Podcast appearances and mentions of albrecht durer

What can the history of science tell us about the world we live in today and where we might be headed tomorrow? To find out, Dr. Charles Liu and co-host Allen Liu welcome historian of science Rebecca Charbonneau, PhD from the American Institute of Physics and the National Radio Astronomy Observatory with expertise in radio astronomy and the search for extraterrestrial intelligence (SETI). This episode kicks off with Allen and Chuck talking about January's Lunar Occultation of Mars. You can see a photo taken by Chuck on our YouTube Community tab. And then it's time for today's joyfully cool cosmic thing: a recent paper in the Astrophysical Journal Letters confirming there are galaxies that were fully formed just 400 million years after The Big Bang. Chuck, who studies galactic evolution, tells us why this changes our understanding of galaxy formation. Rebecca talks about how new ideas can be controversial and how personalities, politics and cultures can impact the evolution of science. She brings up the current controversy in astronomy concerning the locations of terrestrial telescopes and the tension between scientific and cultural imperatives. She also recounts seeing people in Russia wearing NASA t-shirts and explains how NASA understood the importance of controlling the narrative, even inviting Norman Rockwell to popularize the space program. Our first question comes from Pablo P. on Patreon, who asks, “Can humanity be destroyed by AI powered by quantum computing?” Rebecca explains how during the Cold War, scientists on both sides engaged in “science diplomacy” that helped lower tensions. She applies this thinking to AI, pointing out that while a “Terminator-like” scenario is unlikely, public concern is causing the tech world to confront and grapple with real threats from AI like biases in hiring algorithms. Allen, a mathematician who writes about AI professionally, addresses whether AI powered by quantum computing is more dangerous than AI in general. Rebecca shares the terrifying story of a Soviet nuclear submarine and the US navy during the Cuban Missile Crisis that nearly started a nuclear war. The dissenting actions of a single officer named Vasily Arkhipov made the difference, and she wonders if AI would have made the same decision based on the available data. For our next question, we return to our Pablo P. from Patreon for his follow up: “How [do] we answer the question about whether or not we are engaging in self-destructive behavior?” Chuck and Rebecca discuss the confluence of astronomy and the military, and how the history of the SETI program highlights their shared concerns. You'll find out what the Drake Equation has to do with concepts like The Great Filter. Science, she reminds us, is a tool to try to get closer to the truth, but it's not always perfect in pointing out whether what we're doing is safe or potentially self-destructive. Then we turn to Rebecca's other big passion, art history and the window into the human experience that art provides. Charles brings up The Scream by Edvard Munch and the fact that it's actually a depiction of a real atmospheric event. Rebecca talks the use of fractal studies to determine the authenticity of Jackson Pollock art. She also explores the artistic value of scientific artifacts like the controversial plaque attached to Pioneer 10 depicting a naked man and woman, and the interstellar Arecibo Message, sent by Frank Drake in 1974. You'll even hear how Frank worked himself into the message and what that has to do with Albrecht Durer's self-portrait painted in the year 1500. Finally, we turn to what Rebecca's been up to recently. Her new book Mixed Signals came out in January of this year. Keep up with her on her website at and follow her on X @rebecca_charbon and on BlueSky @rebeccacharbon.bsky.social. We hope you enjoy this episode of The LIUniverse, and, if you do, please support us on Patreon. Credits for Images Used in this Episode: A young Milky Way-like galaxy and a background quasar 12 billion and 12.5 billion light-years away, respectively. – Credit: ALMA (ESO/NAOJ/NRAO), M. Neeleman & J. Xavier Prochaska; Keck Observatory Artist's concept of a high red-shift galaxy. – Credit: Alexandra Angelich (NRAO/AUI/NSF) John Young and Gus Grissom are suited for the first Gemini flight March 1965. Norman Rockwell, 1965. – Credit: Smithsonian National Air and Space Museum / Norman Rockwell Edvard Munch, 1893, The Scream. – Credit: Edvard Munch / National Gallery of Norway (Public Domain) Fractal study of Jackson Pollock art. – Credit: “Perceptual and physiological responses to Jackson Pollock's fractals,” R. Taylor, et al, Front. Hum. Neurosci., 21 June 2011. The Arecibo message. – Credit: Creative Commons NASA image of Pioneer 10's famed Pioneer plaque. – Credit: NASA Albrecht Durer self-portrait. – Credit: Albrecht Dürer - Alte Pinakothek (Public Domain)

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

You can enjoy an AD tour and art discussion of the National Galleries of Scotland (NGS) from the comfort of your own home. This month's session focuses on works exploring the myth of 'The Three Graces' including the grand sculpture by Antonio Canova alongside work by Albrecht Durer, Jane Brettle, and more. Amelia spoke to Meg Faragher from NGS for more details of the session. The session takes place on Zoom, on Wednesday 16th October from 2 to 3.30 pm. Learn more on the NGS website - Visually Impaired Programme Online | The Three Graces | National Galleries of Scotland Image shows RNIB Connect Radio logo. RNIB is written in bold black capital letters and underlined with a bold pink line. Underneath, 'Connect Radio' written in smaller black letters. 

Ceramicist Vipoo Srivilasa's work is beautiful, playful and highly technical…and he's having a moment, featuring in several exhibitions this year including the MAKE Award, Generation Clay and re/JOY. His work is a beacon of light and happiness in dark times.We swing by the National Aboriginal and Torres Strait Islander Art Awards (NATSIAA) in Darwin, where artist Noli Rictor, a Pitjantjatjara man from Tjuntjuntjara in Western Australia, won the overall award for his work on canvas, Kamanti.Plus, the woodcuts, and etchings of the master artist Albrecht Durer connect us with the material Renaissance world in Europe. Daniel speaks with Professor Jenny Spinks from Melbourne University.

Paul Harvey - Albrecht Durer 

La chronique de Josef Schovanec : Le peintre allemand de la Renaissance Albrecht Dürer. Le talk-show culturel de Jérôme Colin. Avec, dès 11h30, La Bagarre dans la Discothèque, un jeu musical complétement décalé où la créativité et la mauvaise foi font loi. À partir de midi, avec une belle bande de chroniqueurs, ils explorent ensemble tous les pans de la culture belge et internationale sans sacralisation, pour découvrir avec simplicité, passion et humour. Merci pour votre écoute Entrez sans Frapper c'est également en direct tous les jours de la semaine de 11h30 à 13h sur www.rtbf.be/lapremiere Retrouvez tous les épisodes de Entrez sans Frapper sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/8521 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Professor Joseph Koerner is the Victor S. Thomas Professor of History of Art and Architecture and Professor of Germanic Languages and Literature at Harvard University, where he is also a senior fellow at the prestigious Society of Fellows.Koerner is one of the most renowned art historians and critics working today, and the world's leading specialist on Northern Renaissance and 19th Century Art, in particular German and Netherlandish painting. He has written multiple books, amongst them volumes on Caspar David Friedrich, Albrecht Durer and recently Bosch and Brueghel. Koerner has also written and presented various documentaries including ‘Northern Renaissance' and ‘Vienna: City of Dreams', both produced by the BBC. In 2018 he released his most personal film yet: ‘The Burning Child', which traces his search for the fate of his grandparents and their Vienna home, known only through a 1944 painting by his exiled father.Bosch's Garden of Earthly Delights hi-res: https://commons.wikimedia.org/wiki/The_Garden_of_Earthly_DelightsJoseph Koerner's faculty page: https://scholar.harvard.edu/jkoerner/homeJoseph Koerner's Wikipedia page: https://en.wikipedia.org/wiki/Joseph_KoernerThe Vienna Project: https://viennaproject.fas.harvard.edu/Review of 'Bosch and Bruegel: From Enemy Painting to Everyday Life' in the Guardian https://www.theguardian.com/books/2017/feb/01/bosch-bruegel-joseph-leo-koernerNOTES:Bosch's Last Judgement https://en.wikipedia.org/wiki/The_Last_Judgment_(Bosch,_Vienna)Pieter Bruegel the Elder: https://en.wikipedia.org/wiki/Pieter_Bruegel_the_ElderThe strawberry/Madroño tree: https://en.wikipedia.org/wiki/Arbutus_unedoThe Cluster F Theory Podcast is edited by Julian Mayers at Yada Yada.Subscribe for free to The Cluster F Theory Podcast. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit theclusterftheory.substack.com

