Podcasts about albrecht d

Last year I went to an exhibition at the Städel museum in Frankfurt that was entitled Holbein and the Renaissance in the North. That is the elder Holbein, the father of the Holbein who came to England. This exhibition has now ended, but there is still a great summary available on the Städel website.Though obviously not present at the exhibition, one key focus was the Fugger chapel in the church of St. Anne in Augsburg, one of the earliest and most significant Renaissance building north of the Alps. I wanted to kick off this episode with this chapel and then move on to Holbein, Burgkmair etc. But as I dug deeper and deeper into the late 15th and early 16th century art in Southern Germany, the more connections and links emerged that I hope you will find as fascinating as I did.Links to artworks:Fugger chapel: Die Fuggerkapelle | St. Anna AugsburgRiemenschneider Heilig Blut Altar: The Altar of the Holy Blood | ReliquarianThe Hare: Young Hare, 1502 - Albrecht Durer - WikiArt.orgSchongauer St. Anthony: Martin Schongauer | Saint Anthony Tormented by Demons | The Metropolitan Museum of ArtRhinocerus: Albrecht Dürer | The Rhinoceros | The Metropolitan Museum of ArtRitter, Tod und Teufel and other works: Albrecht Dürer (1471–1528) - The Metropolitan Museum of ArtThe music for the show is Flute Sonata in E-flat major, H.545 by Carl Phillip Emmanuel Bach (or some claim it as BWV 1031 Johann Sebastian Bach) performed and arranged by Michel Rondeau under Common Creative Licence 3.0.As always:Homepage with maps, photos, transcripts and blog: www.historyofthegermans.comIf you wish to support the show go to: Support • History of the Germans PodcastFacebook: @HOTGPod Threads: @history_of_the_germans_podcastBluesky: @hotgpod.bsky.socialInstagram: history_of_the_germansTwitter: @germanshistoryTo make it easier for you to share the podcast, I have created separate playlists for some of the seasons that are set up as individual podcasts. they have the exact same episodes as in the History of the Germans, but they may be a helpful device for those who want to concentrate on only one season. So far I...

Im Jahr 1515 schenkte der portugiesische König Manuel I. dem Papst Leo X. ein Nashorn – das allerdings nie lebend in Rom ankam. Eine Beschreibung und eine Skizze des Tiers fielen allerdings Albrecht Dürer in die Hände. Sein „Rhinocerus“ prägte anschließend lange Zeit das Bild von Nashörnern in Europa. Bis ein niederländischer Kapitän ab 1746 mit dem Panzernashorn Clara zu einer Europa-Tour aufbrach. Wir sprechen in der Folge über Tiere als Statussymbole in fürstlichen Menagerien, Elefantendiplomatie und wie schließlich Wandermenagerien die Vorstellung von nicht-heimischen Tieren in Europa veränderten. //Erwähnte Folgen - GAG279: Muskat und Manhattan – https://gadg.fm/279 - GAG440: Eine Giraffe für den König – https://gadg.fm/440 - GAG204: Obaysch - das viktorianische Nilpferd – https://gadg.fm/204 - GAG373: Morocco und der Kluge Hans – https://gadg.fm/373 - GAG71: Wie die Kartoffel nach Europa kam (und alles veränderte) – https://gadg.fm/71 // Literatur - Silvio Bedini: The Pope's Elephant, 1997. - Louise E. Robbins: Elephant Slaves and Pampered Parrots: Exotic Animals in Eighteenth-Century Paris, 2002. - Glynis Ridley: Clara's Grand Tour: Die spektakuläre Reise mit einem Rhinozeros durch das Europa des 18. Jahrhunderts, 2005. - Laura Fuchs & Katrin Hirt: Ein Nashorn namens Clara, 2022. (Kinderbuch) //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Wir sind jetzt auch bei CampfireFM! Wer direkt in Folgen kommentieren will, Zusatzmaterial und Blicke hinter die Kulissen sehen will: einfach die App installieren und unserer Community beitreten: https://www.joincampfire.fm/podcasts/22 //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

Albrecht Dürer hat von dem „Rhinocerus“ einen Holzschnitt angefertigt. Gesehen hat er das Tier nie. Aber Dürer hatte einen Brief aus Lissabon, in dem das Tier beschrieben wird.

durée : 00:30:32 - Les Nuits de France Culture - par : Antoine Dhulster - Une méditation sur la mort de sa mère...? Le dernier épisode de la série "Dürer et l'ange de la mélancolie" s'intéresse au temple et son gardien incarné par l'ange et tente de comprendre la profondeur des symboles utilisés par l'artiste pour exprimer la rêverie, la mélancolie et la mort. - réalisation : Virginie Mourthé

durée : 00:29:56 - Les Nuits de France Culture - par : Antoine Dhulster - Que peut-on dire de l'ange et de l'angelot dans la "Melencolia" d'Albrecht Dürer ? Ce quatrième volet de la série "Dürer et l'ange de la mélancolie" analyse en détail les deux personnages principaux. Une interprétation chrétienne étonnante autour de la symbolique du chiffre et de l'ange Gabriel. - réalisation : Virginie Mourthé

durée : 00:29:17 - Les Nuits de France Culture - par : Antoine Dhulster - Que signifie la présence de l'encrier dans la "Melencolia" de Dürer ? Et celle de la sphère et des instruments de géométrie ? Ce troisième numéro de la série "Dürer et l'ange de la mélancolie" propose une relecture chrétienne étonnante de l'œuvre bien au-delà d'une simple interprétation humaniste. - réalisation : Virginie Mourthé

durée : 00:29:55 - Les Nuits de France Culture - par : Antoine Dhulster - Quel astre, quelles lumières traversent la "Melencolia" de Dürer ? Le deuxième volet de la série "Dürer et l'ange de la mélancolie", diffusée en 1982 sur France Culture, explore la complexité de l'espace saturnien, le rôle du polyèdre et du creuset, la présence du chien allongé aux pieds de l'ange. - réalisation : Virginie Mourthé

durée : 00:30:50 - Les Nuits de France Culture - par : Antoine Dhulster - "Les mélancoliques : un regard vers l'extérieur, des génies, de grands voyants". C'est ce regard mélancolique que Dürer exprime en 1514 dans sa "Melencolia". En 1982 France Culture décline une série "Dürer et l'ange de la mélancolie" à la (re)découverte de ce chef-d'œuvre étonnant de la Renaissance. - réalisation : Virginie Mourthé

Mokuhanga is carried by those with a desire to explore the medium to its fullest, to foray into uncharted territory, to educate many, and to draw more people to the art form. On this episode of The Unfinished Print, I speak with Vladimir Ivaneanu and Soetkin Everaert, co-founders of the Japanese print promotion project Mokuhanga Magic! We discuss how Mokuhanga Magic! began, exploring the mokuhanga journeys of both Soetkin and Vladimir, dive into the art of collaboration, share stories of their travels to Japan, and reflect on the current state of mokuhanga today. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me andrezadorozny@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Mokuhanga Magic! - website Emil Nolde (1867–1956) was a German-Danish Expressionist known for his bold use of colour, deep interest in spirituality and the human condition. As a printmaker, Nolde was a pioneering figure in early 20th-century German art, producing powerful woodcuts, etchings, and lithographs that often explored biblical themes, folklore, and dramatic human expressions. Despite being banned by the Nazi regime—who labeled his work as "degenerate art"—Nolde continued to create in secret. Nolde's printmaking helped shape the visual language of German Expressionism and influenced generations of artists. Durchbrechendes Licht (Light Breaking Through), 1950 oil on canvas 68.5 x 88.5 cm MEXT (Mombukagakusho) Scholarship is a prestigious academic scholarship offered by the Japanese Ministry of Education, Culture, Sports, Science and Technology to support international students studying in Japan. Established in 1954, it provides funding for various academic levels, including undergraduate, graduate, vocational, and research programs. The scholarship covers tuition, a monthly stipend, and round-trip airfare. Students can apply either through Japanese embassies (Embassy Recommendation) or directly through Japanese universities (University Recommendation). It aims to promote international exchange and has supported over 65,000 students from around the world. Paul Furneaux  is a Scottish born mokuhanga printmaker and teacher who uses the medium of mokuhanga creating pieces of work that are third dimensional, abstract and sculptural. Little Loch (Lochin) 47 x 36 cm Variable edition of 10 Nagasawa Art Park (MI Lab) Awaji City - Nagasawa Art Park was an artist-in-residence program located in Awaji City, Hyōgo Prefecture, Japan. It was open for 12 years before evolving into MI Lab in 2012. More info, here.  Tintin is a fictional character and the protagonist of The Adventures of Tintin, a comic book series created by Belgian cartoonist Hergé (1907-1983) (the pen name of Georges Remi). First appearing in 1929, Tintin is a young Belgian reporter and adventurer who travels the world, often finding himself embroiled in dangerous plots, solving mysteries, and fighting injustice. The series became internationally beloved for its clean graphic style, detailed research, and engaging storytelling, making Tintin one of the most iconic comic book characters of the 20th century. MI Lab  is a mokuhanga artists residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here.  manga is a style of Japanese comic books and graphic novels that encompasses a wide range of genres and themes, appealing to audiences of all ages. Typically published in black and white, manga is known for its distinctive art style, expressive characters, and cinematic storytelling. It is often serialized in magazines before being collected into volumes called tankōbon. Manga covers everything from action, romance, and fantasy to slice-of-life, horror, and science fiction. It has deep cultural roots in Japan but has gained massive popularity worldwide, influencing global comic art and animation, and serving as the foundation for many anime adaptations. hanmoto system  is the Edo Period (1603-1868) collaboration system of making woodblock prints in Japan. The system was about using, carvers, printers, and craftsmen by various print publishers in order to produce woodblock prints. The system consisted of the following professions; publisher, artist, carver, and printer. Motoharu Asaka - is a woodblock carver (horishi) and printer based in Shinjuku, Tōkyō Japan. website Tuula Moilanen - is a Finnish mokuhanga printmaker and painter based in Finland. She lived and studied in Kyōto from 1989 to 2012, where she learned her printmaking at Kyōto Seika University and from printmaker Akira Kurosaki (1937–2019). Her work can be found here. Her interview with The Unfinished Print: A Mokuhanga Podcast can be found here. Stake Out By the Bridge 21x30cm from Sea Lion Series (2023) Kari Laitinen - is a Finnish artist and printmaker based in Finland. His works explore colour and dimension. More information can be found, here. He helped write, with Tuula Moilanen, the book Woodblock Printmaking with Oil-based Inks and the Japanese Watercolour Woodcut. It was published in 1999. William Blake (1757–1827) was an English poet, painter, and printmaker known for his visionary and symbolic works that combined text and image. Though largely unrecognized in his lifetime, he is now celebrated as a key figure of the Romantic era. His major works, such as Songs of Innocence and of Experience and The Marriage of Heaven and Hell, explore themes of spirituality, imagination, and social critique. Blake's unique style and integration of poetry and visual art have made him a lasting influence on both literature and art. Keiko Kadota (1942-2017) - was the director of Nagasawa Art Park at Awaji City from 1997-2011, and then of MI Lab at Lake Kawaguchi from 2011 until her passing. Terry McKenna  is a mokuhanga printmaker and teacher residing in Karuizawa, Japan. He received guidance in the art form from Richard Steiner, a prominent mokuhanga printmaker based in Kyoto. Terry established the Karuizawa Mokuhanga School, a renowned residency dedicated to mokuhanga education, located in Karuizawa, Japan.  Further details about Terry and his school can be found, here. Additionally, you can listen to Terry's interview with The Unfinished Print: A Mokuhanga Podcast, here and Richard Steiner's interview here.  Storm Clearing Wattle Flat (2015) 8.6" x 14" Albrecht Dürer (1471–1528) was a German Renaissance artist known for his woodcuts, engravings, and detailed drawings. Based in Nuremberg, he brought international recognition to printmaking with works like Melencolia Iand The Four Horsemen of the Apocalypse. Dürer combined Northern European detail with Italian Renaissance ideals, influencing art across Europe and contributing to theories on proportion, perspective, and human anatomy. Michihamono  - is a tool manufacturer for woodblock printmaking as well as other woodworking. Located in Tōkyō. You can find their online store, here. © Popular Wheat Productions Opening and closing musical credit - background noise from Gyozanomanshu Kami Shakuji restaurant. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :)  Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***  

