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„…Ich bin an diesem Tag noch einmal hierhin zurück kommen, obwohl ich morgens schon einmal dort war. Pathos und Melancholie waren nicht der Auslöser. Klischees möchte ich nicht bedienen. Nein, der Auslöser war ich in diesem Fall selbst…Wenn mir jemand sagt, welche Orte ihm persönlich wichtig sind, dann sagt mir das etwas. Nicht nur über diese Person selbst, sondern auch über ihre Geschichte. Zumindest bilde ich mir das ein…Was sagen diese Orte über mich aus? Reflektiere ich meine Persönlichkeit auf sie? Wie würde ich mich selbst dort sehen? Schlicht und ergreifend? Ich glaube ja, denn irgendwie bin ich einfach…Zäune und Tore haben mich selten aufgehalten. Dabei war ich nie ein Grenzgänger. Mich beschäftigt halt nur der Gedanke, dass auch diese Stellen in meiner Stadt da sind. Trotz aller Verbote. Sie nicht wahrzunehmen würde für mich bedeuten, meine Augen verschließen zu müssen. Und das möchte ich nicht. Ich lese ja auch die Schlagzeilen in der Tageszeitung, und die sind ebenfalls nur selten wirklich schön…“
nostalgic pathos
.. (sc)analog archival project
©MadDreamer ©2👽25/All rights reserved. Do not use without written permission from photographer/artist.
Sorry about the decreased amount of images uploaded. I'm putting together several projects and nothing can be shown at this time. More later..........
Grubby Curtains.
Cendres littérature balayant humains passions drames pendaison poésie pathos universel âmes méprisantes rançon motifs souffrance prétextes,
оружие сердца могучие поступки вестник вино далекие путешествия бесполезные цели уродливые умы дыхание звуки хроники старое безумие степени,
различни неволји бронзени планови минирање полиња треперливи глави војни почви сомнителни работи неплодни рогови испарувања усти пошумени гребени,
ombres no iniciats alt caos entrellaçant roba cercles que flueixen cordes desbordants forces perilloses angoixa proves salvatges estrangeres,
ฝีมือที่ยอดเยี่ยม ขั้นบันไดตาบอด ประตูที่ก้าวไปข้างหน้า พลังสั่นสะเทือน แรงงานมหาศาล กำแพงที่น่ารังเกียจ คนงานคร่ำครวญ,
財団は透明な開口部を夢見ている画像の記念碑と緑の出来事を行います異常な叫び激しい土地の競争散在する群衆の命令そびえ立つ悲惨さ表示.
Steve.D.Hammond.
The Niobides square is a fountain created by Balthus, from casts of ancient sculptures. Michel Bourbon (1976) made the molds The Academy of France, created by Louis XIV in 1666, was transferred to the city of Medici in 1804, by Napoleon. The villa was restructured in 1564 on behalf of Cardinal Giovanni Ricci di Montepulciano before becoming the property of the Medici. Today it depends on the French Ministry of Culture. The building is characteristic of Roman villas of the 16th and 17th centuries, with loggia, facade decorated with ancient elements, statues and Italian garden with alleys, fountains, sculptures, studiolo. www.villamedici.it/ In the garden, all of the sculptures of Niobe and his children: the Niobids have been reconstructed using casts and staged in their original environment, the originals are kept in a museum in Rome . The sumptuous staging of the Niobids reveals the destiny reserved for those who dare to challenge the power of the Gods. In Greek mythology, Niobe, wife of the king of Thebes, Amphion, and proud mother of seven sons and seven daughters, laughed at Leto, who had only given birth to Apollo and Artemis. The latter, to take revenge, killed the children of Niobe with arrows. It was then that Niobe asked and obtained from Zeus to be changed into a weeping statue. This ancient set of sculptures, unique in its kind by virtue of the number of statues, was discovered thanks to archaeological excavations dating from the end of the 12th century and was subsequently acquired by Ferdinand de Medici. The forms of these sculptures, rich in pathos, have served as a model for many artists, including Nicolas Poussin (Écho and Narcisse). extract from the official site of the Medici villa
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© 2020 François de Nodrest / Pantchoa - All rights reserved.
I kept taking whole around Mt. Fuji in a late fall for 1 day.
Beauty by which colored leaves are the rest exactly at the time of a peak
After noon spends most time on the photography.
When I close and notice, it's already the evening by and by.
I had approached and had come.
Along the lakeside where I see way home Mt. Fuji, car dispatch.
Darkness, that immediately before Mt. Fuji and lake are seen, with everything
The pathos you can't say is felt, I, this, it draws in and I go, earnestly.
I don't have that, please dissolve in the told view.
This moment was put back.
When William Morris, the multimillionaire philanthropist and founder of Morris Motors, died 50 years ago, he left a fortune but no heir. Those were days of greater discretion, so we don't know why Lord and Lady Nuffield never had children. But we do know he would have liked to: visiting a mother and baby in the 1950s, he sighed: "I would have given all my millions for one of those."