We lost a real legend in Russ Nicholson this year. I can honestly say that Russ and his work sneak into my mind in short order whenever I talk about fantasy art at length, no matter the period. When we recorded this interview back in 2019, it was apparently his first appearance on a podcast, which seems bizarre considering how large his work looms over the hobby, then and now. I'll never not be bummed about a lack of Russ Nicholson in the world. Anyway, we couldn't record last week, so we thought it would be cool to bring this one out from the vault, a little in memoriam for his passing earlier this year. Original Show Notes:  This week, we talk to the incomparable artist Russ Nicholson. Russ has created countless iconic illustrations for tabletop RPGs - you probably best know his work from the original Dungeons & Dragons Fiend Folio or from countless fantasy gamebooks, like the Fighting Fantasy series. We chat about his work, his career, Ouija boards, Scottish accents and more in what, as far as Russ can recall, is his first podcast interview ever! A few notes directly from Russ after the fact: "Sorry about my memory and going off at side tangents so often but I enjoyed that...funny I have never talked in regards to the source of my artwork about the 'happenings' at our old house when I was growing up before. At least as I age, these awarenesses are rare and our present bungalow is so new there is nothing directly 'there.' Now artists - there are a few I especially rate (although I made a point of never copying) - Albrecht Durer, the Brueghals, Rembrandt, El Greco, Hals, Velazquez, the Pre-Raphaelite Brotherhood, Mucha, Klimt, Toulouse Lautrec, Doré, Beardsley and Rackham, to name a few. Also pulps - Sax Rohmer, Howard, The Shadow, Weird Tales, Black Mask stories, Poe, Edgar Wallace, Edgar Rice Burroughs, Merrit, Hamilton, Jules Verne, Rider Haggard and the old pulp serials I saw at Saturday morning children's cinema - loved it all. From age ten on, when I left the countryside life for life in the city, I read a lot (up until then my mother thought I didn't read anything except comics). And that silent film I was trying to talk about - it had something similar, where a man is sitting by a rock pool (?) and these squidgy tentacled things (similar to the Grell toy Stu sent me) come out of the water and drag him to his doom. Scared me as a lad but I was in my teens so no screaming attacks (laf) and am still not fond." * * * Stu's book, Monsters, Aliens, and Holes in the Ground is for sale now! Buy it! Patreon? Discord? Cool RPG things to buy? All the Vintage RPG links you need are right here in one place! Like, Rate, Subscribe and Review the Vintage RPG Podcast!

Paul Harvey - Albrecht Durer

We're baaacckk! Mandolyn Wilson Rosen and I have returned for Part 2 to finish our report on Giorgio Vasari's "Lives of the Artists," a combo-bio of Florentine High Renaissance artists from the 1580's. Pull up a carved high-backed chair, grab yourself a goblet of watered-down wine and join us for the continuation of our journey back to this fabled time in Italian art. In Part 2, we cover Sandro Botticelli, Leonardo da Vinci, Raphael, Jacopo da Pontormo, Michelangelo, and Titian (with some discussion of Albrecht Durer as well). In the Boticelli section, Mandy references this article by Alexxa Gotthardt on Artsy: https://www.artsy.net/article/artsy-editorial-botticellis-birth-venus-challenged-depictions-nude-art Please visit our sponsor, The New York Studio School, to enroll for their wonderful Marathon courses (by Sept 8) or for over a dozen different 11 week Evening & Weekend Courses (by Sept 18) at NYSS.org Find your own copy of "Lives of the Artists" by Giorgio Vasari at your public library or at most online bookstores. The 1991 English Translation by Julia and Peter Bondanella includes the lone woman artist in Vasari: Sculptor Madonna Properzia de Rossi. Earlier translations often exclude her, so keep an eye out if buying used! Mandolyn Wilson Rosen is online here: website: https://mandolynwilsonrosen.com/home.html and IG: https://www.instagram.com/mandolyn_rosen/ Amy Talluto is online here: website: https://www.amytalluto.com/ and IG: https://www.instagram.com/talluts/ Thanks for listening! ---------------------------- Pep Talks on IG: ⁠@peptalksforartists⁠ Pep Talks on Art Spiel as written essays: ⁠https://tinyurl.com/7k82vd8s⁠ Amy's Interview on Two Coats of Paint: ⁠https://tinyurl.com/2v2ywnb3⁠ Amy's website: ⁠https://www.amytalluto.com/⁠ Amy on IG: ⁠@talluts⁠ ⁠BuyMeACoffee⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

You can support the podcast at our Patreon, where we post exclusive content every week: https://www.patreon.com/vanessa23carl Your support is greatly appreciated! Rendering Unconscious episode 242. This episode also available at Youtube: https://youtu.be/7t1XIoIryHM Emmalea Russo is a writer and astrologer. Her poetry and writings on film and visual art have appeared in many venues including Artforum, BOMB, Granta, Compact, and Los Angeles Review of Books. She is the author of several books of poetry, most recently Confetti (2022). Emmalea regularly teaches classes independently on poetry, cinema, and the occult. She has also taught a range of courses at institutions such as Northeastern University, Global Center for Advanced Studies, The Home School, Saint Peter's University, Melbourne School of Continental Philosophy, Miskatonic Institute of Horror Studies, and elsewhere. Her website is https://emmalearusso.com Follow her at Instagram: https://www.instagram.com/emmalea.russo/ ALCHEMY OF THE WORD is a new and ongoing project and the culmination of years of research. It takes the form of 4 video recordings on the seven original planets and their corresponding metals and alchemical processes through the lens of the creative process. Music by CONTAIN. Sources include ancient, Medieval, and Renaissance alchemists and philosophers (Paracelsus, Basil Valentine, Nicolas Flamel) major western alchemical manuscripts (Rosarium Philosophorum, Donum Dei, Twelve Keys of Basil Valentine, Splendor Solis) as well as artists, writers, poets, and astrologers including Carl Jung, Julia Kristeva, Demetra George, Liz Greene, Emily Dickinson, Gerard Manley Hopkins, Albrecht Durer, Anne Carson, Remedios Varo, and Leonora Carrington. Purchase now and you'll receive the entire project on May 13. https://emmalearusso.com/alchemy-of-the-word Join us Sunday, May 14th, Join us for The Uncanny in Cinema: Ingmar Bergman's Hour of the Wolf (1968), An Illustrated Online Lecture with Carl Abrahamsson: https://www.morbidanatomy.org/events-tickets/the-uncanny-in-cinema-ingmar-bergmans-hour-of-the-wolf-1968-an-illustrated-online-lecture-with-carl-abrahamsson Beginning September 10th via Morbid Anatomy Museum, live via zoom – Harnessing the Magic and Creative Power of the Cut-up Method a la William Burroughs, David Bowie, Genesis P-Orridge, Led by Dr. Vanessa Sinclair and Carl Abrahamsson: https://www.morbidanatomy.org/classes/harnessing-the-magic-and-creative-power-of-the-cut-up-method-a-la-william-burroughs-david-bowie-genesis-p-orridge-dr-vanessa-sinclair-and-carl-abrahamsson Visit http://psychartcult.org Rendering Unconscious Podcast is hosted by Dr. Vanessa Sinclair, a psychoanalyst based in Sweden, who works with people internationally: www.drvanessasinclair.net Follow Dr. Vanessa Sinclair on social media: Twitter: https://twitter.com/rawsin_ Instagram: https://www.instagram.com/rawsin_/ TikTok: https://www.tiktok.com/@drvanessasinclair23 Visit the main website for more information and links to everything: www.renderingunconscious.org The song at the end of the episode is “A singular poetic vision” from the album Disciplined by Order by Vanessa Sinclair and Pete Murphy. Available at Bandcamp. https://petemurphy.bandcamp.com All music at Swedish independent record label Highbrow Lowlife Bandcamp page is name your price. Enjoy! https://highbrowlowlife.bandcamp.com Music also available to stream via Spotify & other streaming platforms. Many thanks to Carl Abrahamsson, who created the intro and outro music for Rendering Unconscious podcast. https://www.carlabrahamsson.com Image: ALCHEMY OF THE WORD

Are time travelers real? Perhaps. This story explores the uncanny resemblance between a face in one of Albrecht Durer's paintings and the face of Bob Hope. The catch? Hope was born 392 years after the painting was created. Tune in for the rest of the story!https://en.wikipedia.org/wiki/Albrecht_D%C3%BCrer