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Die apokalyptischen Reiter“ von Albrecht Dürer, gemalt vor 1511 – und 500 Jahre später erschreckend aktuell.

Onze huiscartoonist Lectrr vertelt hoe The Simpsons ervoor zorgden dat hij begon met tekenen, waarom hij de 16e-eeuwse kunstschilder Albrecht Dürer het liefst van al een pak slaag zou geven, en hoe de chaos van de Britse band The KLF hem inspireert om hetzelfde te doen. See omnystudio.com/listener for privacy information.

Onze huiscartoonist Lectrr vertelt hoe The Simpsons ervoor zorgden dat hij begon met tekenen, waarom hij de 16e-eeuwse kunstschilder Albrecht Dürer het liefst van al een pak slaag zou geven, en hoe de chaos van de Britse band The KLF hem inspireert om hetzelfde te doen. See omnystudio.com/listener for privacy information.

Tate Modern this week opened a vast exhibition exploring the life and work of the maverick Australian-born performance artist, fashion designer and self-styled “club monster”, Leigh Bowery, as well as the variety of cultural figures in his orbit in London. It coincides with other related London shows: one analysing the fashion work of Bowery and his collaborators and peers at the Fashion and Textile Museum, and another at the National Portrait Gallery about the style and culture magazine The Face, which emerged around the same time as Bowery set foot in the UK capital in the early 1980s. Ben Luke reviews the shows with Louisa Buck, The Art Newspaper's contemporary art correspondent. Three years on from Russia's invasion of Ukraine, and amid fraught international diplomacy following the US's abrupt shift in approach to the war under President Trump, we speak to Sophia Kishkovsky, our international correspondent who has widely reported on Russia and Ukraine, about how Ukraine's art world is responding to this new era. And this episode's Work of the Week is actually a pair of works made more than 400 years apart called The Women's Bath. The first is a woodcut based on a drawing by Albrecht Dürer from around 1500; the second a painting responding to it, made by the German artist Max Beckmann in 1919. They feature in an exhibition opening this week at the National Museum in Oslo, Gothic Modern: From Darkness to Light. Cynthia Osiecki, a curator at the museum, tells us more.Leigh Bowery!, Tate Modern, until 31 August; Outlaws: Fashion Renegades of 80s London, Fashion and Textile Museum, London, until 9 March; The Face Magazine: Culture Shift, National Portrait Gallery, London, until 18 May.Gothic Modern: From Darkness to Light, National Museum, Oslo, 28 February-15 June.Subscription offer: enjoy 3 issues of The Art Newspaper for just £3/$3/€3—subscribe before 21 March to start your subscription with the April bumper issue including our Visitor Figures 2024 report and an EXPO Chicago special. Subscribe here. https://www.theartnewspaper.com/subscriptions-3FOR3?utm_source=podcast&promocode=3FOR3 Hosted on Acast. See acast.com/privacy for more information.

Wir machen in dieser Folge einen kleinen Galopp durch die Jahrtausende, und sehen uns an, wie sich Menschen von der Frühgeschichte bis ins 20. Jahrhundert gereinigt haben. Dabei sprechen wir über äußere und innere Reinigung, warum im antiken Griechenland eine regelrechte Hygienewissenschaft entstand und weshalb sich manche Gläubige im Mittelalter absichtlich von Insekten anfressen ließen. // Erwähnte Folgen - GAG36: Eine sehr kurze Geschichte des Deodorants – https://gadg.fm/36 - GAG462: Die Schlacht an den Thermopylen oder Das erste letzte Gefecht der Geschichte – https://gadg.fm/432 - GAG472: Die Antoninische Pest – https://gadg.fm/472 - GAG466: Julia Felix und das Ende Pompejis – https://gadg.fm/466 - GAG73: Ludwig XIV. und seine pikante Operation – https://gadg.fm/73 - GAG314: Eine kurze Geschichte der Cholera – https://gadg.fm/314 - GAG23: Ziemlich beste Feindschaft oder Die Anfänge der Bakteriologie – https://gadg.fm/23 - GAG263: Lavoisier und die Entdeckung des Sauerstoffs – https://gadg.fm/263 // Literatur - Curtis, Valerie A. „Dirt, Disgust and Disease: A Natural History of Hygiene“. Journal of Epidemiology and Community Health 61, Nr. 8 (August 2007): 660–64. https://doi.org/10.1136/jech.2007.062380. - History Today. „The Flies, Fleas and Rotting Flesh of Medieval Monks“. Zugegriffen 17. Februar 2025. https://www.historytoday.com/archive/feature/flies-fleas-and-rotting-flesh-medieval-monks. - Virginia Smith. Clean: A History of Personal Hygiene and Purity. OUP Oxford, 2007. Das Episodenbild zeigt einen Ausschnitt des in der Folge erwähnten Stichs von Albrecht Dürer "Das Männerbad". Alle Infos zu Fragen und Audiobeiträgen für die 500. Folge gibt's hier: https://www.geschichte.fm/allgemein/jubilaeumsfolge-gag500/ //Aus unserer Werbung Du möchtest mehr über unsere Werbepartner erfahren? Hier findest du alle Infos & Rabatte: https://linktr.ee/GeschichtenausderGeschichte //Wir haben auch ein Buch geschrieben: Wer es erwerben will, es ist überall im Handel, aber auch direkt über den Verlag zu erwerben: https://www.piper.de/buecher/geschichten-aus-der-geschichte-isbn-978-3-492-06363-0 Wer Becher, T-Shirts oder Hoodies erwerben will: Die gibt's unter https://geschichte.shop Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady oder ein Abo des GeschichteFM-Plus Kanals auf Apple Podcasts tun. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts oder wo auch immer dies möglich ist rezensiert oder bewertet. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt! Du möchtest Werbung in diesem Podcast schalten? Dann erfahre hier mehr über die Werbemöglichkeiten bei Seven.One Audio: https://www.seven.one/portfolio/sevenone-audio

Immer mehr Stadttauben in Wiesbaden, bei der Juniorwahl an der Albrecht-Dürer-Schule gewinnt Die Linke und CDU-Chef Friedrich Merz setzt auf einen schnellen Start der Koalitionsverhandlungen mit der SPD. Das und mehr heute im Podcast. Alle Hintergründe zu den Nachrichten des Tages finden Sie hier: https://www.wiesbadener-kurier.de/lokales/wiesbaden/stadt-wiesbaden/nicht-genug-taubenschlaege-wiesbadener-tauben-werden-sterilisiert-4360325 https://www.wiesbadener-kurier.de/lokales/wiesbaden/stadt-wiesbaden/gruene-verlieren-linke-gewinnt-juniorwahl-der-duerer-schule-4414279 https://www.wiesbadener-kurier.de/lokales/kreis-rheingau-taunus/taunusstein-kreis-rheingau-taunus/wehener-traditionsbetrieb-cafe-schrank-bleibt-erhalten-4376314 https://www.wiesbadener-kurier.de/politik/politik-deutschland/nach-der-bundestagswahl-alle-entwicklungen-im-liveticker-4413950 https://www.wiesbadener-kurier.de/lokales/kreis-rheingau-taunus/ruedesheim-kreis-rheingau-taunus/glasfaser-telekom-stoppt-ausbauplaene-in-oestrich-winkel-4414918 Ein Angebot der VRM.

