View allAll Photos Tagged pathos
Made a point of visiting the village cemetery last evening. Had been way too long since my last visit and I felt the need to reconnect. And even more so the need to free associate with a camera. That's my practice of going out to take photos but without any sense for subject matter. I simply move about and stop at whatever place I'm drawn to. The universe always seems to provide. Yesterday it led me unerringly to this tiny figurine. In fact I rode right up to it, laid down my bicycle in the grass and knelt down to inspect it. I love funerary sculpture and the little figurines and tributes left behind on graves. They are easy to pass over; often so small as to go unnoticed. This one was just a few inches tall. But up close it seemed larger than life. It put me in mind of a store mannequin. I don't photograph every figurine I encounter. In fact I pass on most of them. What I look for is a blend of pathos and reality. A feeling of emotion or at least some sort of artistic flare. What startled me here was the realistic human quality of the face. It was like looking at the results of some photo app that morphs a human face into a doll. But here the slider was life mostly at the human end of the scale. The gaze and facial expression were eerie. And figurines had been splattered with debris from a weed whip, but that only added to the reality. The face seemed at odds with the rest of the figure which was rather clumsily rendered as a sprite or fairy. The limbs seemed very plastic and the wings too thick. But that face...
"La fotografia è un'arte elegiaca, un'arte crepuscolare. Quasi tutti i suoi soggetti, per il solo fatto di essere fotografati, sono tinti di pathos.”
(Susan Sontag, Sulla fotografia. Realtà e immagine nella nostra società)
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)
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.
Jaded.
Recherche de la ville balayer pathos drames passions chérir les changements splendides poids soudé lois lèvres féroces mots d'anxiété,
далекие страницы, смуглая кожа, разбивающая судьбы, смертные печали, много слез, театральные клетки, ленивые стада, изумительный мед, колоссальные высоты, черные ветры, растрепанный поэт,
confusos gritos fuertes mares laderas dispersando líderes tremendos juicios despertares resplandecientes voces dobles preso famoso luchas duras,
întrebări inutile turnuri furioase puncte goale tabere nenorocite scuturi instantanee scăpând tăcere orori porți periculoase tutore flămând,
seoda creimthe ceachtanna fabhraithe cumhachtaí gleoite cumhachtaí fréamhacha doimhne mangaireacht deamhain trua faoi oll-uaigheanna ag pléascadh,
野蛮な血が滴る手足大まかな用語見知らぬ人の静脈がうわさを振る狡猾な命令未知の住居迅速な運命隠された洞窟悪行の日.
Steve.D.Hammond.
Crystal Castle.
Espaces démêlés natures translucides firmaments voûtés poussant différents constituants des rives environnantes des eaux des montagnes des berges expansives,
fünftens Zonen kalte Regionen hängende Wolken Donner Gewichte Blitzverbrennungen blitzende Winde entfernter Dichter metamorphosierte Sterne besprühte Erlasse,
مساء براقة مقصورات مضطربة مقصورات التلوث عيون نعسان الايماء خطط سحرية على غرار الظلال رفض,
dagen brute agressie culminerende verhalen geïllustreerd bloed transformerende effecten degeneratie overstromingen angstaanjagende elementen schildwacht pathos.
maleńkie linie opuszczające kotwice flądrujące idioty zanurzone żmudne zasady bijące ptaki żeglarstwo śmiech nieskończone ruchy podgrzewane błoto rozszerzające się demony wilgoć,
びしょぬれの種パイソン巨大な恐怖の鹿打たれた心欲望を急ぐ素敵な煙燃える楽しみ薄っぺらな法則草の多いエスケープ驚いた目驚いた百の目.
Steve.D.Hammond.
Joe Knowles (1869–1942)
*[Plowing with a Team of Horses]*
Undated
Pencil on paper
Signed lower right
The title is descriptive; the artist’s original title, if any, is unknown.
In this unusually vigorous drawing, Joe Knowles depicts a farmer guiding a horse-drawn plow as his team lunges forward under the strain of the work. The horses dominate the composition. Seen at close range and from a relatively low viewpoint, their great bodies fill most of the sheet, while their raised forelegs, bowed heads, taut harness, and overlapping contours convey weight, resistance, and concentrated muscular effort. The farmer, placed well to the left and drawn on a much smaller scale, leans backward against the force transmitted through the reins and agricultural implement. Man, animals, harness, and plow are thus joined in a single chain of exertion.
Knowles did not pursue anatomical finish or polished academic modeling. He built the scene through a restless accumulation of light, searching pencil strokes. Lines are repeated, corrected, reinforced, and sometimes allowed to dissolve into the aged paper. This open handling gives the drawing an immediacy that a more finished treatment might have sacrificed: the horses appear not posed but caught in motion, their legs momentarily suspended before striking the earth again. Particularly effective is the contrast between their massive, densely worked heads and shoulders and the much lighter landscape surrounding them.