Come along on a ~~Dream Quest~~ with me to discover works of art that show real dreams...not just images of sleepers or "dream-like" paintings. I set out to discover the bonafides. I began in 1525 with Albrecht Durer, then moved to France with Odilon Rédon in the 1800's, the Surrealists and André Masson in the 1920's, and then shot over and up to the US in the 50's to Jasper Johns, and finally landed back at modern day with the exquisitely-observed representational paintings of Catherine Murphy. This episode was inspired by 2 main sources: 1) The book "Painting the Dream" by Daniel Bergez and also 2) An online artists' talk between 3 painters: Chie Fueki, Alexi Worth and Catherine Murphy called "Painting Table: Catherine Murphy talks with Chie Fueki and Alexi Worth" 1/21/22 hosted by DC Moore Gallery: Watch here: https://vimeo.com/668978992. In the talk, Catherine Murphy reveals that 2 of the paintings in her most recent show ("Flight" & "Begin Again") were made from real dreams that she had had (her discussion of this occurs about 1hr into the talk). Artists and artworks mentioned: "Dream Vision" by Albrecht Durer, "Dream Vision" c 1880 (x 2) by Odilon Rédon, "Gradiva" by André Masson, Jasper Johns "Flag," "Flight" & "Begin Again" by Catherine Murphy Authors/Poets and pieces mentioned: "Painting the Dream" book by Daniel Bergez, "The Gradiva: The Woman Who Walks" novella by Wilhelm Hermann Jensen, "Delusion and Dream in Jensen's Gradiva" essay by Sigmund Freud, "La Révolution Surréaliste" literary journal pub by Paul Eluard, Antonin Artaud, Andre Breton, Michel Leiris & Louis Aragon, "Une Vague de Rêves" poem by Louis Aragon Louis Aragon's Poem "Une Vague de Rêves" (A Wave of Dreams) 1924 Translated from French by Susan de Muth (2003) Excerpt used in the episode: "Dreams, dreams, dreams, with each step the domain of dreams expands. Dreams, dreams, dreams, at last the blue sun of dreams forces the steel-eyed beasts back to their lairs. Dreams, dreams, dreams on the lips of love, on the numbers of happiness, on the teardrops of carefulness, on the signals of hope, on building sites where a whole nation submits to the authority of pickaxes. Dreams, dreams, dreams, nothing but dreams where the wind wanders and barking dogs are out on the roads. Oh magnificent Dream, in the pale morning of buildings, leaning on your elbows on chalk cornices, merging your pure, mobile features with the miraculous immobility of statues, don't ever leave again enticed by dawn's deliberate lies. Who is there? Ah good: let in the infinite." Follow Pep Talks on IG: @peptalksforartists & Donate to the Peps: https://anchor.fm/peptalksforartistspod/support. Amy's website: https://www.amytalluto.com/ Thank you for listening, rating, reviewing & donating! All music is licensed from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