In this episode of Platemark, Ann talks with Susan Dackerman, a curator and art historian specializing in Northern European print culture. They discuss Susan's recent book, Dürer's Knots: Early European Print and the Islamic East, which looks at the artist's relationship to the Islamic world, revealing groundbreaking insights about the intersection of early modern printmaking and contemporary history.  Susan's book covers three of Dürer's prints or print series. The first section looks at The Sea Monster (Das Meerwunder), c. 1498, and postulates that it chronicles the return to Venice of Caterina Cornado following her forced abdication as the last queen of Cyprus in 1489. Susan pieces together the narrative, which often claims to be about the abduction of a woman on the fins of Neptune. The second section looks at a series of six woodcuts Dürer made to mimic the designs of silver inlay found in Mamluk brass bowls. Susan has an intriguing theory about the Knots's connection to a set of engravings by none other than Leonardo da Vinci. The final section looks at the iron etching Landscape with a Cannon, 1518, and answers the question why make this image as an etching rather than an engraving. The book challenges traditional narratives and recasts Dürer's prints that reference the Islamic East as much more nuanced and reflective of contemporaneous history. Susan's book is clear, concise, and thoughtful, and well worth the read. Platemark website Sign-up for Platemark emails Leave a 5-star review Support the show Get your Platemark merch Check out Platemark on Instagram Join our Platemark group on Facebook Susan's IG https://www.instagram.com/susanmdackerman/ Susan Dackerman. Dürer's Knots: Early European Print and the Islamic East. Princeton, NJ: Princeton University Press, 2024. https://press.princeton.edu/books/hardcover/9780691250441/durers-knots?srsltid=AfmBOoo2o2yjJJeOlkdsXIURAOdx595jWpEKkUllE8jpzXRidPeYLEG8 Susan Dackerman. The Painted Print: The Revelation of Color. University Park, PA: Penn State University Press, 2002. https://www.psupress.org/books/titles/0-271-02234-5.html Albrecht Dürer (German, 1471–1528). Sea Monster (Das Meerwunder), c. 1498. Engraving. Sheet (trimmed to platemark): 24.7 x 18.8 cm. (9 3/4 x 7 3/8 in.). National Gallery of Art, Washington, D.C. Albrecht Dürer (German, 1471–1528). The First Knot (with a heart-shaped shield), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C. Albrecht Dürer (German, 1471–1528). The Third Knot (with a black circle on a white medallion), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C. Albrecht Dürer (German, 1471–1528). The Sixth Knot (combining seven small systems of knots with black centers), probably 1506/1507. Woodcut. National Gallery of Art, Washington, D.C. Attributed to Leonardo da Vinci (Italian 1452–1519). The Fifth Knot (Interlaced Roundel with Seven Six-pointed Stars), c. 1498. Engraving. Plate: 10 3/8 × 7 13/16 in. (26.4 × 19.8 cm.). Metropolitan Museum of Art, New York. Albrecht Dürer (German, 1471–1528). Landscape with the Cannon, 1518. Etching (iron). Sheet (trimmed to image): 21.9 × 32.2 cm. (8 5/8 × 12 11/16 in.). National Gallery of Art, Washington, D.C.  

Giuseppe Castellano talks to Skylar Smith, Professor of Liberal Arts at the Ringling College of Art and Design, about why there's no time like the present to start learning about illustration history; whether an illustration is fully complete without the interpretation of an audience; what Generative AI and a lawsuit by Albrecht Dürer have in common; and more.You can find Skylar on LinkedIn.Artists mentioned in this episode include: Jules Feiffer, Norman Rockwell, George Petty, Miné Okubo, Arthur Szyk, J.C. Leyendecker, Al Parker, Saul Tepper, Norman Bridwell, Beatrix Potter, Todd McFarlane, James Montgomery Flagg, Seymour Chwast, Hilary Knight, Ashley Bryan, Tomi Ungerer, Tex Avery, Eric Carle, George Herriman, Caravaggio, and Albrecht Dürer If you find value in this podcast, consider supporting it via Substack or Patreon. Among other benefits, you will gain access to bonus episodes we call “Extra Credit”. | Visit illustrationdept.com for offerings like mentorships and portfolio reviews, testimonials, our alumni showcase, our best-selling Substack, and more. | Music for the podcast was created by Oatmello.

Die Stadtbibliothek Nürnberg ist eine der ältesten Einrichtungen ihrer Art im deutschen Sprachraum. Die hier aufbewahrten Sammlungen sind von ihrer ersten Erwähnung im Jahr 1370 bis in die Gegenwart kontinuierlich gewachsen. Darunter befinden sich wertvolle Kulturgüter wie alte und prächtige Handschriften oder Briefe von Albrecht Dürer. Ein Rundgang im Magazin mit Dr. Christine Sauer der Leiterin der historisch-wissenschaftlichen Abteilung.Unsere allgemeinen Datenschutzrichtlinien finden Sie unter https://art19.com/privacy. Die Datenschutzrichtlinien für Kalifornien sind unter https://art19.com/privacy#do-not-sell-my-info abrufbar.

E aí, tudo bem? Seja muito bem vindo, muito bem vinda ao Esse dia foi Loko, um maravilhoso programa de História Esse episódio tratará sobre como os europeus entendiam a América e seus habitantes. Nós vamos nos ocupar em entender quais eram as ideias que os europeus mobilizaram para entender os povos da América. Para isso começaremos a falar sobre como a América e seu povo foi visto ora como puros e sem pecado, ora como selvagem e diabólico. Vamos analisar algumas imagens e leremos alguns relatos para mostrar o que eles entendiam por essa América paradisíaca e essa humanidade diabólica. Por fim, vamos ler uns trechos da carta de Pero Vaz de Caminha, o primeiro relato português sobre as terras do Brasil. Links das imagens: Imagem 2: Vasco Fernandes (atribuído), A Adoração dos Magos, óleo sobre madeira de carvalho de 134 x 82 cm. Museu de Grão Vasco. Viseu, 1501-1506. https://upload.wikimedia.org/wikipedia/commons/c/c1/Vasco_Fernandes_%28Gr%C3%A3o_Vasco%29_Adora%C3%A7%C3%A3o_dos_Reis_Magos_-_1501-6_%28Museu_de_Gr%C3%A3o_Vasco%29_Viseu%2C_Portugal.jpg Imagem 3: Albrecht Dürer. Adão e Eva ou a Queda do homem. Gravura, 1504 https://upload.wikimedia.org/wikipedia/commons/a/ab/Albrecht_D%C3%BCrer%2C_Adam_and_Eve%2C_1504%2C_Engraving.jpg Imagem 4: A Tentação de Eva. Tapeçaria flamenga. Galeria dell Accademia. Florença/Itália, pintada em meados do século XVI. https://drive.google.com/file/d/1XtmZyhRS1vj_WIRhXHz0zN-7tEeuRF3N/view?usp=sharing Imagem 5: Canibais de Theodore Bry, 1593, a partir de relatos de Hans Staden sobre suas viagens ao Brasil - https://drive.google.com/file/d/12rpAWUTTNWoNNcOFamqmmuIrynhXuS3a/view?usp=sharing Imagem 6: Uitzliputzili, Ídolo dos Mexicanos (La Galérie Agréable du Monde, séc. XVIII) - https://drive.google.com/file/d/10W4ylpi1lGKw1WCxwsZ_5W5fA90P7rTW/view?usp=sharing Imagem 7: Culto e outros exercícios de religião entre os Floridains (La Galérie Agréable du Monde, séc. XVIII) - https://drive.google.com/file/d/113XGEMdGp_a5RABX4DQRZB-CiOBrTjD0/view?usp=sharing Imagem 8: Uichitabuchichi, abominvel ídolo de mármore em uma igreja da cidade de Tenustitan, na América (La Galérie Agréable du Monde, séc. XVIII) - https://drive.google.com/file/d/1_oXXD8kKFtxzNnCnZ1FmvMiYz3vmaq7Q/view?usp=sharing Espero que você goste do episódio e se você gosta do programa, siga-me no Instagram: o @ é essediafoi.loko

Join us on a captivating journey through the life and work of Albrecht Dürer, a pivotal figure in the Northern Renaissance. Born in Nuremberg, Dürer made a name for himself across Europe with his exceptional woodcut prints by his twenties. His extensive portfolio includes engravings, altarpieces, and portraits, with renowned pieces such as the Apocalypse series and the Rhinoceros. Explore the rich tapestry of Dürer's influences, from his early training in his father's goldsmith workshop to his apprenticeship with the painter Michael Wolgemut. His work is a testament to his meticulous attention to detail and his commitment to accurately depicting the human and animal form. Dürer's art also reflects the broader religious and cultural shifts of his time, particularly the impact of the Reformation on artistic expression. Discover how Dürer stands among illustrious contemporaries like Leonardo da Vinci, Michelangelo, and Martin Luther, each shaping the era's cultural, religious, and political landscape. Dürer's theoretical writings on mathematics and proportions further cement his legacy as a key figure in art history, blending Northern European detail with Italian Renaissance ideals. Delve into the spiritual dimensions of Dürer's art, where his focus on religious themes resonates with the values of Reformed Christianity. His life's work offers a fascinating insight into the intersection of art, religion, and culture during the Renaissance. Thank you for joining us at The Wandering Pilgrims. If you enjoyed this episode and wish to support our mission to create more content, you can support us here: Buy Me a Coffee: buymeacoffee.com/wanderingpilgrims Patreon: patreon.com/TheWanderingPilgrims Shop: teespring.com/stores/the-wandering-pilgrims Our Website: www.thewanderingpilgrims.com Connect with us on social media for more content: Instagram: instagram.com/thewanderingpilgrims Facebook: facebook.com/The-Wandering-Pilgrims YouTube: youtube.com/channel/UCbvMuDo9dpaQ0Bu71lRRiQw Twitter: @WanderPilgrims Truth Social: @wanderingpilgrims