The pathos of that sentiment hangs in the air at Nuffield Place, his Oxfordshire country home, now open to the public as a 1930s time warp. A handsome Lutyens-style mansion on the edge of the Chilterns, it was built in 1914 and bought and modernised by the Nuffields in 1933. On Morris's death on 22 August 1963, he left it to Nuffield College in Oxford (which he founded in 1937), stipulating that the house remain intact. Over the years, the college has sold off chunks of his estate, including two farms and a pub, and the house's future was in doubt until, last year, they gave it to the National Trust.
Today, the visitor enters a world of Bakelite phones and Dry Sack medium sherry. A sweet smell of tobacco lingers in the oak-panelled billiard room, which, according to one National Trust volunteer, they have piped in. The house was designed by Oswald Partridge Milne, a pupil of Lutyens and fashionable Edwardian architect, but the building isn't really the main attraction. The magic comes from feeling you are entering another period, and penetrating the private home of one of the richest men of the 20th century.
www.independent.co.uk/property/interiors/the-original-mor...
813 Mil Mi-35P Hind-F/ Panther (023364) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
The grave stele of an Athenian wife and mother, dating to ca 370 BC. An inscription giving her name, Phylonoe, is inscribed on the epistyle of the naiskos framing the scene:
Ενθάδε Φιλονόη κείται θυγάτηρ Σώφρων Ευσύνετος πάσαν έχο[υσ᾽ άρετή]ν
Here lies Phylonoe, a wise, intelligent daughter, endowed with every virtue.
The woman dressed in chiton and himation, is seated on a diphros to the left, her feet resting on a footstool. Her right arm is bent, the hand lightly resting against her right shoulder, while the left forearm rests on her lap. Her head is inclined, and when the relief is seen from some distance, it seems as if she is actually supporting her chin with her right hand.
Facing Phylonoe, there stands a woman holding an infant in her arms. Despite the grave expression on her face, she does not look at the deceased, as is often the case with secondary figures on classical Attic grave reliefs. Her gaze is directed at the infant that extends one hand to its mother, the other hand unfortunately not preserved. Phylonoe does not react to her baby’s dramatic gesture. She no longer belongs to the world of the living, where her offspring still resides. The infant’s obvious longing for its mother is not reciprocated by the deceased, who is rather detached and immersed in deep melancholy. Even though the grave stele honours Phylonoe, it is the infant’s gesture that captures the spectator’s gaze first. The image of the baby trying in vain to attract its dead mother’s attention, enhances the iconography of the relief that marked the grave of a mother by creating a particularly tragic contrast between the baby’s pathos, and the mother’s impassivity. Thus, the iconography of the stele does not focus on the sad fate of the young mother alone, but also on the motherless baby she left behind, as well as the grievous separation of the two. Death and orphanhood are juxtaposed on the stele of Phylonoe, closely linked to one another. Hence, it is not surprising that the standing woman’s gaze is not directed at the deceased, but at the unfortunate infant that has been forever deprived of its mother.
Source: Katia Margariti, "A mother's gaze: Death and orphanhood on classical attic grave reliefs", Annual Papers on Mediterranean Archaeology 91 (2016).
Pentelic marble funerary stele
Preserved height: 150 cm.; width: 110 cm.
Ca. 370 – 360 BC
From Psychiko, Attica
Athens, National Museum Inv. No. 3790
I came upon this heap of discarded jack-o-lanterns awaiting their fate the day after Halloween. The scene was visually jarring yet highly appealing. I was struck with a sense of sadness looking at the tangle of carved faces. Each one imbued with a sense of individuality, as varied as the people that created them. Hours before, they had radiated a glow of soft warmth, illuminated against the cold night sky by small candles. The flickering light added feelings of comfort and animation. My imagination and childhood memories took it from there. But lying here, purpose fulfilled and stripped of their original joyful context, fantasy and reality collided abruptly. I watched the decline of the jack-o-lanterns over the next couple of days. The carved features quickly took on a gummy appearance and the pumpkins seemed to settle into the earth. The end came suddenly when the jack-o-lanterns were tossed unceremoniously into the bed of a truck and hauled off for hog food. Dust unto dust.
Tokyo Stray Cats
@Kanda, Tokyo
LEITZ WETZLAR SUMMICRON-R 50mm/F2 (2-cam)
© 2020 M's photography
Takashi MATSUZAWA All rights reserved.
Please don't freely use this photograph on Tumblr, Blog, Facebook, Twitter and others.
St Nicholas' Church Garden, Liverpool.
Homeless Jesus, is a bronze sculpture by Canadian sculptor Timothy Schmalz depicting Jesus as a homeless person, sleeping on a park bench. The original sculpture was installed at Regis College, University of Toronto, in early 2013. Over 100 casts of the statue have been installed worldwide since 2016.
Taken between heavy showers which for me added pathos.
I have known the inexorable sadness of pencils,
Neat in their boxes, dolor of pad and paper weight,
All the misery of manilla folders and mucilage,
Desolation in immaculate public places,
Lonely reception room, lavatory, switchboard,
The unalterable pathos of basin and pitcher,
Ritual of multigraph, paper-clip, comma,
Endless duplicaton of lives and objects.