What you'll learn in this episode:   Why people get so concerned with categorizing art, and why some of the most interesting art is created by crossing those boundaries  How Joy balances running a business while handmaking all of her pieces What noble metals are, and how they allow Joy to play with different colors How Joy's residences in Japan influenced her work How Joy has found a way to rethink classical art and confront its dark history     About Joy BC   Joy BC (Joy Bonfield – Colombara) is an Artist and Goldsmith working predominantly in Noble Metals and bronze. Her works are often challenging pre-existing notions of precious materials and ingrained societal ideals of western female bodies in sculpture. Joy BC plays with mythologies and re-examines the fascination with the ‘Classical'. Joy, a native of London, was profoundly influenced from an early age by the artistry of her parents - her mother, a painter and lithographer, her father, a sculptor. Joy's art education focused intensively on painting, drawing and carving, enhanced by a profound appreciation of art within historical and social contexts. Joy BC received her undergraduate degree from the Glasgow School of Art and her M.A. from the Royal College of Art in London. She has also held two residencies in Japan. The first in Tokyo, working under the tutelage of master craftsmen Sensei (teacher) Ando and Sensei Kagaeyama, experts in Damascus steel and metal casting.  She subsequently was awarded a research fellowship to Japan's oldest school of art, in Kyoto, where she was taught the ancient art of urushi by the renowned craftsmen: Sensei Kuramoto and Sensei Sasai. Whilst at the RCA she was awarded the TF overall excellence prize and the MARZEE International graduate prize. Shortly after her graduation in 2019 her work was exhibited in Japan and at Somerset house in London. In 2021 her work was exhibited in Hong Kong and at ‘Force of Nature' curated by Melanie Grant in partnership with Elisabetta Cipriani Gallery. Joy Bonfield - Colombara is currently working on a piece for the Nelson Atkins Museum in the USA and recently a piece was added to the Alice and Louis Koch Collection in the Swiss National Museum, Zurich.Additional Resources:  Joy's Website Joy's Instagram Photos: Photos available on TheJewelryJourney.com Transcript:   While others are quick to classify artists by genre or medium, Joy BC avoids confining her work to one category. Making wearable pieces that draw inspiration from classical sculpture, she straddles the line between jeweler and fine artist. She joined the Jewelry Journey Podcast to talk about why she works with noble metals; the exhibition that kickstarted her business; and how she confronts the often-dark history of classical art though her work. Read the episode transcript here.   Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. Today, my guest is the award-winning artist and goldsmith Joy Bonfield-Colombara, or as she is known as an artist and jeweler, Joy BC. Joy is attracted to classical art, which she interprets from her own contemporary viewpoint. Welcome back.    You're alone, and it's always a challenge to me, whether you're a writer or jeweler, to find ways to get out of the isolation. You can only spend so much time alone. How do you figure out a way to do that?   Joy: I love it. I love it because I'm an only child. Often people don't think I'm an only child, but I think that's because we had so many people coming and going from our house when I was a kid. My mom would invite lots of people, and they would stay and go. They all added very much to who I am as well, all those people that came through our house. The thing with imagination, I used to spend so much time on my own. My mom and my dad were always working. They were fantastic parents, but they were oftentimes—I think also when you're a child, time is a completely different realm. You experience it in a completely different way.    I have memories of playing in the garden and looking at flowers, taking them apart, and putting together arrangements of stones or turning a copper box into a spaceship, all sorts of different objects transforming into other things. I still hold on to that aspect of being a child. I think it's important not to lose the ability to play and imagine. I spend hours doing that. I'm now in my studio, and I often really like the early mornings or rare late nights when no one is around. There's a quietness that I find quite meditative. When I'm carving, things can be going on around me, and I'm so focused that everything else disappears. So, I don't mind the isolation because I really enjoy making.   Sharon: I like when it's quiet, but I can only take so much. At some point it starts to affect me. It sounds like you handle it better. In the materials I read about you, it says that you work in noble metals and in bronze, but a lot of people don't know what a noble metal is. What is a noble metal?   Joy: It makes them great. Just the word noble I think is lovely.   Sharon: It is. What is it?   Joy: A noble metal, apart from the metal family in the periodic table, is a reluctant oxidizer combined with oxygen. I have the exact definition for you. Let me find it. “A noble metallic chemical element is generally reluctant to combine with oxygen and usually found in nature in a raw form, for example gold. Noble metals have outstanding resistance to oxidization, even at high temperatures. The group is not strictly defined, but usually is considered to include palladium, silver, osmium, iridium, platinum and the second and third transition series of the periodic table. Mercury and copper are sometimes included as noble metals. Silver and gold with copper are often called the coinage metal, and platinum, iridium and palladium comprise the so-called precious metals which are used in jewelry.”   This also goes back to the fact that I had bad eczema when I was a kid. I remember putting on a pair of costume earrings that had nickel in them and they made my whole head swell up. I don't like the smell of brass. There are certain materials I find an attraction or a repulsion to. Noble metals, because of the way they don't oxidize, can sit next to your skin, and I love the feeling of them.   Sharon: That's interesting, because I've only heard the term noble metals in a couple of places. One was at a jeweler's studio, making jewelry, but it was explained to me, “It's gold, it's silver, but it's not copper.” You said it's copper. I never realized it had anything to do with whether it oxidizes or not.    Joy: Interestingly, copper also is really precious in Japan. Some of the most expensive teapots are copper ones.   Sharon: Oh, really?   Joy: It's a type of copper where you've created a patination, which is beautiful, deep red color. This technique is quite hard to explain and is really highly prized.   Sharon: What's the name of the technique?   Joy: Shibuichi. I'm not good at the pronunciation, but I can write it down afterwards. I love metal patination and metal colors. In fact, that's why I love bronze. Bronze is mostly composed of copper as an alloy. It doesn't smell in the way that brass does, and also I love the reactions you get. Verdigris is one of the techniques I like to use a lot in my work, which is used with copper nitrates. You get these incredible colors of greens. When you think of classical bronze sculptures or bronzes that are found under the sea, they often have these incredible green colors to them. I think about it like painting or a composition, the colors you find in metal colorations. People often question what the color of metal is, but actually the different alloys or treatments you can give to metal can give you an incredible array of different colors.   Sharon: I'm curious. I agree, but I see the world through a different perspective. I might look at the statue you've taken from the under the sea and say, “Somebody clean that thing.” I don't clean things that have a patina, but that would be my first reaction, while you appreciate that right away. Why did you go to Japan?   Joy: The first time I went to Japan was through The Glasgow School of Art. There was an exchange program you could apply for, and if you were awarded, there was also a bursary that you could apply for. The first time I went, I was awarded this bursary. One of my friends while I was studying at The Glasgow School of Art was Japanese, and she said to me, “Go and stay with my grandmother. She will absolutely love you.” I went to stay in her grandmother's apartment in Japan, and I studied at the Hiko Mizuno College of Jewelry, which is in Harajuku. I don't know if you've heard about it before.   Sharon: No.   Joy: This school is really interesting. Actually, when I was there, they hired Lucy Saneo, who recently passed away. They did an exhibition of hers at Gallerie Marseille. She was there as a visiting artist, and she was lovely. We had some interesting discussions about different perceptions of materials and jewelry between Europe and Japan. I was there on a three-month exchange, and I met Lucy as well as the teachers that I was allocated.    One of them, which I mentioned before, was Sensei Ando. He taught to me how to make Damascus steel. I made a knife when I was there, but the whole process had a real philosophical theory around it, with how difficult Damascus is to make. Often in modern knife making, you have pneumatic hammers. The hammering is done by a machine, whereas we have to do everything by hand in 40 degrees Celsius with 90% humidity outside with a furnace. We had to wrap towels around our heads to stop the sweat from dripping into our eyes. It was really difficult, but the end result was amazing. He said, “Life can be hard, but if you push through it, you can find its beauties.” It stayed with me, the way he had the philosophy, that process, and what that means to put yourself into the piece.    I also did metal casting and netsuke carving with Sensei Kagaeyama. It was in Tokyo that I first saw netsuke carvings in the National Museum in Tokyo. They really fascinated me, these tiny carvings. Do you know what a netsuke is?   Sharon: Yes, a netsuke, the little things.   Joy: They're tiny carvings. If anyone doesn't know, in traditional menswear in Japan, you would have a sash that goes around your kimono to hold your inro, which is your pouch which would hold tobacco or money or medicine. You would have a sash buckle to stop it moving, which was sometimes simply carved. Other times they were incredibly elaborate and inlaid. It could be this tiny bird so that the underside of the bird, even the claws, are carved. It was only the wearer that would necessarily see those details. In the same way that really good pieces of jewelry have that quality, the back is as important as the front.   Sharon: Oh, absolutely. My mom sewed, and it was always, “Look at the back of the dress, the inside of the dress. How's the zipper done?” that sort of thing. The netsuke, they were only worn by men?   Joy: They were only worn by men. It was combs that were worn by women, which were a social hierarchical show of your wealth or your stature. They were also given as tokens of love and were the equivalent of an engagement ring. They were given in this way. A comb is something I've always found interesting. I didn't know the scope of the importance of the comb in Japan, specifically in the Edo and Meiji periods.   Sharon: Are you considering adding combs to your repertoire? Maybe the comb part is plastic with a metal on top.   Joy: Combs are one of the things I explored within my degree show. I did a modern iteration of Medusa as a body of work, 17 different bronze sculptures that were a collection of combs with all different bronze patinas, but those were sculptures. They were not actually wearable. There was a whole wall of these pieces. My whole degree show was about metamorphosis and the ability to change. It was a combination of sculpture and jewelry.    For “Force of Nature,” the exhibition Melanie invited me to do, I did one wearable comb. It was called Medusa. The bristles were moving, and they had fine, little diamonds set between all the bristles so they would catch the light in certain movement. It also had a pin at the back so you could have it as a sculpture or you could wear it.   Sharon: It sounds gorgeous. You mentioned classical art, and I know classical art is a big catalyst or an influence on your jewelry today. Can you tell us about that and where it came from?   Joy: Growing up in London, London has some of the most amazing collections of ancient art. Also modern collections, but if you think about the V&A or the British Museum, there are artifacts from all over the world which are incredible. As a child, they were something my parents would take me to and tell me stories or show me things. There was also a moment when my mom took me to Paris when I was about 13 years old, and I saw the Victory of Samothrace, which is this huge Hellenistic statue which is decapitated. She doesn't have a head and she doesn't have arms, but she has these enormous wings and retains this incredible sense of power and movement, and that stayed with me. I've always found particularly the Hellenistic—not the Roman copies, but the older pieces—incredibly beautiful. I don't why, but I've always felt this attraction to them.   When I studied at The Glasgow School of Art, there was also a collection of plasters of Michelangelo's Enslaved and the Venus de Milo. They were used since the 1800s as examples of proportions, and you would use them in your drawing classes. I used to sit with them and have my lunch and draw them and look at them. I started to look at the histories or the stories behind some of them, and I didn't particularly like how they were often silencing women. Some of the stories were quite violent towards women, so I started to deconstruct and cut apart these classical figures.    I also looked to Albrecht Durer's book on proportion, because they had a real copy of it at The Glasgow School of Art that you could request to look at. I also believe that to understand something, you can deconstruct it and take it apart. Like a clock, if you start to take it apart, you understand how it works. So, I started to take apart the proportions, literally cutting them apart, and that's how the deconstructed portrait series started. It was not just the form; it was actually what classicism stood for. Many of the collections at the V&A and the British Museum were stolen or taken in really negative ways. They're a result of colonialism and the UK's colonial past. There are often darker sides to those collections.    That was something I had to confront about this attraction I had towards these classical pieces. Why was I attracted to them? How could I reinvent it or look at that in a new way? I still love these classical pieces. My favorite painter is Caravaggio, and my favorite sculptures are the bronze and stone pieces from the Hellenistic Greek period. It didn't stop me from loving them, but it made me rethink and redefine what classical meant for me.   Sharon: Is the deconstruction series your way of coming to terms with the past? Besides the fact that they're beautiful, ancient statues, is it your way of reinventing the past in a way?   Joy: Absolutely. The past, you can't erase it. It's been done, and the fact that these pieces have survived all of this time is testament to their beauty. Something survives if it's beautiful or evocative or has a power about it. I think it's interesting that Cellini, who was a sculptor and a goldsmith, is known more famously for his bronze statue of Medusa in Florence. He made lots of work out of precious metals, but they didn't survive. It was the bronzes that survived.    Translating these works into precious metals also makes you reflect or think about them in different ways, and it makes the cuts or the breakage something positive or beautiful. The way I placed diamonds into the breakages or the cracks is also to celebrate our failures or celebrate our breakages. That moment I had the accident and everything in my life fell apart, it was also through that process that I discovered the most. We need creation and destruction, but it's a cyclical thing.   Sharon: Interesting. My last question has to do more with the dividing lines. Do you consider yourself an artist who works in jewelry, or do you consider yourself a jeweler who happens to make art through your jewelry? There are a lot of jewelers who don't consider themselves artists; they just make jewelry and that's it. How do the two rub together for you?   Joy: I see myself as an artist. I think within the arts, that encompasses so many different disciplines. A beautiful piece of literature written by Alice Walker, I think, is as moving as an artwork or a painting. The same with a composition of music. I see jewelry as another art form and expression. I don't divide them. However, I don't like all jewelry, in the same way I don't like all paintings or sculpture. The way in which we look at or define art is so subjective, depending on your norms, the way you were brought up, which part of the world you grew up in, how you have been subjected to certain things. When people ask me what I do, I say I'm an artist and goldsmith because I particularly work in noble metals and bronze. There's still a jewelry aspect of my work. It is very much jewelry. You can wear it, but it is also sculpture. It is one and the other; it's both.   Sharon: Have you ever made a piece of jewelry in gold where you said, “This is nice, but it's not a work of art. It doesn't express me as an artist; it's just like a nice ring”?   Joy: Definitely, and definitely through the period of time when I did my apprenticeship. I learned a lot. I made pieces where people would bring me albums or pieces they wanted to reinvent and find modern ways of wearing. I thought that was pretty interesting and I enjoyed that work, but I don't necessarily see it as an artwork that moves the soul or has the same effect as one of my deconstruction portraits or the Medusa series. I still think it has its place and it means a lot to that individual, and I enjoy the process of making it, but it's different.   Sharon: I know I said I asked my last question before, but I'm curious. Did your friends or colleagues or people in the street see something you had on and say, “Oh, I want that”?   Joy: Yes, definitely. I think if you like something and wear something because you like it enough that you wear it, usually someone else will like it, too. That's definitely part of it; I started making things and people still wanted them. I think my mom and dad were also sometimes the first port of call I would test things on to see whether they liked it. My dad is much more challenging because he doesn't wear a lot of jewelry. I made him a piece recently and he does wear it occasionally. He's quite a discerning artist. He won't sell his work to certain people. He's very particular about how he works and who he works with. But yes, that did start happening, and it's grown. I'm not sure how else to answer that question.   Sharon: I'm sure it's validating to have people say, “Oh, that's fabulous. Can you do one for me?” or “Can I buy it from you?”   Joy: I think that sense of desire, of wanting to put your body next to something or wear it, is one of the highest compliments. I went yesterday to a talk at the British Museum about an exhibition they're about to open called “Feminine Power: The Divine to the Demonic.” I went with a friend of mine who's a human rights lawyer. I made a piece for her recently which is very personal and is about various important things to her. Seeing her wear it made me feel really honored because she's an incredible person, and I could make her something that's part of her journey and that she loves so much that she wears it. Knowing it gives her power when she wears it is an incredible feeling. Also knowing that she may pass it down; that's another aspect with jewelry.    My mom has this one ring that was passed down in her family. My parents were struggling artists in London, and she sold most of her elegant pieces. I also find that aspect of jewelry really incredible, that it could transform by being sold so she could continue to do projects and things she wanted to do. I think jewelry's amazing in that way, that the intrinsic value can transform and be handed down and changed. I think that's interesting, but there was one ring she didn't sell because it's a miniature sculpture, and we all agree that it's incredibly beautiful. The rest of the pieces weren't things my mom or I or anyone really engaged with, but this one ring, to me, looks like a futurist sculpture in a seashell. It's a curved form. I think it's the Fibonacci proportions, and it's incredibly beautiful. Going back to your very first question, I think that may have had a strong influence in my appreciation and realization that I liked jewelry.   Sharon: It sounds like you're several years into a business that's going to be around for a long time. I hope we get to talk with you again down the road. Thank you so much for talking with us today, Joy.   Joy: Thanks for having me.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.  