Jeff Wall talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work.Wall—who was born in 1946 in Vancouver, Canada, where he still lives, though he also works in Los Angeles—makes photographs but aspires to approach his medium with the freedom, range and openness taken for granted by other artforms. Presented on a large scale, his images are enormously varied, from those that are close to reportage; to what he calls “near-documentary” images—tableaux, where he recreates a scene he has witnessed in reality with actors; to elaborately staged environments responding to art or literature; and even what he calls “hallucinations”. Crucially, he has used the term “cinematographic” to describe his approach, in that his pictures use different degrees of preparation and processing before he presses the shutter and afterwards, thereby applying what Jeff has called “aspects of the arts of dramatisation” to the pictorial practice of still photography. Because of this, his work has long had a fascinating philosophical relationship with truth and reality—two key cornerstones of orthodox claims for his medium's potency—and what Wall has called “blatant artifice”. Initially famous for the technique he pioneered in the art world of presenting vast transparencies on lightboxes, he now mostly works with prints, on a similar scale, in both colour and black and white. As he has engaged closely with the history of art, books and film, Jeff has used the term “prose poems” to describe his photographs: that form's complex structures and language and ability to conjure broad constellations of meanings, perfectly describe his art and how we experience it. He discusses how comics and Bruegel were his earliest visual inspirations, talks about his responses to historic works by Katsushika Hokusai and Albrecht Dürer, reflects on the “accidents while reading” that have led him to make images responding to literary works by Franz Kafka and Yukio Mishima, among others. Plus he answers some of our usual questions, including the ultimate, “what is art for?”Jeff Wall: Life in Pictures, White Cube Bermondsey, London until 12 January 2025; Museum of Art, Architecture and Technology, Lisbon, Portugal, April-August 2025. Hosted on Acast. See acast.com/privacy for more information.

We zien Erasmus staand achter zijn lessenaar, schrijvend, tussen de boeken zoals je verwacht van een geleerde zoals hij. Albrecht Dürer maakte deze gravure zes jaar nadat hij Erasmus had ontmoet. Waarom pas na zo'n lange tijd? En is dit portret een beeld van een hooggeleerde Erasmus die druk bezig is met nieuwe, inspirerende ideeën. Of laat het juist een beeld zien van een oude geleerde die zijn beste tijd gehad heeft en alleen nog maar in zijn boeken bestaat?

Damião de Góis (1502-1574) foi um proeminente humanista português, historiador, diplomata e figura central do Renascimento. A sua vasta cultura e espírito crítico fizeram dele uma ponte entre Portugal e a Europa culta do século XVI. Góis conviveu com grandes nomes como Erasmo de Roterdão, Albrecht Dürer e outros intelectuais de renome, absorvendo e difundindo o conhecimento da época.

Merriam-Webster's Word of the Day for November 1, 2024 is: hatching • HATCH-ing • noun Hatching refers to the drawing or engraving of lines close together as a method of shading, or to a pattern so created. // The artist uses hatching to breathe life into her comics. // The hatching adds depth to the illustration. See the entry > Examples: "During the second half of the 19th century, drawing achieved a higher status. No longer merely a preparatory tool, nor merely just a method for training of the eye, it gained a new autonomy.... Pastel became popular at this time partly because it was easily portable and versatile, capable of supporting lively hatching as well as silky smoothness." — Frances Spalding, Apollo, 12 Feb. 2024 Did you know? Hatching refers to the drawing or engraving of lines close together as a method of shading. The closer the lines, the darker the impression that is created. When the lines are drawn at an angle so as to intersect one another, that is called cross-hatching. One notable artist who drew on this technique is John Tenniel, the illustrator of Lewis Carroll's 1865 novel Alice's Adventures in Wonderland. Another is Albrecht Dürer, whose sketches have been celebrated for their adept use of cross-hatching to indicate foreshortening (an appearance of something, such as a subject's nose, as shortened due to its being pointed toward the viewer). The word hatching is a gerund of the verb hatch, which in turn comes from the Middle French hacher, meaning "to chop, slice up, or incise with fine lines." If hatching isn't your preferred style of shading, you might also consider stippling or blending.

In dieser Episode von Habsburg to go! reisen wir nach Mechelen in Belgien, wo sich die beeindruckende Geschichte einer außergewöhnlichen Frau entfaltet: Margarete von Österreich.Die Tochter von Kaiser Maximilian I., Witwe von zwei Ehemännern und nie selbst Königin – aber dennoch eine der einflussreichsten politischen Figuren Europas im 16. Jahrhundert. Aus ihrem Palast in Mechelen lenkte Margarete als Regentin der habsburgischen Niederlande die Geschicke Europas und stellte dabei heimlich die Weichen der Weltgeschichte.Wie konnte Margarete – in einer von Männern dominierten Welt – zu einer der größten Diplomatinnen ihrer Zeit werden? Welche Entscheidungen traf sie hinter den verschlossenen Türen ihres Palastes? Und welche Rolle spielte sie in den großen Friedensverhandlungen, die Europa formten?In dieser Folge erfahrt ihr:Wie Margarete durch persönliche Schicksalsschläge zur politischen Machtfrau wurde.Warum ihr Palast in Mechelen ein kulturelles und diplomatisches Zentrum war.Wie Margarete mit dem Damenfrieden von Cambrai 1529 den Lauf der Geschichte beeinflusste.Und welche beeindruckenden Persönlichkeiten – darunter Albrecht Dürer und Karl V. – ihren Weg kreuzten.Taucht mit uns ein in die Geschichte einer Frau, die als Regentin, Diplomatin und Kunstmäzenin eine zentrale Rolle im europäischen Machtspiel spielte. Erfahrt, wie Margarete von Österreich aus dem beschaulichen Mechelen heraus die Fäden zog und in die Geschichte einging. Hört jetzt rein und entdeckt die Geschichte einer Frau, die mehr war als nur ein Habsburger Name!Und hier noch ein paar interessante Links und Infos zur heutigen Geschichte:Margarete von Österreich Margaretenpalast Mechelen Hier findet ihr weitere spannende Folgen, die zum Thema passen:#004 - Brügge sehen ... und sterben (1482)

Latinets historia är en berättelse om ett språks uppgång, storhetstid och gradvisa omvandling från ett levande kommunikationsmedel till ett kulturellt arv. Från sina rötter i det antika Rom har latinet format europeisk kultur, vetenskap, religion och tänkande på ett sätt som få andra språk kan mäta sig med.Det var strävan att återskapa latinet från dess antika guldålder som gjorde det allt svårare att lära sig latin och med tiden skulle folkspråken ta över allt mer, även om det inom vetenskapen användes ända in på 1900-talet.I detta är det andra av två avsnitt om Latinets utveckling. I podden Historia Nu samtalar programledaren Urban Lindstedt med Karin Westin Tikkanen, journalist och docent i latin. Hon är aktuell med boken Latin – En handbok i odödlighet.Under medeltiden var latin det dominerande språket för lärdom och kommunikation i Europa. Det användes flitigt inom kyrkan, på skolor och universitet, samt för administration och historieskrivning. Latinet fungerade inte bara som ett funktionsspråk utan fortsatte att utveckla arvet från antiken och skapa ny litteratur.Karl den store (742-814) initierade en omfattande språkreform i sitt rike. I Aachen etablerades en skola ledd av Alkuin, som arbetade för att återupprätta ett "rent" latin baserat på klassiska förebilder. Detta bidrog till att bevara mycket av den antika latinska litteraturen.Under renässansen uppstod en rörelse kallad ciceronianismen, som strävade efter att återskapa Ciceros eleganta latinsk prosa. Detta ledde till intensiva debatter om hur man bäst kunde imitera de klassiska författarna.Med grundandet av de första universiteten på 1100-talet befästes latinets ställning som det akademiska språket par excellence. All högre utbildning skedde på latin, vilket skapade en internationell lärd gemenskap över hela Europa.Men när latinisterna under renässansen ville återskapa det klassiska latinet blev det början till slutet på latin som ett brett använt lingua franca i Europa eftersom det blev svårare att lära sig. Inom vetenskapen fortsatte latinet att spela en avgörande roll. Carl von Linné revolutionerade taxonomin genom att introducera ett systematiskt sätt att klassificera och namnge naturen på latin. Hans verk "Systema Naturae" lade grunden för modern botanik och zoologi. Linnés system används fortfarande globalt, vilket visar latinets bestående betydelse inom vetenskapen.Latinets inflytande sträckte sig långt in i modern tid. Det förblev det självklara lärdomsspråket för poeter, författare, vetenskapsmän och diplomater.Latinets "odödlighet" ligger kanske just i dess förmåga att transcendera sin ursprungliga funktion som ett kommunikationsmedel och istället bli en symbol för lärdom, kultur och en gemensam europeisk identitet. På så sätt förblir latinet, som någon en gång uttryckte det, inte dött, utan har snarare "upphört att vara dödligt".Bild: En skrivande Erasmus porträtterad av Albrecht Dürer (1526). Wikipedia, Public Domain.Musik: Italian Renaissance Court av Yagull Music, Yagull Music, Storyblock AudioKlippare: Emanuel Lehtonen Vill du stödja podden och samtidigt höra ännu mer av Historia Nu? Gå med i vårt gille genom att klicka här: https://plus.acast.com/s/historianu-med-urban-lindstedt. Hosted on Acast. See acast.com/privacy for more information.