And I have seen dust from the walls of institutions,
Finer than flour, alive, more dangerous than silica,
Sift, almost invisible, through long afternoons of tedium,
Dropping a fine film on nails and delicate eyebrows,
Glazing the pale hair, the duplicate grey standard faces.
--"Dolor" by Theodore Roethke
Well, its just coxless eight, or yellow infinity floating without a rudder on the water of Styx (what the pathos! :) )...
Or just the paper eight sleeping on the floor. :)
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shortcuts, for your convenient:
or images arranged by theme:
Cragged topped Mountain on the way back down to Skagway from The summit of White Pass in the Yukon. The lonely tree adds some pathos ( for me anyroads )
The Republic agent tracked down the villain and action was about to commence in the streets of the district capital!
Dark Lord: (With a tad too much pathos in his voice) "I am Darth Ragnagoth the Great! Ruler of this city, the whole planet and the nearby sectors. If you go now, you shall leave this planet unharmed."
General Rox: "In the name of the Republic, surrender your weapons and capitulate. We will put in a good word for you in court. Only 10 or 20 standard years in the ore mines of Delrian..."
Dark Lord: "If you little creatures continue to annoy me, I'll be forced to activate my lightsaber and cut you a little."
General Rox: "Go ahead then, Dark Lord!"
Darth Ragnagoth turned his back to the Republic forces... and... activated his lightsaber!
General Rox: "Sir, it looks like you just put a wooden stick on your lightsaber hilt, no?"
Unfazed by the shenanigans a beggar sat in a corner, asking for alms.
After the imposter and his companions were taken into custody, peace returned and everything went back to normal. As it ever was on the peaceful agriworld of Dagro. Nevertheless, the Dagro people would talk about the Sith Lord who ruled their planet for a long long time in the years to come and eventually the spectacle became part of the local folklore.
[Built for Eurobricks Mysteries Lego Star Wars RPG.]
Tenement house with shops built in 1901. Architect Konstantīns Pēkšēns. The neo-Baroque facades of the building are saturated with ornamental elements, balustrades, cartouches, groups of sculptures in pathos and other plastic elements. The house, together with the buildings at 5 and 7/9 Kr.Barona Street, forms a single architectural ensemble, the architecture of which reflects the development of Konstantīns Pēkšēns' creative handwriting, from luxurious, pompous eclecticism to rational, applied Art Nouveau.
A little nod to Rapture.
Wearing:
Pathos Blouse and Skirt by Toksik
Forage Gacha Earring and Ring by Toksik
Steampunk Ring By Pixel Box
Crime Ring by Tabou
Blair Boots by Reign
I really need to finish (or at least continue) her customization... Braonán is a beautiful doll, she deserves more attention from me.
I promised it some months ago... this is a little tan skins comparison (15 different shade of tan skin colors from 13 different companies).
I only forgot to add my old Iplehouse peach gold skin... (;¬_¬)
Left = with flash
Right = without flash
I hope this may help someone! （⌒▽⌒）
This sculpture was first presented at the inaugural exhibition of the Sculptors Society of Canada in 1928. It depicts a dejected mother clutching her child close to her breast as she walks barefoot down a rocky path. This was a poignant and all too familiar subject during the Great Depression. As one critic noted about the work, "It conveys much of the pathos and appeal of one of the world's greatest problems."
“Who can explain the secret pathos of Nature's loveliness? It is a touch of melancholy inherited from our mother Eve. It is an unconscious memory of the lost Paradise. It is the sense that even if we should find another Eden, we would not be fit to enjoy it perfectly nor stay in it forever.”
Henry Van Dyke
I realize that Contact's Photos are now temporarily disabled, so many of my contacts will not see this...
If and when you do, that is fine....
Hopefully it will all be sorted out soon so that we many enjoy the community spirit of Flickr once again!
In my conservatory, but reflected in the window and mingled with the garden, this was carved by Peter - it cracked all down the face, which we decided adds to the pathos...
“Who can explain the secret pathos of Nature's loveliness? It is a touch of melancholy inherited from our mother Eve. It is an unconscious memory of the lost Paradise. It is the sense that even if we should find another Eden, we would not be fit to enjoy it perfectly nor stay in it forever.”
- Henry Van Dyke
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Thanks a lot for visits and comments, everyone... Have a lovely Sunday...!
Please don't use this image on websites, blogs or other media without
my explicit permission. © All rights reserved
This quick shot turned out creepier with the photobomber! 😏 The dark beast is Sinhá. And the floral girl (as a friend called her) is a LuoNa/ LuoSheng from Pathos Tale customized by me.
mixed media: on wood: acrylic paint, collaged paper, bottlecaps, nails, billboard paper, plastic ring
24" L x 24" H x 2"D
published in:
"the best of america mixed media
artists and artisans," volume 1
(kennedy publishing)
jennifer beinhacker
jenniferbeinhacker.com
art outside the edge