This week Philip Hoare discusses Albert & the Whale his dive into the mind of Albrecht Durer, one of the most well-known yet mysterious of artists. Mysterious because he lived at that fluid time, in the fifteenth century, where history and legend often blend into one. Mysterious because his works feel so replete with meaning and yet prove so hard to interpret. And mysterious because his skills were so advanced, his genius so profound, that his techniques are hard to replicate even more than five centuries later.'This is a wonderful book. A lyrical journey into the natural and unnatural world' Patti SmithBuy Albert & the Whale here: https://shakespeareandcompany.com/I/9780008323295/albert-and-the-whaleBrowse our online store here: https://shakespeareandcompany.com/15/online-store/16/bookstore*Albrecht Durer changed the way we saw nature through art. From his prints in 1498 of the plague ridden Apocalypse - the first works mass produced by any artist - to his hyper-real images of animals and plants, his art was a revelation: it showed us who we are but it also foresaw our future. It is a vision that remains startlingly powerful and seductive, even now.In Albert & the Whale, Philip Hoare sets out to discover why Durer's art endures. He encounters medieval alchemists and modernist poets, eccentric emperors and queer soul rebels, ambassadorial whales and enigmatic pop artists. He witnesses the miraculous birth of Durer's fantastical rhinoceros and his hermaphroditic hare, and he traces the fate of the star-crossed leviathan that the artist pursued. And as the author swims from Europe to America and beyond, these prophetic artists and downed angels provoke awkward questions. What is natural or unnatural? Is art a fatal contract? Or does it in fact have the power to save us?With its wild and watery adventures, its witty accounts of amazing cultural lives and its delight in the fragile beauty of the natural world, Albert & the Whale offers glorious, inspiring insights into a great artist, and his unerring, sometimes disturbing gaze.*Philip Hoare is the author of six works of non-fiction: Serious Pleasures: The Life of Stephen Tennant (1990) and Noel Coward: A Biography (1995), Wilde's Last Stand: Decadence, Conspiracy, and the First World War (1997), Spike Island: The Memory of a Military Hospital (2000), and England's Lost Eden: Adventures in a Victorian Utopia (2005). Leviathan or, The Whale (2008), won the 2009 BBC Samuel Johnson Prize for non-fiction. Most recently, The Sea Inside (2013) was published to great critical acclaim.An experienced broadcaster, Hoare wrote and presented the BBC Arena film The Hunt for Moby-Dick, and directed three films for BBC's Whale Night. He is Visiting Fellow at Southampton University, and Leverhulme Artist-in-residence at The Marine Institute, Plymouth University, which awarded him an honourary doctorate in 2011.Adam Biles is Literary Director at Shakespeare and Company. Buy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-timeListen to Alex Freiman's Play It Gentle here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1 Get bonus content on Patreon See acast.com/privacy for privacy and opt-out information.

This week Philip Hoare discusses Albert & the Whale his dive into the mind of Albrecht Durer, one of the most well-known yet mysterious of artists. Mysterious because he lived at that fluid time, in the fifteenth century, where history and legend often blend into one. Mysterious because his works feel so replete with meaning and yet prove so hard to interpret. And mysterious because his skills were so advanced, his genius so profound, that his techniques are hard to replicate even more than five centuries later. 'This is a wonderful book. A lyrical journey into the natural and unnatural world' Patti Smith Buy Albert & the Whale here: https://shakespeareandcompany.com/I/9780008323295/albert-and-the-whale Browse our online store here: https://shakespeareandcompany.com/15/online-store/16/bookstore * Albrecht Durer changed the way we saw nature through art. From his prints in 1498 of the plague ridden Apocalypse - the first works mass produced by any artist - to his hyper-real images of animals and plants, his art was a revelation: it showed us who we are but it also foresaw our future. It is a vision that remains startlingly powerful and seductive, even now. In Albert & the Whale, Philip Hoare sets out to discover why Durer's art endures. He encounters medieval alchemists and modernist poets, eccentric emperors and queer soul rebels, ambassadorial whales and enigmatic pop artists. He witnesses the miraculous birth of Durer's fantastical rhinoceros and his hermaphroditic hare, and he traces the fate of the star-crossed leviathan that the artist pursued. And as the author swims from Europe to America and beyond, these prophetic artists and downed angels provoke awkward questions. What is natural or unnatural? Is art a fatal contract? Or does it in fact have the power to save us? With its wild and watery adventures, its witty accounts of amazing cultural lives and its delight in the fragile beauty of the natural world, Albert & the Whale offers glorious, inspiring insights into a great artist, and his unerring, sometimes disturbing gaze. * Philip Hoare is the author of six works of non-fiction: Serious Pleasures: The Life of Stephen Tennant (1990) and Noel Coward: A Biography (1995), Wilde's Last Stand: Decadence, Conspiracy, and the First World War (1997), Spike Island: The Memory of a Military Hospital (2000), and England's Lost Eden: Adventures in a Victorian Utopia (2005). Leviathan or, The Whale (2008), won the 2009 BBC Samuel Johnson Prize for non-fiction. Most recently, The Sea Inside (2013) was published to great critical acclaim. An experienced broadcaster, Hoare wrote and presented the BBC Arena film The Hunt for Moby-Dick, and directed three films for BBC's Whale Night. He is Visiting Fellow at Southampton University, and Leverhulme Artist-in-residence at The Marine Institute, Plymouth University, which awarded him an honourary doctorate in 2011. Adam Biles is Literary Director at Shakespeare and Company. Buy a signed copy of his novel FEEDING TIME here: https://shakespeareandcompany.com/S/9781910296684/feeding-time Listen to Alex Freiman's Play It Gentle here: https://open.spotify.com/album/4gfkDcG32HYlXnBqI0xgQX?si=mf0Vw-kuRS-ai15aL9kLNA&dl_branch=1

