View allAll Photos Tagged pathos
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.
Sorry about the decreased amount of images uploaded. I'm putting together several projects and nothing can be shown at this time. More later..........
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.
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
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...
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.
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.]
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.
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:
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
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.
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! （⌒▽⌒）
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.
“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!
I felt an unsettling sense of connection with this frightful Halloween decoration the moment I laid eyes upon it. As these things go, they are often over the top in terms of being ghastly, blood-soaked and monstrous. While certainly ghoulish, this small figure seemed to capture an overwhelming sense of pathos in a very relatable human form. The softness of facial features juxtaposed against the vacant eyes. The look of a little girl playing dress-up with inexpertly applied makeup and a party dress, but horribly conflicted with the awful hair and balding scalp. These subtleties and juxtapositions are what make this so terrifying. Creations such as Frankenstein and Dracula are almost humorous by comparison. Perhaps because they've been so overdone over the years I've become immune to them. But it's also because their inhuman qualities add a layer of safe distance. This figure is relatable in the sense that the human qualities remain, cleverly blended in with the a dark vision of the afterworld. It is imbued with the qualities I imagine a real ghost would exhibit. I can just imagine an encounter with something like this in the many dark and lonely places I've explored, completely alone. I saw so many overtly horror-filled displays the day I found this sad little urchin, but they are mostly lost to me now. Only this figure remains in my mind, and I've got a feeling it will be there long after Halloween has passed.
"Dolor" by Theodore Roethke
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 duplication 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.
La morte (o la sua allusione) rende preziosi e patetici gli uomini. Questi commuovono per la loro condizione di fantasmi; ogni atto che compiono può esser l’ultimo; non c’è volto che non sia sul punto di cancellarsi come il volto d’un sogno.
(Jorge Luis Borges)
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
In der Westeingangshalle wird der Besucher des Reichstagsgebäudes von Kunstwerken Gerhard Richters empfangen. Der Künstler stand vor der schwierigen Aufgabe, sich mit seinem Werk gegen eine 30 Meter hohe Wand zu behaupten. Gerhard Richter hat an der einen Wand der Westeingangshalle ein Farbkunstwerk von 21 Meter Höhe und drei Meter Breite in den Farben Schwarz-Rot-Gold gestaltet. Die Farben wurden auf die Rückseite großer Glastafeln aufgetragen und erinnern - nicht ohne Hintersinn - an die Farben der deutschen Bundesflagge. Aber sowohl das hochrechteckige Format als auch die spiegelnden Glasflächen (in denen sich von einem bestimmten „point de vue“ aus die reale Bundesflagge vor dem Reichstagsgebäude spiegelt) machen deutlich, dass es sich nicht um die Abbildung einer Flagge handelt, sondern um ein autonomes Farbkunstwerk und der Künstler durch die Wahl und die Zusammenstellung der Farben eine den Betrachter irritierende „Wahrnehmungsfalle“ aufgestellt hat.
Richter gelingt es, mit der auf die Wandproportionen abgestimmten Größe seiner Arbeit und mit sparsamen Mitteln ein farbiges Gegengewicht zur Dominanz der Architektur in der Westeingangshalle zu schaffen und dem Auge des Betrachters einen Ruhepunkt in der belebten Halle zu bieten. Trotz ihrer Monumentalität fehlt der Arbeit jedes Pathos. Vielmehr spiegelt die Fragilität der Glasscheiben im materiellen und im übertragenen Sinne das stets gefährdete und daher stets neu zu gestaltende und zu schützende demokratische Gemeinwesen wider.
Quelle: www.bundestag.de/besuche/kunst/kuenstler/richter/schwarz-...
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In the west entrance hall, visitors to the Reichstag building are greeted by works of art by Gerhard Richter. The artist faced the difficult task of asserting his work against a 30-meter-high wall. Gerhard Richter created a color artwork on one wall of the west entrance hall, 21 meters high and three meters wide, in the colors black, red, and gold. The colors were applied to the back of large glass panels and are reminiscent—not without ulterior motive—of the colors of the German federal flag. However, both the tall, rectangular format and the reflective glass surfaces (in which, from a certain "point de vue," the real federal flag in front of the Reichstag building is reflected) make it clear that this is not a depiction of a flag, but an autonomous color artwork, and that through the choice and combination of colors, the artist has created a "perceptual trap" that disorients the viewer.
By matching the size of his work to the wall's proportions and using economical means, Richter succeeds in creating a colorful counterbalance to the dominance of the architecture in the west entrance hall, offering the viewer a point of rest in the bustling hall. Despite its monumentality, the work lacks any pathos. Rather, the fragility of the glass panes, both materially and figuratively, reflects the democratic community, which is constantly at risk and therefore constantly in need of redesign and protection.
So baby don't stop what you're doing.
Softer than a mutha
Boy I know you wanna touch.
Breathing down my neck,
I can tell ya wanna -
And now you want it like,
Want you to feel it now.
I got a secret that I wanna show you, ou.
I got a secret Imma drop em to the floor, ou.
Skin - Rihanna
Continuing the night tour beneath the Tre Cime di Lavaredo, here I was at the Forcella Lavaredo (2.454 m), swept by a strong chilly wind. In fact, my concern was not to be able to set a long exposure.
But I've seen far worse moments in the mountains and in these cases it only takes a little patience, hoping the wind becomes, let's say, "photographically less intrusive" :-)
As you can see the three peaks begin to show their classic well known face.