Click Here to Text us Fan Mail! This week on Tournament Style, we're deep into Sketch-tember and the laughs keep coming! Guillermo and Austin tackle a jam-packed episode with a mix of hilarious sketches and one epic bracket. First, we bring you a film noir-inspired scene featuring Sam, our favorite Time Travel Agent, as he finds himself solving a mystery in Paris involving the Loch Ness Monster, a suspicious femme fatale, and a guy with a neck as thin as a pencil. Plus, Peso Pluma makes an appearance in a wild scenario you won't see coming!In this week's tournament, we're ranking the Best Drawings in the World, from a funny horse by Picasso to some of the wildest sketches ever made. Who will claim the title of artistic supremacy? Tune in to find out!1 Vitruvian Man by Leonardo da Vinci.2 Praying Hands by Albrecht Dürer.3 Two Figures by Michelangelo.4 Study for St. Paul Preaching in Athens by Raphael.5 Road in Etten by Vincent van Gogh.6 Sitting Woman by Egon Schiele.7 Drawing of a Horse by Pablo Picasso.8 My Portrait as a Skeleton by James Ensor.

Das Mainzer Landesmuseum unterhält die größte Grafiksammlung in Rheinland-Pfalz. In der Sonderausstellung „Curator's Choice“ gibt es Highlights von Albrecht Dürer, William Turner, Max Beckmann, Käthe Kollwitz oder Thilo Weckmüller zu sehen.

La voce di un matematico che guida il pubblico alla scoperta di opere d'arte? Capita, quando si parla del genio creativo di Piero della Francesca e lo scienziato è un grande divulgatore contemporaneo come Piergiorgio Odifreddi. Lo studioso di principi logici è infatti la voce guida (e membro del comitato scientifico) per la mostra «Piero della Francesca. Il disegno tra arte e scienza», ospitata a Palazzo Magnani di Reggio Emilia , dal 14 marzo al 14 giugno 2015. Un evento che mette sotto una nuova luce il talento matematico dell'artista, ricordato in tutti i manuali di storia dell'arte per quel suo trattato, «De prospectiva pingendi», che rivoluzionò il modo di pensare alle rappresentazioni pittoriche.  Il percorso espositivo riunisce l'intero corpus grafico e teorico di Piero della Francesca, tra cui i sette esemplari, tra latini e volgari, del De Prospectiva Pingendi. Ma questo è solo il punto di partenza per un viaggio attraverso l'arte del Quattrocento e del Cinquecento, passando in rassegna i capolavori, sia dipinti che carte, di maestri quali Lorenzo Ghiberti, Ercole de' Roberti, Domenico Ghirlandaio, Giovanni Bellini, Albrecht Dürer, Amico Aspertini e Michelangelo. Poi accanto alle opere (un centinaio tra dipinti, disegni, manoscritti, opere a stampa, incisioni, sculture, tarsie, maioliche e medaglie) la mostra presenta i modelli tridimensionali, realizzati per l'occasione, che traducono nello spazio i disegni del trattato di Piero della Francesca e la riproduzione degli strumenti che si trovavano nella bottega di un artista del Rinascimento per realizzare gli effetti dell'anamorfosi o della proiezione delle ombre. Odifreddi ha curato l'audioguida della mostra, in 25 brevi interventi. In questo episodio vi proponiamo i rimanenti 13.

La voce di un matematico che guida il pubblico alla scoperta di opere d'arte? Capita, quando si parla del genio creativo di Piero della Francesca e lo scienziato è un grande divulgatore contemporaneo come Piergiorgio Odifreddi. Lo studioso di principi logici è infatti la voce guida (e membro del comitato scientifico) per la mostra «Piero della Francesca. Il disegno tra arte e scienza», ospitata a Palazzo Magnani di Reggio Emilia , dal 14 marzo al 14 giugno 2015. Un evento che mette sotto una nuova luce il talento matematico dell'artista, ricordato in tutti i manuali di storia dell'arte per quel suo trattato, «De prospectiva pingendi», che rivoluzionò il modo di pensare alle rappresentazioni pittoriche. Il percorso espositivo riunisce l'intero corpus grafico e teorico di Piero della Francesca, tra cui i sette esemplari, tra latini e volgari, del De Prospectiva Pingendi. Ma questo è solo il punto di partenza per un viaggio attraverso l'arte del Quattrocento e del Cinquecento, passando in rassegna i capolavori, sia dipinti che carte, di maestri quali Lorenzo Ghiberti, Ercole de' Roberti, Domenico Ghirlandaio, Giovanni Bellini, Albrecht Dürer, Amico Aspertini e Michelangelo. Poi accanto alle opere (un centinaio tra dipinti, disegni, manoscritti, opere a stampa, incisioni, sculture, tarsie, maioliche e medaglie) la mostra presenta i modelli tridimensionali, realizzati per l'occasione, che traducono nello spazio i disegni del trattato di Piero della Francesca e la riproduzione degli strumenti che si trovavano nella bottega di un artista del Rinascimento per realizzare gli effetti dell'anamorfosi o della proiezione delle ombre. Odifreddi ha curato l'audioguida della mostra, in 25 brevi interventi. In questo episodio vi proponiamo i primi 12.

waarin we zien hoe Habsburgers de Bourgondische fakkel overnemen en dynastiek wedervaren een kleine prins Karel naar de top van de macht katapulteert.WIJ ZIJN: Jonas Goossenaerts (inhoud en vertelstem), Filip Vekemans (montage), Benjamin Goyvaerts (inhoud) en Laurent Poschet (inhoud).MET BIJDRAGEN VAN: Prof. dr. Anne-Laure Van Bruaene (specialist vroegmoderne geschiedenis - UGent), Laurens Luyten (vertelstem intro, Albrecht Dürer), Tessy Oluyn (Margaretha van Oostenrijk), Joris Capenberghs (Keizer Karel).In samenwerking met Museum Hof van Busleyden - Mechelen.WIL JE ONS EEN FOOI GEVEN? http://fooienpod.com/geschiedenisvoorherbeginners. Al schenkt u tien cent of tien euro, het duurt tien seconden met een handige QR-codeWIL JE ADVERTEREN IN DEZE PODCAST? Neem dan contact op met adverteren@dagennacht.nlMEER WETEN? Onze geraadpleegde en geciteerde bronnen: Barnard, B., & Van Istendael, G. (2007). Een geschiedenis van België. Meulenhoff/Manteau. Antwerpen. Beyen, M., Pollmann, J., & te Velde, H. (2017). De Lage Landen. Een geschiedenis voor vandaag. Amsterdam University Press. Amsterdam. Blockmans, W. (1999). Karel V, keizer van een wereldrijk. Houtekiet. Antwerpen. De Cock, J. (1994). Margaretha van Oostenrijk, de parel van Bourgondië. Lannoo. Tielt. Deneckere, G., De Wever, B., & De Paepe, T. (2010). Een geschiedenis van België. Lannoo. Tielt. Graddesz Hellinga, G. (1994). Karel V, bondgenoten en tegenstanders. Fibula-Van Dishoeck. Haarmlem. Leitner, T. (1995). Margaretha en Maria, landvoogdessen der Nederlanden. Standaard Uitgeverij. Antwerpen. Parker, G. (2019). Emperor: A new life of Charles V. Yale University Press. New Haven, CT. Rady, M. (2020). The Habsburgs: The rise and fall of a world power. Basic Books.New York, NY. Vanthemsche, G., & De Peuter, R. (2015). België. 2000 jaar geschiedenis. Lannoo. Tielt. Van Bruaene, A.-L., Blondé, B., & Boone, M. (2016). Gouden eeuwen: Stad en samenleving in de Lage Landen, 1100-1600. Academia Press. Gent.Beeld: Wikimedia CommonsZie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

HT1917 - The Fusion of Craft and Content We can't make artwork without craft, but craft without content is not art. When the two become fused, then there arises a magic that can take our breath away. I was reminded of this recently looking at some Albrecht Dürer original engravings. All 1900+ episodes of Here's a Thought . . . are available in their entirety to members of LensWork Online, our extensive resource library of our 30-year publishing history. Learn more about LensWork Online.

Jede Note solle ausgekostet werden, „als ob man Melancholie aus jeder einzelnen saugen wolle, mit Wollust und Behagen“, hat der rund 60-jährige Brahms über eines seiner späten Klavierstücke gesagt. Die offen eingestandene Schwermut des Komponisten stimulierte seine Kreativität – und drohte doch immer wieder in depressive Episoden überzugehen. Die traurige Gemütsstimmung, die in der so genannten Viersäftelehre mit einem Überschuss an schwarzer Galle erklärt wurde, hat in der europäischen Kulturgeschichte, insbesondere der Kunstgeschichte eine erstaunliche Karriere gemacht – von Albrecht Dürer bis W. G. Sebald. Doch was bedeutet sie im medizinischen Kontext? Was hat die moderne Psychotherapie zum Melancholie-Kult in Literatur, Kunst und Musik zu sagen? Katharina Eickhoff diskutiert mit Prof. Dr. Rainer M. Holm-Hadulla - Psychiater und Psychoanalytiker, Anna Lucia Richter - Mezzosopranistin

In this continuation of a season focused on the craft of writing in art history, Sara Houghteling (special projects coordinator in the Research and Academic Program) speaks to Shira Brisman, a historian of early modern art and assistant professor of the history of art at the University of Pennsylvania. Through the lens of her two books, the first on Albrecht Dürer, and the second, forthcoming, on the goldsmith Christoph Jamnitzer (1563–1618), Brisman explores how art can shape communities, and can either draw people together or divide them. She discusses the idea of a “craft” of writing, the impact of poetry on her own prose, and how an “off stage bibliography” can provide a generative set of thematic, linguistic, and structural alternatives that amplify one's understanding of their own scholarly writing projects.  