Five years ago, an American family purchased an unknown drawing by Albrecht Durer, thinking it was a replica. What cost them $30 turned out to be a 500-year-old masterpiece estimated to be worth up to $50,000,000. Alexandra Toscano, Advisory Board Member of the LAW 00:42 #LondonArtWeek #London #Fashion

Tune in to this Real Long Episode to learn about Francis Bacon (1909-1992) an English Scorpio who painted some real weird shit, and Albrecht Dürer (1471-1528) a German Gemini painter and print maker! Skip ahead to 22 minutes for that sweet, sweet information UNLESS you wanna hear us talk about Meatballs, Why you shouldn't let your car insurance lapse, Neysa's NEW MAN REVEAL!, and a bowling pin shaped dude with downward facing nipples. Trigger warning on Francis Bacon's section for abuse. --- As always, check out the 'gram for some of the art we reference: @IMinoredInArtHistoryPod Music Creds: intro is edited Regina Spektor, outro is original audio by Nic Hamersly Audio mixed with Auphonic --- Support this podcast: https://podcasters.spotify.com/pod/show/iminoredinarthistorypod/support

For Breezeblock 26, Eda talks to fellow editors Bassem Saad and Ameneh Solati about "Rhino: An Alternative Story" their contribution to the Stories on Earth project, Failed Architecture's contribution to the public parallel programme of the Dutch Pavilion during the 17th International Architecture Exhibition of La Biennale di Venezia.

Albrecht Dürer, was a German painter, printmaker and theorist, and has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since. For this and other artwork we discuss, please visit https://www.darwindarko.com/ekphrastic.

Albrecht Durer and carving out your own niche. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

In episode two, Johanna Schwaiger will be interviewing Miles Yoshida, an outstanding draftsman and sculptor from Long Beach, CA. Miles will be sharing with you his use of ink for crosshatching, his creative routine, and the story behind his famous hand portraits. You will learn how his sculpting and drawing careers influence one another. Miles will also speak about his main inspirations from the past, such as Michelangelo, Albrecht Durer, Leonardo Da Vinci, Katsushika Hokusai, Tsuguharu Foujita, and many more.

How does an artwork change as the person looking at it does? Kate Zambreno, a 2021 Guggenheim Fellow in Nonfiction and the author of the acclaimed 2020 novel Drifts, details the pleasures and discovery of returning to an artist or artwork over and over again—in her case, the likes of Sarah Charlesworth, Chantal Akerman, and Albrecht Durer. She speaks and writes about their lives and work with humor and personal insight born of longtime obsession.  Drifts: A Novel, named a Best Book of the Year by The Paris Review, is out now on paperback. Zambreno's latest book, To Write as if Already Dead, was published in June 2021.

En este mundo lo que faltan son financistas. Financistas como Jakob Fugger, que fue uno de los hombres más ricos de la historia. Fue el financista de los Habsburgo, principalmente, el de Carlos V. Su influencia en el mundo se siente todavía hasta el día de hoy. Esta es su historia. Imagen: retrato de Jakob Fugger (circa 1519), Albrecht Durer. Fuentes / Textos - RUIZA, M., FERNÁNDEZ, T. y TAMARO, E. (2004). Biografia de Familia Fugger o Fúcares. En Biografías y Vidas. La enciclopedia biográfica en línea. Barcelona (España). Recuperado de https://www.biografiasyvidas.com/biografia/f/fugger.htm el 7 de mayo de 2021. - STEINMETZ, Greg (2016) The richest man who ever lived : the life and times of Jacob Fugger. Simon & Schuster. ISBN-13: 978-1451688566. Fuentes / Videos - BIOGRAPHICS (2020) Jakob Fugger: The Richest Man Who Ever Lived. Youtube. - KINGS AND GENERALS (2021) Fugger - Banker Who Financed the Habsburgs. Youtube. Fuentes / Sitios web - Wikipedia Música: El tema de la Tortulia es una versión de Caravan por El Gran Quelonio. El tema original es de Duke Ellington. El tema de la Pausa es una versión de Caravan por Oleg Zobachev. El tema original es de Duke Ellington. El tema de Rumbo a la Cancha es una versión de Espiral por Kanirasta. La versión original es de Dunne. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Depuis la Réforme, le protestantisme a eu un regard ambigu sur lʹislam. Qui sait aujourdʹhui que Luther a soutenu une édition latine du Coran? Que des auteurs protestants ont pensé la religion universelle grâce à lʹislam? Pendant des siècles, la religion musulmane a engendré un trouble chez les protestants. Une histoire dont le théologien Pierre-Olivier Léchot trace les contours et lʹévolution au micro de Matthias Wirz. Photo: Deux Turcs de haut rang et leur esclave noir d’Albrecht Durer, 1514, aquarelle conservée au British Museum de Londres

In this episode we revisit a topic that we've touched upon in a few podcasts and that's how to get a bright white on the paper. It's a big topic and problem for a lot of our students so we thought we've cover it as extensively as we can in this episode. We also answer questions about Albrecht Durer pencils, using PastelMat for the first time and how to create realistic portraits.

Donald Kuspit was born and raised in New York, attended Stuyvesant High School, skipped 2 years, because he was chosen as a Ford Scholar then entered Columbia College when he was 16. T. W. Adorno was Kuspit's mentor when Kuspit attended Goethe University in Frankfurt-am-Main. Kuspit was a member of the Dokumenta committee for 3 Dokumentas. Donald Kuspit's doctorate in philosophy was on Alfred North Whitehead. Kuspit's doctorate in art history was on Albrecht Durer. He was on the Policy Committee of the National Endowment for Arts for 2 years. Kuspit currently writes for Whitehot Magazine and other publications and continues to curate exhibitions and write books on contemporary art. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/noah-becker4/support

The Bible says God made humans in his own image, but we tend to make Jesus into our own image. Is that okay? What did Jesus really look like? Find out from https://www.thecrossingchurch.com/staff/keith-simon/ (Pastor Keith Simon) as we continue our series on https://www.thecrossingchurch.com/podcast-series/who-is-jesus/ (Who Is Jesus?).  Interested in more content like this? Listen to our earlier episode https://www.thecrossingchurch.com/podcasts/was-jesus-a-real-person-who-is-jesus/ (Was Jesus a Real Person?).  Like this content? Make sure to leave us a rating and share it with others, so others can find it too.  To learn more, visit our https://www.thecrossingchurch.com/ (website) and follow us on https://www.facebook.com/TenMinuteBibleTalks (Facebook), https://www.instagram.com/thecrossingcomo/ (Instagram), and https://twitter.com/thecrossingcomo (Twitter) @TheCrossingCOMO and @TenMinuteBibleTalks.   Outline 0:15 - 1963 https://www.history.com/topics/1960s/birmingham-church-bombing (Birmingham Church Bombing ) 1:15 - What do you think Jesus looked like? 2:30 - 1940 "Head of Christ" by Warner Sallman: making Jesus in our own image 4:05 - https://www.warnersallman.com/collection/images/head-of-christ/ (Albrecht Durer): Self-Portrait 4:45 - https://www.dailymail.co.uk/video/news/video-1077112/Fox-Anchor-Santa-Jesus-white.html (Megyn Kelly) on Jesus and Santa Clause 6:35 - Jesus wasn't white 8:05 - https://www.thecrossingchurch.com/podcasts/was-jesus-a-real-person-who-is-jesus/ (Was Jesus a Real Person?) 10:15 - Cortez and Montezuma: misunderstanding each other 11:55 - Subscribe. Rate. Share.   Social Facebook: https://www.facebook.com/TenMinuteBibleTalks (https://www.facebook.com/TenMinuteBibleTalks) Instagram: https://www.instagram.com/thecrossingcomo/ (https://www.instagram.com/thecrossingcomo/) Twitter: https://twitter.com/thecrossingcomo (https://twitter.com/thecrossingcomo)   References Birmingham Church Bombing ("Birmingham Church Bombing" from History): https://www.history.com/topics/1960s/birmingham-church-bombing (https://www.history.com/topics/1960s/birmingham-church-bombing) "Head of Christ" by Warner Sallman ("Head of Christ" from Warner Sallman Collection): https://www.warnersallman.com/collection/images/head-of-christ/ (https://www.warnersallman.com/collection/images/head-of-christ/) Albrecht Durer ("Albrecht Durer: The Man Behind the Self-Portrait" by Deac. Carolyn Brinkley from Lutheran Reformation): https://www.warnersallman.com/collection/images/head-of-christ/ (https://www.warnersallman.com/collection/images/head-of-christ/) Megyn Kelly on Jesus and Santa Clause ("Fox Anchor: Santa and Jesus are white" from Daily Mail): https://www.dailymail.co.uk/video/news/video-1077112/Fox-Anchor-Santa-Jesus-white.html (https://www.dailymail.co.uk/video/news/video-1077112/Fox-Anchor-Santa-Jesus-white.html)   Related Was Jesus a Real Person?: https://www.thecrossingchurch.com/podcasts/was-jesus-a-real-person-who-is-jesus/ (https://www.thecrossingchurch.com/podcasts/was-jesus-a-real-person-who-is-jesus/) Who Is Jesus?: https://www.thecrossingchurch.com/podcast-series/who-is-jesus/ (https://www.thecrossingchurch.com/podcast-series/who-is-jesus/) Support this podcast