The central horse bends deeply into its collar, its head nearly reaching the level of its lifted knees. The horse at right rises more vertically, its head and chest forming the composition’s highest and most forceful passage. The repeated diagonals of legs, traces, reins, and plow handles carry the eye back toward the farmer, whose braced posture completes the movement. A spreading tree anchors the middle distance, while lightly suggested vegetation and open country place the labor within a rural landscape without competing with the principal action.
The difference in scale between the man and the horses is partly a consequence of perspective, but it also expresses the true subject of the drawing: the tremendous animal power upon which farming once depended. The horses are neither picturesque accessories nor sentimentalized companions. They are working bodies—heavy, responsive, and almost overwhelming in their physical presence. At the same time, the lowered heads and strenuous movement give them an individuality and pathos that keep the scene from becoming merely an illustration of agricultural technique.
Knowles was born in Wilton, Maine, into a poor family. He left school early and, according to his own account, ran away at thirteen to work aboard ships, eventually traveling to the Caribbean, South America, the Mediterranean, China, and Japan. He later worked as an illustrator and newspaperman in Boston. In 1913 he became nationally famous as the “Nature Man” after the Boston Post promoted his purported attempt to live alone and without equipment in the Maine wilderness. The resulting publicity brought him enormous, if temporary, celebrity, followed by vaudeville appearances, a book, and a silent film. The expedition’s authenticity was challenged at the time and has remained controversial, but the episode permanently associated Knowles with wilderness, physical endurance, and an ideal of life outside modern urban civilization.
In 1917 Knowles settled on Washington’s Long Beach Peninsula, where he spent the final quarter-century of his life. He produced paintings, drawings, prints, and illustrations devoted largely to animals, forests, shipwrecks, Indigenous subjects, frontier scenes, and the maritime and rural life of the Pacific Northwest. Although much of this work was created for a popular market, *[Plowing with a Team of Horses]* reveals abilities that the colorful “Nature Man” legend can obscure. Its bold organization, acute observation of animal movement, and economical but expressive draftsmanship show an artist capable of transforming an ordinary episode of farm labor into a compelling image of power, effort, and human dependence upon animals.
The sheet’s foxing, creases, stains, waviness, and uneven coloration have been retained as evidence of its age and history. Reflections produced when the drawing was photographed behind glass have been digitally removed; the surviving pencil work has otherwise been left in its characteristically faint and delicate state.
I met this old lady making garlands when I visited the Mullickghat Flower Market, Kolkata, India. I loved how the morning golden hour fell on her face and a sense of pathos covered it.
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.
Each day as I listen to and read the news I can barely stand the turmoil, violence and pathos that is presented. I do not know what to do with all of the feelings ... where do I go ... so I turn to nature and it rests my soul for a time. I do not know what I would do without it. What DO people do without it? How do they handle daily, hourly conflict and discord in their lives? I really don't know. I wonder this daily as I think of the millions of people whose lives are in constant distress which is thrust upon them through the mere chance of birthplace. I think how I know nothing of life ... how spoiled I am by the mere chance of my birthplace and not by anything I have done to deserve it.
This is a scene that brings a sense of tranquilty to my soul. I hope it does yours too.
Yellowstone
Wyoming
USA
Explore, August 16, 2012
Thanks for sharing the experience,
Bev
© All Rights Reserved
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/
Dimitra Milaiou's participation in "Έρως-Πάθος-Πόθος" exhibition.
In Art Kolonaki (Λυκαβηττού 20).
Mέχρι και 17/2.Προλαβαίνετε!
Pathos Discourse.
Iintsholongiselo zintsingiselo eziyinyaniso ezibalulekileyo iimfundiso ezibalulekileyo ezenza iingcamango zokugxekwa ngabantwana abangenandaba nabantwana,
την καθιέρωση αντίθετων απόψεων απομίμηση κριτικών που μετρούν τις ανησυχίες αναψυχής αναπαριστώντας την ευθύνη χωρίς νόημα μέτρα ακατάλληλες σκέψεις εξωφρενικά μαθήματα,
වෙනස් නොකළ චාංජනක ප්රාන්තවල කථාව පිළිබඳ දේවධර්මවාදී සීමාවන් නිරීක්ෂණය කළ නොහැකි මිථ්යා විශ්වාසයන් නොසලකා හැරීම,
punir os versos de sofrimento planos ruinosos reação impia sobre princípios enganando enganos da natureza profundas realidades ignorantes indícios adulterados
اشتباهات وحشتناک کنترل ارواح وحشتناک آینده جهان مضر بی حد و حصر جنون فرمان تبدیل فراموشی صحبت کردن,
有益な推論詩の語り言語軽蔑的な災害は、悪意のある言葉を追い抜く幸運な議論を議論する.