When it comes to the idea of longevity, my guest on this episode of The Unfinished Print has just that: the hard work and sacrifice to make a career in making mokuhanga, bringing the art form to people worldwide.    Today I speak with mokuhanga printmaker, graphic designer, and writer, Tuula Moilanen. Currently living in Finland, Tuula has made mokuhanga for almost 40 years and has been an essential part of the worldwide mokuhanga community, teaching, instructing and overseeing the art form's growth.   Tuula speaks about her twenty years in Japan, her teachers, and how she views her mokuhanga. We discuss creating work, social media, and the philosophy of art.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Publishers are given if known. Tuula Moilanen  - website Tetsuya Noda -is a respected printmaker and artist who works with photography, mokuhanga, and serigraphy (silkscreen). Was head of the printmaking department at the National Fine Arts and Music University in Tōkyō until 2006. More info can be found here.  Diary: Nov. 7th ‘68  (#1) 31 15/16" × 31" (1963-1976) Akira Kurosaki 黒崎彰 (1937-2019) - was one of the most influential woodblock print artists of the modern era. His work, while seemingly abstract, moved people with its vibrant colour and powerful composition. He was a teacher and invented the “Disc Baren,” which is a great baren to begin your mokuhanga journey with. At the 2021 Mokuhanga Conference in Nara, Japan there was a tribute exhibit of his life works. Azusa Gallery has a nice selection of his work, here.   Meeting of Comets (1980) 5.7"x 3.9"   Kyoto Seika University - is a private university based in Kyōto, Japan. It is a university focused on art and scholarship. More info, here.    nagashizuki - is a style of paper making in Japan. This way of making paper creates a strong, translucent paper good for multiple uses. For a more detailed analysis of creating this type of washi check out Awagami's description, here.    shodo -is the name attributed to calligraphy in the Japanese style, which involves writing characters using a brush and ink. mokulito - a type of lithography which incorporated woodblock. Artist Danielle Creenaune uses mokulito in her work. She has a fine detailed explanation on its uses, here.     shina - is a type of Japanese plywood used in mokuhanga. Not all shina is made equally, buyer beware.   Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs.   Taira Kiyomori from the series Meiko hyaku yuden 名高百勇傳 published by Izumiya Ichibei    Keizo Sato - is a mokuhanga printmaker who owns and operates a shop in Kyoto making reproductions of ukiyo-e prints. He has demonstrated at the International Mokuhanga Conference, in 2011. Has been associated with the Adachi Foundation of Woodblock Print Preservation.    takuhon - is a style of printmaking one in which the pigments are rubbed into the washi with a type of pad. Printmaking At Newcastle University on YouTube has a fine video about the process, here.    hyōgu - is a traditional Japanese process of mounting calligraphy and paper works such as paintings.   intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.     European woodcuts - woodcuts began in Europe in 1400; the woodcut/woodblock tradition has long been in Western Europe. These prints gained prominence during the late Middle Ages (500-14/1500 AD) and the Renaissance (14th Century - 17th Century AD), spreading visual information from religious iconography to political propaganda. Some famous artists we know today are Albrecht Dürer (1471-1528) and Titian (? - 1576).    © Popular Wheat Productions opening and closing musical credit - Put It Down by Otis McDonald, John Patittuci, and Mike Chiavarro, from their single Put It Down released on TrackTribe (2023) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                

Die Predigt beginnt mit einer Geschichte, die uns die Lesung plastisch machen soll, und ich rede dann über Albrecht Dürers Selbstportrait.

In s3e46, Platemark host Ann Shafer speaks with Reinis Gailitis, an engraver from Riga, Latvia. The magic of the internet is fully on display today. Without it, finding Reinis's work would have been challenging. But his self-portrait in the style of Claude Mellan's Holy Face, the one with a single line emanating from the subject's nose, is a marvel. Ann and Reinis talk about how engraving is simultaneously the most simple and direct of techniques while being the most difficult. They talk about tricks and tools shared by artists thanks to the internet: how to transfer a drawing onto a shiny copper plate for engraving (thanks, Andrew Raftery), what recipe to use for a darkened paste to fill already carved lines to see progress (thanks, Lembit Lõhmus), choosing a non-toxic solvent and trying out a custom tube of ink (thanks, Ad Stijnman), about non-toxic electrolytic etching (thanks, Jason Scuilla). They talk about the pitfalls of selling Intagram-worthy art, why there's little-to-no printmaking culture in Latvia, and about how overdue we are for a severe magnetic storm that could wipe out electronic media, documents, art pointing to the importance of printed objects.  Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis (Latvia, born 1992). Illustration for Alphabet of Latvian Culture, 2019. Digital drawing. Reinis Gailitis teaching engraving at the Art Academy, Riga, Latvia. Reinis Gailitis's plate with ink-paste in the engraved lines to help the artist see where they are. Reinis Gailitis engraving the copper plate Face Of... Reinis Gailitis (Latvian, born 1992). Engraved spiral perfection. Halftone rake tool (intaglioprintmaker.com). Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London. [DETAIL] Unknown engraver after Jacob Matham (Dutch, 1571–1631) after Abraham Bloemaert (Dutch, 1564–1651). Landscape with the Parable of the Tares, 1605. Engraving. Sheet: 38 x 50.5 cm. British Museum, London. Stanley William Hayter (English, 1901–1988). Cinq Personnages, 1946. Engraving and softground etching (trial proof prior to color additions). Baltimore Museum of Art, Baltimore. Reinis Gailitis (Latvian, born 1992). Monoliths, 2022. Engraving. Reinis Gailitis. Variations of lines via engraving, drypoint, and mezzotint. Lembit Lõhmus (Estonian, born 1947). Ex Libris. Engraving. Reinis Gailitis's ink-paste. Claude Mellan (French, 1598–1688). The Sudarium of Saint Veronica, 1649. Engraving. Plate : 16 7/8 x 12 3/8 in. (42.86 x 31.43 cm.); sheet: 17 7/8 x 13 3/8 in. (45.4 x 33.97 cm.). Minneapolis Institute of Art, Minneapolis. Reinis Gallitis (Latvian, born 1992). Face of…, 2021. Engraving. Sheet: 30 x 22 cm.; plate: 25 x 18 cm. Reinis Gailitis (Latvian, born 1992). Schematic for Face Of… engraving. Albrecht Dürer (German, 1471–1528). Self-Portrait, 1500. Oil on panel. 67.1 × 48.9 cm. (26 1/3 × 19 1/3 in.). Bayerische Staatsgemäldesammlungen - Alte Pinakothek München. Reinis Gallitis (Latvian, born 1992). Vortex, 2021. Engraving. Sheet: 44 x 34 cm.; plate: 40 x 29 cm. Reinis Gailitis (Latvian, born 1992). Starship, 2021. Engraving and chine collé. Reinis Gailitis (Latvian, born 1992). Work in Progress, 2023. Engraving. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving and linoleum cut on chine collé. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Linoleum cut. [DETAIL OF TRIAL PROOF] Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving. Reinis Gailitis (Latvian, born 1992). Work in Dark, 2023. Engraving printed intaglio and relief with white areas hand wiped. Reinis Gailitis (Latvian, born 1992). Inked engraving plate (black intaglio, blue relief, white hand wiped) for Work in Dark, 2023. Reinis Gailitis (Latvian, born 1992). Fungi, 2023. Wood engraving. 9 x 11 cm. Reinis Gailitis (Latvian, born 1992). Woodblock for Fungi, 2023. 9 x 11 cm. Reinis Gailitis's engraved woodblock for Fungi set in press. Reinis Gailitis's wood engraving, Fungi, being printed. Anton Würth (German, born 1957). Dürer Übung-Dürer Practice, 2014. Engraving. 100 x 150 mm (3 7/8 x 5 7/8 in.). C.G. Boerner, New York. Lembit Lõhmus (Estonian, born 1947). Ex Libris in memoriam Richard Kaljo. Engraving.    Reinis Gailitis (Latvian, born 1992). Engraved patterns.   USEFUL LINKS Reinis's website: https://gailitis.berta.me/ Reinis's prints are available for purchase on his Esty shop: https://www.etsy.com/shop/GailitisPrintmaking?ref=profile_header Support Reinis through Patreon: https://www.patreon.com/gailitis Short videos of engraving Work in Progress: https://www.youtube.com/shorts/NEjIeYYKyzk and https://www.youtube.com/shorts/DkEPD2qdB5U and https://www.youtube.com/shorts/3f_FihXoMxM Short videos of engraving Face Of…: https://www.youtube.com/watch?v=GLYBCYGAh40 and https://www.youtube.com/watch?v=WPcFjpoWO4I and https://www.youtube.com/watch?v=3nwf_SzOJAk Process video on the making of Vortex: https://www.youtube.com/watch?v=1OU9Uh8brzQ Process video on the making of Starship: https://www.youtube.com/watch?v=bjgw_aUnwuk Andrew Raftery demonstrates the art of engraving: https://www.youtube.com/watch?v=fQvghHs15hA&t=234s  