This week Ben and Matt talk with the president of the Center for Congregations, Tim Shapiro. Tim shares his experiences as a senior pastor for 18 years and from his 18 years of experience at the Center. Congregational life has changed a lot over the last three decades but the news is not all bad. We'll discuss the bright spots, creativity and possibilities of the changing landscape. Check out the resources mentioned on this episode here: https://thecrg.org/collections/Tapping_into_Experience_with_Tim_Shapiro_Changes_in_Congregations_over_the_Years And in case you were wondering about the hare artistry done by Albrecht Durer, the link is below. Matt said it was a woodcarving but it's actually a drawing and watercolor. We're not afraid to say we we're wrong! https://artsandculture.google.com/asset/hase/1QHEnzUGYMDG_w?hl=en Reach out to us at podcast@centerforcongregations.org

Why do art schools still exist? What are the pros of going to one? Who could benefit from enrolling? These questions and more are answered by Marshall and Stan in the first real episode of season 2. Stay tuned for the next series of videos where we cover topics surrounding art schools and how students can recreate that experience from home.  Call and Ask Your Art Questions: 1-858-609-9453 Show Links (some contain affiliate links): Jim Carrey - http://www.jimcarreyonline.com/info/arts.html Noah Bradley - Don’t go to art school - https://noahbradley.com/blogs/blog/dont-go-to-art-school The Daily Show - http://www.cc.com/video-clips/q35d99/the-daily-show-with-jon-stewart-stay-out-of-school Albrecht Durer -  https://proko.com/draftsmen-media/Albrecht-Durer-artwork-s2e01.jpg Art School Confidential movie - https://www.amazon.com/gp/video/detail/B001Q51DSQ/ref=atv_dp_share_cu_r What Color is Your Parachute - Richard Nelson Bolles Rebel without a Crew - Robert Rodrigues Laurel and Hardy - https://en.wikipedia.org/wiki/Laurel_and_Hardy Learn to Draw - www.proko.com Marshall Vandruff -www.marshallart.com Stan Prokopenko -instagram.com/stanprokopenko Learn more about your ad choices. Visit megaphone.fm/adchoices

Episode Seven features emerging artist and painter Anastasiya Tarasenko. Born in Kiev Ukraine, Anastasiya moved to New York City with her family at six years of age and has resided in the city ever since. She attended art schools early on and ultimately received her MFA from the New York Academy of Art in 2017. Her work is influenced by artists such as Hieronymus Bosch, Albrecht Durer, Jean Fouquet and Van Der Weyden, to name a few. Also, worth mentioning, Anastasiya uniquely paints on enameled copper. After being featured in New American Paintings, Steven Zevitas, the publisher and gallerist, invited Anastasiya to participate in a show in Boston that runs thru March. She recently exhibited her work during the 2020 Spring Break Art show and this summer artists Deborah Brown and Patty Horing are curating a group show of self-portraits that will include paintings by Anastasiya. Most exciting, she will have her New York City solo debut in the fall. http://www.atarasenko.com http://stevenzevitasgallery.com/anastasiya-tarasenko-the-thumb-of-our-pa https://whitehotmagazine.com/articles/tarasenko-at-steven-zevitas-gallery/4511

Buckle up and take a ride with Mrs. Castrilla and Mrs. Walters as they talk about The Small Horse by Albrecht Durer.

In this episode we talk about our new members to our Strange Dreams Surreal Artist Collective. A mural in Vienna is believed to be partly done by Albrecht Durer. A Serial Art Thief who has stolen more than a billion dollars worth of artwork is arrested.   We also talked about Chinese Zodiacs, my phone died and halting any posts to my Patreon and Snapchat pages, setting off alarms in museums, church security in Europe, true crime podcasts, pigeons with cowboy hats and more. The PaintingLoft Podcast is about the "Dark Art" community. Exhibitions, Artists, Techniques, Ideas, Scandals & Crimes and all the things worth talking about in the realm the two host participate in. Jessica Perner and Scott Holloway are both artists exhibiting their work globally in the field of art that doesn't truly have a title but is widely accepted as "Dark Art".

This week, we talk to the incomparable artist Russ Nicholson. Russ has created countless iconic illustrations for tabletop RPGs - you probably best know his work from the original Dungeons & Dragons Fiend Folio or from countless fantasy gamebooks, like the Fighting Fantasy series. We chat about his work, his career, Ouija boards, Scottish accents and more in what, as far as Russ can recall, is his first podcast interview ever! * * * A few notes directly from Russ after the fact: "Sorry about my memory and going off at side tangents so often but I enjoyed that...funny I have never talked in regards to the source of my artwork about the 'happenings' at our old house when I was growing up before. At least as I age, these awarenesses are rare and our present bungalow is so new there is nothing directly 'there.' Now artists - there are a few I especially rate (although I made a point of never copying) - Albrecht Durer, the Brueghals, Rembrandt, El Greco, Hals, Velazquez, the Pre-Raphaelite Brotherhood, Mucha, Klimt, Toulouse Lautrec, Doré, Beardsley and Rackham, to name a few. Also pulps - Sax Rohmer, Howard, The Shadow, Weird Tales, Black Mask stories, Poe, Edgar Wallace, Edgar Rice Burroughs, Merrit, Hamilton, Jules Verne, Rider Haggard and the old pulp serials I saw at Saturday morning children's cinema - loved it all. From age ten on, when I left the countryside life for life in the city, I read a lot (up until then my mother thought I didn't read anything except comics). And that silent film I was trying to talk about - it had something similar, where a man is sitting by a rock pool (?) and these squidgy tentacled things (similar to the Grell toy Stu sent me) come out of the water and drag him to his doom. Scared me as a lad but I was in my teens so no screaming attacks (laf) and am still not fond." * * * You can see scads of Russ' art on his blog, The Gallery. If  you dig what we do, join us on the Vintage RPG Patreon for more roleplaying fun and surprises! Patrons keep us going! Like, Rate, Subscribe and Review the Vintage RPG Podcast! Send questions, comments or corrections to info@vintagerpg.com. Follow Vintage RPG on Instagram, Tumblr and Facebook. Learn more at the Vintage RPG FAQ. Follow Stu Horvath, John McGuire, VintageRPG and Unwinnable on Twitter. Intro music by George Collazo. The Vintage RPG illustration is by Shafer Brown. Follow him on Twitter. Tune in next week for the next episode. Until then, may the dice always roll in your favor!

