in America, 1940-1972)