In Platemark s3e41, host Ann Shafer talks with Susan Tallman, an art historian and essayist who co-founded the journal Art in Print and served as its editor for its entire run, 2011–2019. A regular contributor to New York Review of Books and The Atlantic Monthly, she has authored and co-authored many books, most recently No Plan At All: How the Danish Printshop of Niels Borch Jensen Redefined Artists Prints for the Contemporary World, as well as the new catalogue raisonné of prints by Kerry James Marshall. Ann and Susan talk about the word "original" as an unhelpful term to describe fine art prints, last summer's blockbuster Vermeer exhibition at the Rijksmuseum in Amsterdam, Gerhard Richter's 2020 exhibition at the Metropolitan Museum in New York, and the state of the state of the print world. In the end you'll understand why Susan loves ambiguity in art.  William Kentridge (South African, born 1955). Triumphs and Laments: Mantegna, 2016–17. Relief printed from 13 woodblocks and 1 linoleum block. Overall: 76 ¾ x 78 3/8 (195 x 199 cm.). Published by David Krut Projects, Johannesburg, South Africa. Julie Mehretu (American, born Ethiopia, 1970). Treatises on the Executed (from Robin's Intimacy), 2022. 10-panel etching and aquatint from 50 plates. 93 1/2 x 173 1/8 in. (237.5 x 439.7 cm.). Gemini G.E.L., Los Angeles. Edvard Munch (Norwegian, 1863–1944). The Vampire, 1895. color lithograph and woodcut with watercolor [trial proof]. sheet: 38.9 × 55.7 cm (15 5/16 × 21 15/16 in.). National Gallery of Art, Washington, D.C. Susan Tallman. The Contemporary Print from Pre-Pop to Postmodern. London and New York: Thames and Hudson, 1996. Jasper Johns (American, born 1930). Target, 1960. Lithograph. 12 1/16 x 12 3/16 in. (30.7 x 30.9 cm.); sheet: 22 13/16 x 17 13/16 in. (57.9 x 45.2 cm.). Published by ULAE. Museum of Modern Art, NY. Jasper Johns (American, born 1930). Target, 1961. Encaustic and newpaper on canvas. 167.6 × 167.6 cm. (66 × 66 in.). Art Institute of Chicago, Chicago. Susan Tallman. Kerry James Marshall: The Complete Prints. New York: Ludion/D.A.P., 2023. Vermeer. Rijksmuseum, Amsterdam. February 10–June 4, 2023.   Johannes Vermeer (Dutch, 1632–1675). Allegory of the Catholic Faith, c. 1670–72. Oil on canvas. 45 x 35 in. (114.3 x 88.9 cm.). Metropolitan Museum of Art, New York. Johannes Vermeer (Dutch, 1632–1675). Woman with Pearl Necklace, c. 1664. Oil on canvas. 55 × 45 cm. (21 5/8 × 17 3/4 in.). Gemäldegalerie, Staatliche Museen, Berlin. Johannes Vermeer (Dutch, 1632–1675). Woman Holding a Scale, c. 1664. Oil on canvas. 42.5 x 38 cm (16 3/4 x 14 15/16 in.). National Gallery of Art, Washington, D.C. Kouros, c. 530 B.C. Getty Museum, Los Angeles. Calouste Gulbenkian Foundation, Lisbon. Terra Cotta Warriors: Guardians of China's First Emperor. National Geographic Museum, Washington, D.C. November 19, 2009–March 31, 2010. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Oil on canvas. 6.77  × 9.94 m (267  × 391 in.). Louvre Museum, Paris. Paolo Veronese (Italian, 1528–1588). The Wedding at Cana, 1563. Factum Arte digital copy. 6.77  × 9.94 m (267  × 391 in.). San Giorgio Maggiore, Venice. Rembrandt (Dutch, 1606–1669). The Hundred Guilder Print: Christ with the Sick around Him, c. 1648. Etching, drypoint, and engraving on Japanese paper. 280 x 394 mm. Rijksmuseum, Amsterdam. Albrecht Dürer (German, 1471–1528). Knight, Death, and the Devil, 1513. Engraving. Sheet (trimmed to platemark): 9 5/8 x 7 1/2 in. (245 x 190 mm.). Metropolitan Museum of Art, New York. Anonymous Andean painting hanging in Susan's home. Jan Wierix (Netherlandish, 1549–1615), after Martin de Vos (Netherlandish, 1532-1603). Annunciation, 1549-before 1585. Engraving. Plate: 265 × 197 mm. Rijksmuseum, Amsterdam. Gerhard Richter: The Birkenau Paintings. Met Fifth Avenue. September 5, 2020–January 18 2021. Credit: Charlie Rubin for The New York Times. Stanley William Hayter (British, 1901–1988). Père Lachaise from the portfolio Paysages urbains, 1930. Engraving and drypoint. Sheet: 283 × 381 mm. (11 1/8 × 15 in.); plate: 208 × 268 mm. (8 3/16 × 10 9/16 in.). Baltimore Museum of Art, Baltimore. Edge of Visibility. IPCNY, New York. October 4–December 2018.   USEFUL LINKS Susan's website: https://www.susan-tallman.com/ Art in Print on Jstor: https://www.jstor.org/journal/artprint The Getty's Paper Project: https://www.getty.edu/projects/paper-project/ New York Public Library. The Miriam and Ira D. Wallach Division of Art, Prints, and Photographs. https://www.nypl.org/locations/schwarzman/wallach-division/print-collection Factum Arte: https://www.factum-arte.com/pag/38/a-facsimile-of-the-wedding-at-cana-by-paolo-veronese  

German artist Albrecht Dürer's pen and ink drawing, 'Praying Hands', is one of the best-known works of art in the world. The story is told of how Albrecht studied art, returned to his village and saw his brother's gnarled, work-ruined hands, who had supported him by working in the mines. His brother, an aspiring artist, could no longer hold a paintbrush. Albrecht was so moved that he painted his brother's hands, the "Praying Hands", in thanks for his self-sacrifice. In this program, we follow in the footsteps of Albrecht Dürer into the world of the Renaissance and reflect on his masterpiece and the importance of prayer.

Tara Isabella Burton comes on the pod to ask, How did we become a world of self-makers? Susannah, Pete and Tara discuss her new book, Self-Made: Creating Our Identities from Da Vinci to the Kardashians. What were the intellectual and imaginative and social currents that led us from a world where the self was something given or discovered to one in which it was made? What is the role of America's Gilded Age millionaires in this story, and how did their own vision of themselves as able to harness the energy of the economy and maybe of the Cosmos contribute to our current vision of the good life? Finally, via many other rabbit trails, they discuss why you should not eat a bat, and speculate about Albrecht Dürer's hypothetical hair care videos

Buy the book: https://repeaterbooks.com/product/narcissus-in-bloom/Narcissism is the defining pathology of the twenty-first century, but what if it is not self-obsession that defines us but a need for self-transformation?Narcissus in Bloom is a short history of the self-portrait, beginning with Renaissance painters like Albrecht Dürer, Rembrandt and Caravaggio, through to photographers and celebrities like Paris Hilton and Kim Kardashian, Lee Friedlander and Hervé Guibert.Analysing the ways that so many artists have regarded their own image, how might the age of the selfie be considered as a time of transformation rather than stasis? By returning to the original tale of Narcissus, and the flower from which he takes his name, this book offers an alternative reading of narcissism from within the midst of a moralising subgenre of books that argue our self-obsession will be the death of us. That may be so. But what will we become after we have taken the watery track, and rid ourselves of the cloistered self-image given to us by late capitalism?Support the podcast:Linktree: https://linktr.ee/acidhorizonOrder 'Anti-Oculus: A Philosophy of Escape' (10.10.23): https://repeaterbooks.com/product/anti-oculus-a-philosophy-of-escape/Acid Horizon on Patreon: https://www.patreon.com/acidhorizonpodcastZer0 Books and Repeater Media Patreon: https://www.patreon.com/zer0repeaterMerch: http://www.crit-drip.comOrder 'The Philosopher's Tarot': https://repeaterbooks.com/product/the-philosophers-tarot/Subscribe to us on Apple Podcasts: https://tinyurl.com/169wvvhiHappy Hour at Hippel's (Adam's blog): https://happyhourathippels.wordpress.com​Revolting Bodies (Will's Blog): https://revoltingbodies.com​Split Infinities (Craig's Substack): https://splitinfinities.substack.com/​Music: https://sereptie.bandcamp.com/ and https://thecominginsurrection.bandcamp.com/Support the show

Mandy El-Sayegh talks to Ben Luke about her influences—from writers to film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. El-Sayegh, born in Selangor, Malaysia, in 1985 and now living in London, makes paintings, sculptures, installations, videos and performances that assemble disparate materials to explore the human body and mind within diverse social, cultural and political contexts. Moving freely and intuitively across these disciplines and media, she creates arresting correspondences between image and text, between the natural and the artificial, and between the senses and the intellect. She discusses growing up with a reproduction of Albrecht Dürer's Christ on the Cross on the wall, the power of Paul Thek's diverse work, her love of the South Korean artist Keunmin Lee's paintings, the poetry of Theresa Hak Kyung Cha and the films of David Cronenberg. Plus, she gives insight into life in the studio and answers our usual questions, including the ultimate: “what is art for?”Mandy El-Sayegh, Interiors, Thaddaeus Ropac, London, 1-30 September; Mandy El-Sayegh: In-Session, Tichy Ocean Foundation, Zurich, until 30 November; the book The Makeshift Body: Mandy El-Sayegh, Black Dog Publishing, published in September, £29.95/$39.95 Hosted on Acast. See acast.com/privacy for more information.