The evening began as very cloudy, luckily weather improved later, allowing the moon (73%) to illuminate the landscape.
In fact, I am posting this photo also to show the different effects of the lunar lighting: here the moon is already present (behind me) but heavily veiled by clouds, consequently the landscape is visible even without headlamp, but the three peaks are uniformly dark... in the next picture I'll post the moon will lit the side walls of the three peaks.
A way like another to show the many expressive faces of the night, which is not only a place of darkness and fear, as most commonly thought... rather a time of the day capable of providing a complete kaleidoscope of sensations, also shades of infinite grace and delicacy :-)
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©Roberto Bertero, All Rights Reserved. This image is not available for use on websites, blogs or other media without the explicit written permission of the photographer.
... for this new year lot of drama, lot of fight for be SL-famous, lot of desperate love story, lot of stalking, lot of needer, lot of expectations, lot of weak cheat, lot of ass-lickers, lot of artists-like, lot of starving peeps.
I wish our creators stay creative. I wish that fun people stay fun, nice and interresting people stay in this way.
I wish still listen music, laughing, joke and still never take ourself serious.
I will that SL still stay a big circus with a mix of fun, pathos, creative, desperate, dreamers, liars, nice, lickers, lovely people.
Because I love circus and I love be part of this.
Thanks all for make my SL like that.
And I wish you RL health.
My resolution for this new year : 1920 x 1080
Love ♥
Una canción acompañada de un fotografía, la canción lo dice todo.
Pero cuando todo está oscuro y estás al borde del abismo, una luz da esperanza.
Hontoria de la Cantera es un agradable pueblecillo burgalés de aproximadamente 125 habitantes situado a apenas 20 kilómetros de la capital.
Su nombre le viene de unas impresionantes canteras que se explotaban ya en el siglo XI y de las que salieron las piedras necesarias para construir la Catedral de Burgos, una de las obras maestras del gótico.
La explotación de la mina se hacía excavando la montaña mediante el método de cámaras y pilares, por lo que quedaron enormes espacios de 20 metros de ancho y 5 de alto, ideales para proteger armamento, por lo que fueron usadas de polvorín por el ejército.
A song accompanied by a photograph, the song says it all.
But when all is dark and you're on the edge, a light gives hope.
Hontoria de la Cantera is a pleasant little town of Burgos of about 125 inhabitants, situated just 20 kilometers from the capital.
Its name comes from an impressive quarries were exploited as early as the eleventh century and of which came the stone needed to build the Cathedral of Burgos, one of the masterpieces of Gothic.
The Exploitation of the mine was digging up the mountain by room and pillar method, which left huge spaces of 20 meters wide and 5 high, ideal for protecting weapons, so they were used in the army depot.
Die Ausstellung VERGOLDET | DORÉ vereint Werke der zeitgenössischen Kunst, die sich mit dem Werk- und Farbstoff Gold auseinandersetzen und untersucht die damit verknüpften Vorstellungen von Wert und Symbolkraft. Ist die wiederkehrende Hinwendung zu einem traditionsaufgeladenen Material in der zeitgenössischen Kunst der Versuch, das Edelmetall vom historischen Erbe, von Prunk und Pathos zu befreien? Wird damit die Aussage „es ist nicht alles Gold, was glänzt“ überprüft, indem der stets begehrte und glänzende Werkstoff in andere Zusammenhänge übertragen oder verschoben wird? Mit VERGOLDET | DORÉ werden künstlerische Reaktionen zusammengetragen, die mit dem Werk-, aber auch Farbstoff in Verbindung gebracht werden. Dabei geht es weniger um Materialfetischismus oder Techniken, sondern vielmehr darum, mit künstlerischen Äußerungen und Interpretationen ganz unterschiedliche Assoziationsräume zu aktivieren und kritisches Denken anzustoßen. Die Arbeiten dieser Ausstellung reflektieren mit echtem und künstlichem Gold über alte und neue Allianzen und gesellschaftliche Transformationsprozesse zwischen Kommunikation und Identifikation. Es verschieben sich die klischeehaften Zitate und Bedeutungsebenen von Gold(en), ohne jedoch Geschichte zu überschreiben. Vor allem die Ewigkeit und Haltbarkeit von Gold wird infrage gestellt. Kritisch hinterfragt werden auch die Kapitalanlagen: Ist zum Beispiel vergoldete Kunst heute noch wertvoller und sind die glänzenden Pokale und Trophäen aus vergoldetem Metall bei gewachsenem Leistungsdruck ethisch noch haltbar? Ist alles nur noch veredelte Illusion? Oder zeichnet sich in der Debatte und Entwicklung um den Materialismus, zwischen Protz und Luxus, doch noch ein individueller Wertewandel in einer verstärkt von Kapital und Besitz geprägten Gesellschaft ab?
Arbeiten von: Olivia Berckemeyer, Antje Blumenstein, Ruth Campau, Luka Fineisen, Niklas Goldbach, Eckart Hahn, David Krippendorff, Claudia Kugler, Alicja Kwade, Andréas Lang, Via Lewandowsky, Michael Müller, Sebastian Neeb, Andrea Pichl, Johanna Reich, Stéphanie Saadé, Michael Sailstorfer, Karin Sander, Henrik Strömberg, Philip Topolovac, Panos Tsagaris, Frauke Wilken, Andrea Winkler, Clemens Wolf, He Xiangyu. schlossbiesdorf.de/de/ausstellungen/aktuell/