Steve.D.Hammond.
!=ASR= Sophia aeon Head Archetyp
=ASR= Sophia Pathos Body
+HILU+DEKARIBON 2way
..::( siratama )::.. Glass Clogs
NO.MATCH_NO_EVIL (busty)
Void - Music Box ( Drown )
I couldn't help but feel this fellow was contemplating the pathos of life. It had been raining, but the sun had come out, and there were birds everywhere -- frantically calling, defending territory, and gathering material for nest building. This fellow was not calling, but just watching the whole scene with that passive inscrutable expression.
Panasonic Leica DG Vario-Elmar 100-400mm 4.0-6.3, JPG unedited from camera
In a Lake District graveyard (Again I forget which.) It's so full of sadness.
Fuji Sensia film. Nikon F2
DSC05549-HDR_Lr9
"Make a picture that is funny and sad at the same time. A photograph that simultaneously evokes pathos, irony and humour." - Jeff Mermelstein
19920608DE Unknown man playing known man. I think I have a blind spot. I cannot imagine why anyone would want to be Charlie C. With the exception of the Great Dictator the character is based solely on pathos. Berlin Germany #blackandwhite #90 #charliechaplin #imitator #film #knownknowns&unknownknowns #art #realpeople #reallives #truestories #portraits #b&w #photography #instagram #street www.hughes-photography.eu www.flickr.com/photos/michael_hughes www.hughes.berlin
This tree has been photographed countless times as it overlooks the largest prehistoric ritual enclosure in Ireland.
Its known as the Giant's Ring and we visited it after I photographed poor old Pathos.
Not a lot to be seen as its a huge circular ring surrounded by a 12m earthwork bank.
Off centre, in the ring is a megalithic chamber with passage-tomb affinities, consisting of five orthostats, supporting a tilted capstone.
To the layman, a pile of rocks with a hole in the middle dating about 4000 years.
But I have an extremely vivid imagination and I could just imagine bonfires on top of the earthwork bank, torches held by villagers and the Druids in the centre performing their rituals.
With no written history, it means we will never know what went on here, but we can imagine.
Anyway, Mr. Killen did a terrific version of the tree and tomb www.flickr.com/photos/shanekillen/5348352173/ After seeing his, I thought I had better tart mine up a bit and give it some atmosphere.
NOT that we are competitive!
BETTER ON BLACK
A SPELL WAS CAST AND ITS IN EXPLORE AT NO.38 16TH JANUARY
WHOOOOO HOOOO MADE FRONT PAGE! THANKS TO ARTIGAZO FOR LETTING ME KNOW
"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.
"His father watched him across the gulf of years and pathos which always must divide a father from his son."
- J.P. Marquand, The Late George Apley
Use this image without my permission is illegal. All Rights Reserved ste.t.©
La meteoropatia, dal greco μετέωρον (meteoron, cosa che è, che avviene in alto) e πάθος (pathos, passione, malattia), è un termine che sta ad indicare un insieme di disturbi psichici e fisici di tipo neurovegetativo che si verificano in determinate condizioni e variazioni del tempo meteorologico.
L'Oratore di questo meeting non conosceva le sette regole di Donovan e la Signora presente in platea come dire … si è lievemente appisolata...
Il maestro dell’oratoria, Cicerone, sarebbe oggi, nell'era digitale, un buon relatore?
Jeremy Donovan suggerisce sette regole per tenere una conferenza convincente e coinvolgente:
1) Sii breve e vai dritto al punto.
2) Utilizza il format del viaggio o dell’anticipazione.
3) Due strutture narrative di base sono vincenti:
quella del viaggio, articolata in tre parti (chiamata all’azione, superamento degli ostacoli, soluzione) ed il format dell’anticipazione, nel quale l’oratore introduce una teoria e poi presenta una serie di casi a supporto.
4) Non usare le slide: “le slide rompono la connessione tra presentatore ed audience”, andrebbero quindi utilizzate solo se documentano i dati meglio di quanto non si farebbe a voce.
5) Fai vivere al pubblico un’ampia gamma di emozioni.
6) Utilizza strategicamente l’umorismo: lo humor spezza la tensione.
7) Sfrutta il potere delle pause: la padronanza nel gestire i silenzi può aggiungere pathos.
Le regole di Donovan, con tutte le differenze del caso, non si discostano poi tanto da quelle che Marco Tullio Cicerone descriveva nel De Oratore: esporre i fatti in modo vivace ed ironico in modo da coinvolgere emotivamente gli ascoltatori suscitando in loro una varietà di emozioni.