This week, Zohar is joined by return guest Tara Isabella Burton to discuss her most recent book, Self-Made: Creating Our Identities from Da Vinci to the Kardashians. They discuss renaissance humanism, the theological origins of postmodernity, irony, commitment, transhumanism, Oscar Wilde, Frederick Douglass, Thomas Edison, and Grimes.

This week, Zohar is joined by return guest Tara Isabella Burton to discuss her most recent book, Self-Made: Creating Our Identities from Da Vinci to the Kardashians. They discuss renaissance humanism, the theological origins of postmodernity, irony, commitment, transhumanism, Oscar Wilde, Frederick Douglass, Thomas Edison, and Grimes.

In 1520 the artist Albrecht Dürer was on the run from the Plague and on the look-out for distraction when he heard that a huge whale had been beached on the coast of Zeeland. So he set off to see the astonishing creature for himself. In this beautifully-evoked episode the award-winning writing Philip Hoare takes us back to those consequential days in 1520. We catch sight of Dürer, the great master of the Northern Renaissance, as he searches for the whale. This, he realises, is his chance to make his greatest ever print. Philip Hoare is the author of nine works of non-fiction, including biographies of Stephen Tennant and Noël Coward, and the studies, Wilde's Last Stand and England's Lost Eden.  Spike Island was chosen by W.G. Sebald as his book of the year for 2001.  In 2009, Leviathan or, The Whale won the 2009 BBC Samuel Johnson Prize for non-fiction. It was followed in 2013 by The Sea Inside, and in 2017 by RISINGTIDEFALLINGSTAR.  His new book, Albert & the Whale led the New York Times to call the author a 'forceful weather system' of his own. He is Professor of Creative Writing at the University of Southampton, and co-curator, with Angela Cockayne, of the digital projects http://www.mobydickbigread.com/ and https://www.ancientmarinerbigread.com/ As ever, much, much more about this episode is to be found at our website tttpodcast.com. Show notes Scene One: Nuremberg, home of Albrecht Dürer, at the height of its power as an imperial city, of art and technology. Scene Two: The Low Countries. Driven out of Nuremberg by the plague and a city in lockdown, Dürer escapes to the seaside. Scene Three: Halfway through his year away, Dürer hears a whale has been stranded in Zeeland.  This is his chance to make his greatest print, a follow up to his hit woodcut of a rhinoceros.  What follows next is near disaster, a mortal act.  It changes his life. Memento: Memento: A lock of Dürer's hair (which Hoare would use to regenerate him and then get him to paint his portrait) People/Social Presenter: Violet Moller Guest: Philip Hoare Production: Maria Nolan Podcast partner: Colorgraph Follow us on Twitter: @tttpodcast_ Or on Facebook See where 1520 fits on our Timeline 

This week: in the final episode of this season, James Goodwin, a specialist on the art market and its history, tells us about what high inflation and interest rates mean for the art market and what lies ahead. As Spain heads to the polls in July, we talk to Emilio Silva, president of the Association for the Recovery of Historical Memory in Madrid. What could the election mean for the controversial Spanish laws of Historical Memory and Democratic Memory relating to the Civil War of 1936 to 1939 and the period of Francisco Franco's fascist dictatorship? And this episode's Work of the Week is a project by the Swedish duo Goldin + Senneby. The work, called Quantitative Melencolia, involves recreating the lost plate for Albrecht Dürer's famous engraving Melencolia I. It is part of the exhibition Economics: The Blockbuster, which opens this week at the Whitworth Art Gallery in Manchester, UK.Economics the Blockbuster: It's not Business as Usual, Whitworth Art Gallery, until 22 October. The Manchester International Festival, until 16 July.The Week in Art is back on 1 September. Hosted on Acast. See acast.com/privacy for more information.

In s3e28, Platemark host Ann Shafer speaks with Linda Hults, retired professor of art history from the College of Wooster, Wooster, Ohio. Linda wrote THE textbook on the history of Western prints, which any student of the topic will undoubtedly still have on their shelves. At nearly 1,000 pages, the book offers up more than 800 illustrations and covers print history from Gutenberg through the early 1980s. It also includes incredibly thorough notes, bibliography, glossary, and index. It is indispensable. Since retirement, Linda continues to contribute to the field essays and articles ranging in subjects from the devil and witchcraft to masculinity. Episode image by Linda Hults. Parmigianino (Italian, 1503–1540). Madonna and Child with Angels (Madonna with the Long Neck), c. 1534–40. Oil on panel. 216.5 x 132.5 cm. Uffizi Gallery, Florence. Johannes Vermeer (Dutch, 1632–1675). Woman Writing a Letter, with her Maid, c. 1670. Oil on canvas. 71.1 x 60.5 cm. National gallery of Ireland, Dublin. Hendrick Goltzius (Dutch, 1558–1617). The Great Hercules, 1589. Engraving. Sheet (trimmed to platemark): 21 7/8 x 15 7/8 in. (555 x 404 mm.). Metropolitan Museum of Art, New York. Thomas Rowlandson (British, 1557–1827). The Devil's Darling, March 12, 1814. Etching with hand coloring. Plate: 13 3/4 × 9 3/4 in. (34.9 × 24.8 cm.); sheet: 14 3/4 × 10 7/16 in. (37.4 × 26.5 cm.). Metropolitan Museum of Art, New York. Félicien Rops (Belgian, 1833–1898). The Sacrifice, drawing for Plate 1 of Les Sataniques, c. 1882. Tempera, colored pencil, black crayon, gouache, and gold on Pellée paper. 30 x 19.1 cm. (11 3/4 x 7 1/2 in.). Galerie Patrick Derom, Brussels (sold). Frans Francken the Younger (Flemish, 1581–1642). Witches' Sabbath, 1606. Oil on oak panel. 62 x 51 cm. Victoria and Albert Museum, London. Salvator Rosa (Italian, 1615–1673). Scenes of Witchcraft: Day, c. 1645–49. Oil on canvas. 54.5 cm. (21 7/16 in.) The Cleveland Museum of Art, Cleveland. Hieronymus Bosch (Netherlandish, 1450–1516). The Garden of Earthly Delights, 1490–1500. Oil on wood (triptych). Overall: 328.2 x 185.8 cm. Museo del Prado, Madrid. Albrecht Dürer (German, 1471–1528). The Fall of Man or Adam and Eve, 1504. Engraving. 25.1 x 20 cm (9 7/8 x 7 7/8 in). Metropolitan Museum of Art, New York. Édouard Manet (French, 1832–1883). Le Déjenuer sur l'herbe, 1863. Oil on canvas. 208 x 264.5 cm. Musée d'Orsay. Paris.   USEFUL LINKS Linda C. Hults. The Print in the Western World: An Introductory History. Madison. University of Wisconsin Press, 1996. Hyatt Mayor. Prints and People: A Social History of Printed Pictures. New York: Metropolitan Museum of Art, 1971. Arthur M. Hind. A History of Engraving and Etching from the 15th Century to the Year 1914. London: Constable and Company Ltd., 1923. (Available from Dover Publications in a 3rd edition, 1963.) William M. Ivins, Jr. Prints and Visual Communication. Boston, The MIT Press, 1969. Linda C. Hults. “Van Mander's Protean Artist: Hendrick Goltzius, Mythic Masculinity and Embodiment.” Art History, Vol. 44, No. 2 (April 2021), pp. 372–402. James Watrous. A Century of American Printmaking: 1880–1980. Madison: University of Wisconsin Press, 1984. Per Faxneld. Satanic Feminism: Lucifer as the Liberator of Woman in Nineteenth-Century Culture. Oxford: Oxford University Press, 2017. Linda C. Hults. The Witch as Muse: Art, Gender, and Power in Early Modern Europe. Philadelphia: University of Pennsylvania Press, 2011. Laurinda S. Dixon. Alchemical Imagery in Bosch's Garden of Delights. Ann Arbor: University of Michigan Research Press, 1981. Todd W. Reeser. Masculinities in Theory: An Introduction. 2nd edition. Hoboken: Wiley-Blackwell Press, 2023. Jun Nakamura. Macho Men: Hypermasculinity in Dutch & American Prints. Philadelphia Museum of Art, August 27, 2022–March 20, 2023.  

Fr. Eric Nicolai preached this meditation at Lyncroft Centre on Ascension Sunday, May 21 2023. Ascension is traditionally celebrated 40 days after after Easter Sunday. So he was with them for 40 days, in and out, instructing. That's why it falls on Thursday after the 7th Sunday of Easter. Early Fathers of the church celebrated it on Thursday. It was know to be a great feast. This now is the hour that the lord spoke about. All four Gospels, presuppose that the period of the risen Lord's appearances was limited. Paul was conscious of being the last to whom an encounter with the risen Christ was granted. In 1 Cor 15 we have these endearing words of our Lord's appearances. "For what I received I passed on to you as of first importance: that Christ died for our sins according to the Scriptures,  that he was buried, that he was raised on the third day according to the Scriptures,  and that he appeared to Cephas, and then to the Twelve. 6 After that, he appeared to more than five hundred of the brothers and sisters at the same time, most of whom are still living, though some have fallen asleep.  Then he appeared to James, then to all the apostles,  and last of all he appeared to me also, as to one abnormally born. Music: Waltz Op 121 No 1 Ferdinando Carulli Played by Cristian Garcia. Thumbnail: The Ascension, in Passion Book by Albrecht Dürer ca. 1510, Metropolitan Museum, NY.