View allAll Photos Tagged pathos
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
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 :-)
_____________________
©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.
The palace reliefs were fixed to the walls of royal palaces forming continuous strips along the walls of large halls. The style apparently began after about 879 BC, when Ashurnasirpal II moved the capital to Nimrud, near modern Mosul in northern Iraq. Thereafter, new royal palaces, of which there was typically one per reign, were extensively decorated in this way for the roughly 250 years until the end of the Assyrian Empire. There was subtle stylistic development, but a very large degree of continuity in subjects and treatment.
Compositions are arranged on slabs, or orthostats, typically about 7 feet high, using between one and three horizontal registers of images, with scenes generally reading from left to right. The sculptures are often accompanied with inscriptions in cuneiform script, explaining the action or giving the name and extravagant titles of the king. Heads and legs are shown in profile, but torsos in a front or three-quarters view, as in earlier Mesopotamian art. Eyes are also largely shown frontally. Some panels show only a few figures at close to life-size, such scenes usually including the king and other courtiers, but depictions of military campaigns include dozens of small figures, as well as many animals and attempts at showing landscape settings.
Campaigns focus on the progress of the army, including the fording of rivers, and usually culminates in the siege of a city, followed by the surrender and paying of tribute, and the return of the army home. A full and characteristic set shows the campaign leading up to the siege of Lachish in 701; it is the "finest" from the reign of Sennacherib, from his palace at Nineveh and now in the British Museum. Ernst Gombrich observed that none of the many casualties ever come from the Assyrian side. Another famous sequence there shows the Lion Hunt of Ashurbanipal, in fact the staged and ritualized killing by King Ashurbanipal of lions already captured and released into an arena, from the North Palace at Nineveh. The realism of the lions has always been praised, and the scenes are often regarded as "the supreme masterpieces of Assyrian art", although the pathos modern viewers tend to feel was perhaps not part of the Assyrian response.
There are many reliefs of minor supernatural beings, called by such terms as "winged genie", but the major Assyrian deities are only represented by symbols. The "genies" often perform a gesture of purification, fertilization or blessing with a bucket and cone; the meaning of this remains unclear., Especially on larger figures, details and patterns on areas such as costumes, hair and beards, tree trunks and leaves, and the like, are very meticulously carved. More important figures are often shown larger than others, and in landscapes more distant elements are shown higher up, but not smaller than, those in the foreground, though some scenes have been interpreted as using scale to indicate distance. Other scenes seem to repeat a figure in a succession of different moments, performing the same action, most famously a charging lion. But these were apparently experiments that remain unusual.
The king is often shown in narrative scenes, and also as a large standing figure in a few prominent places, generally attended by winged genies. A composition repeated twice in what is traditionally called the "throne-room" (though perhaps it was not) of Ashurbanipal's palace at Nimrud shows a "Sacred Tree" or "Tree of Life" flanked by two figures of the king, with winged genies using the bucket and cone behind him. Above the tree one of the major gods, perhaps Ashur the chief god, leans out of a winged disc, relatively small in scale. Such scenes are shown elsewhere on the robe of the king, no doubt reflecting embroidery on the real costumes, and the major gods are normally shown in discs or purely as symbols hovering in the air. Elsewhere the tree is often attended to by genies.
Women are relatively rarely shown, and then usually as prisoners or refugees; an exception is a "picnic" scene showing Ashurbanipal with his queen. The many beardless royal attendants can probably be assumed to be eunuchs, who ran much of the administration of the empire, unless they also have the shaved heads and very tall hats of priests. Kings are often accompanied by several courtiers, the closest to the king probably often being the appointed heir, who was not necessarily the oldest son.
The enormous scales of the palace schemes allowed narratives to be shown at an unprecedentedly expansive pace, making the sequence of events clear and allowing richly detailed depictions of the activities of large numbers of figures, not to be paralleled until the Roman narrative column reliefs of the Column of Trajan and Column of Marcus Aurelius.
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.
Per un gatto, di tutti i giochi nessuno è fatto meglio del proprio umano. E’ un giocattolo che può essere usato in molti modi e le parti che lo compongono possono essere orientate in ogni direzione. Viene consegnato completamente assemblato e quando gli si salta addosso emette dei suoni.
... 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 ♥
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 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.
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.
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.