Albrecht Dürer - the artist who depicted the stout Rhinoceros (1515) or the Young Hare (1502) or the Self Portrait in the image of Christ (1500) - was the first truly international artist. No artist before him had been a famous name around Europe in his own lifetime. What brought him that fame was the print: reproducible art sprung from brand new technology. Produced for BBC Radio 3

This is a good one... We go through and discuss a list of 23 important art habits that every artist should consider. A tattoo artist gets advice about composition and Marshall finally roasts me. Woo! Call and Ask Your Art Questions: 1-858-609-9453 Some showlinks contain affiliate links to amazon.com: Currier & Ives Prints - https://proko.com/draftsmen-media/Currier-and-ives-print.jpg K. Anders Ericsson on the 10,000 hour mastery - https://www.bbc.com/news/magazine-26384712 Bernie Wrightson - A Look Back - https://amzn.to/2PCu6Nf The Talent Code - https://amzn.to/326GMgI Seth Godin - https://amzn.to/2ZK8huL Ivan Brunetti - Cartooning - https://amzn.to/2ZILlvW Creativity - Mihaly Csikszentmihalyi - https://amzn.to/2MPBwdK 1000 Tattoos - Taschen - https://amzn.to/2NMPFbs Marshall’s “bad” drawings - https://proko.com/draftsmen-media/Marshall-Vandruff-sloppy-art.jpg Precious Moments calendars - https://proko.com/draftsmen-media/precious-moments-calendars.jpg Marshall’s Tattoo aesthetic - https://proko.com/draftsmen-media/Marshall-Vandruff-tattoo-aesthetic.jpg Albrecht Dürer’s woodcuts - https://proko.com/draftsmen-media/Albrecht-Durer-woodcuts.jpg Scrum book - https://amzn.to/2HEU63Q Ken Burn's the West - https://amzn.to/2NNABds Artists Mentioned in this video - Vincent van Gogh, JC Leyendecker, Howard Pyle, Claude Monet, Pierre-Auguste Renoir, Alphonse Mucha 1. Draw From Life 2. Draw in your head 3. Become your own critic 4. Get information from multiple sources 5. Train like an athlete 6. Break big things into smaller things 7. Protect your most creative time 8. Go beyond the minimum requirements 9. Think like a kid 10. Research, research, research 11. Patience 12. Draw things you enjoy 13. Remix your inspiration 14. Share what you learn 15. Spend time with other artists 16. Say “No” 17. Say “Yes” 18. Make ugly drawings 19. Exercise 20. Draw Daily 21. Finish what you start 22. Discipline 23. Master your calendar Learn to Draw - www.proko.com Marshall Vandruff - www.marshallart.com Stan Prokopenko - instagram.com/stanprokopenko  Learn more about your ad choices. Visit megaphone.fm/adchoices

They are associated with luxury but historically this has not always been the case. They live in all oceans, yet I am partial and prejudiced to those from New England. Today it's the food history and food art of lobster. My guest Greg Weekes shares his insight and stories as a Cape Cod Lobsterman. Their form and colour have inspired artists throughout the ages. There's art from the Moche civilisation of Peru, Albrecht Durer, Claara Peeters, Anne Vallayer-Coster, Judith Sobel and Carrie Mae Weems.

Today we remember Albrecht Durer and the feast day of Constantine and Helena. The reading is Psalm 23, translated by George Herbert. We’re proud to be part of 1517 Podcasts, a network of shows dedicated to delivering Christ-centered content. Our podcasts cover a multitude of content, from Christian doctrine, apologetics, cultural engagement, and powerful preaching. Support the work of 1517 today.

John Guydo is a New York City based Illustrator working primarily in the traditional medium of pen and ink. Inspired by master engravers like Gustave Dore and Albrecht Durer, John crafts detailed illustrations through intricate line work. Much of his recent focus has been on creating poster prints licensed by Marvel, DC, and Warner Brothers. Full shownotes: http://yourcreativepush.com/johnguydo In this episode, John discusses: -How he realized that he missed drawing after doing a lot of work in graphic design and web design. -The importance of taking some breaks from your creative pursuits. -The way in which he started sharing his work on social media. -Why he shares intricate, detailed shots of what he is working on. -The long-term project that he is working on with poet David Herrstrom. -His strategy for sharing his work on Tumblr and other social media websites. -The way that social media not only allows you to put yourself in front of new audiences but also allows you to be the audience to artists that you would have never witnessed. -Doing alternative movie posters for Blade Runner, Batman, and the Marvel Cinematic Universe (MCU). -What it is like to work with Bottleneck Gallery. -Not thinking about his work as a career, but rather as entertainment. -The challenge that he faced to incorporate so many Marvel characters into the 10-year anniversary poster for the MCU. -Working digitally and incorporating color into his work for the first time. -How he sometimes overthinks the business aspects of creating art. -Dealing with overwhelm when it comes to choosing the version of a piece he wants to create (and how he makes a decision). -How he spends a lot of time before he even makes the first mark to ensure that he is happy with the composition and the idea as a whole (and then it is off to the races). -The importance of creating things that you want to see rather than trying to cater to what others want. John's Final Push will inspire you to give your art to others as you would like to receive from them!   Quotes: “Drawing in your own sketchbook is one thing, but having audience really changes things.” “I’m the type of person that likes to really obsess over things.  Sometimes too much, actually.” “One of my resistances is coming up with a final decision on what I’m going to do, because there is only going to be one image at the end of the day.” “It usually takes me a long time before I actually put pen to paper.  I really need to lessen that and get started on these things quicker.” “To me, the most important part of the process happens before you put pen to paper.” “Give art to others as you would like to receive from them.” “The only type of success that I ever found was when I stopped trying to be successful and just started doing the artwork that I found interesting to myself, and then that little bit of success came along.” Links mentioned: John's MCU Poster Bottleneck Gallery: Website / Instagram Illustrating the Beasts of the Bible Incubation, Ideation, and the Art of Editing: Beethoven on Creativity Connect with John: Store / Instagram / Twitter / Tumblr On the next episode: Marie-Noëlle Wurm : Website / Instagram Join the discussion in the Facebook group!

You can find the full show notes here:  https://ridgelightranch.com/albrecht-durer-podcast-39/  Albrecht Durer was known as the “Leonardo da Vinci of Germany,” but he was a Renaissance trendsetter in the whole European art world. His impact reached far beyond Germany, partially because he traveled to other countries, but more because his Woodblock cuts were far beyond what anyone had ever created! However, Durer wasn't just an artist, he was also interested in theology, science, proportions, math, geometry, and epistemology (the study of the foundation of knowledge).

'Dear Albrecht, Everyone had hair like that - did they? I'll take your word for it. You were very good at hair, can I just say?' In a series of imaginary correspondences, Ian Sansom is writing letters to five of history's most celebrated artists and interrogating them about, well, just about everything. 'Dear Caravaggio, you're the sort of man who might know: what is wrong with us?' As the missives fly much is revealed about their lives as well as about Ian's current state of mind. Albrecht Durer is looking for an App developer. When Caravaggio asks for help finding a patron Ian suggests a crowd funding website. Meanwhile, how did Victorian photographer Julia Margaret Cameron get hold of Ian's address? Did her great niece Virginia Woolf pass on his details? And should he really be telling the Tate Modern that Picasso was having a mid-life crisis in 1932? In his on-going quest to write more epistles than St Paul, it seems Ian is receiving surprising replies from some of our best-loved artists. Producer - Mark McCleary for BBC Northern Ireland

'Dear Albrecht, Everyone had hair like that - did they? I'll take your word for it. You were very good at hair, can I just say?' In a series of imaginary correspondences, Ian Sansom is writing letters to five of history's most celebrated artists and interrogating them about, well, just about everything. 'Dear Caravaggio, you're the sort of man who might know: what is wrong with us?' As the missives fly much is revealed about their lives as well as about Ian's current state of mind. Albrecht Durer is looking for an App developer. When Caravaggio asks for help finding a patron Ian suggests a crowdfunding website. Meanwhile, how did Victorian photographer Julia Margaret Cameron get hold of Ian's address? Did her great niece Virginia Woolf pass on his details? And should he really be telling the Tate Modern that Picasso was having a mid-life crisis in 1932? In his on-going quest to write more epistles than St Paul, it seems Ian is receiving surprising replies from some of our best-loved artists. Producer - Mark McCleary for BBC Northern Ireland

'Dear Albrecht, Everyone had hair like that - did they? I'll take your word for it. You were very good at hair, can I just say?' In a series of imaginary correspondences, Ian Sansom is writing letters to five of history's most celebrated artists and interrogating them about, well, just about everything. 'Dear Caravaggio, you're the sort of man who might know: what is wrong with us?' As the missives fly much is revealed about their lives as well as about Ian's current state of mind. Albrecht Durer is looking for an App developer. When Caravaggio asks for help finding a patron Ian suggests a crowd funding website. Meanwhile, how did Victorian photographer Julia Margaret Cameron get hold of Ian's address? Did her great niece Virginia Woolf pass on his details? And should he really be telling the Tate Modern that Picasso was having a mid-life crisis in 1932? In his on-going quest to write more epistles than St Paul, it seems Ian is receiving surprising replies from some of our best-loved artists. Producer - Mark McCleary for BBC Northern Ireland

'Dear Albrecht, Everyone had hair like that - did they? I'll take your word for it. You were very good at hair, can I just say?' In a series of imaginary correspondences, Ian Sansom is writing letters to five of history's most celebrated artists and interrogating them about, well, just about everything. 'Dear Caravaggio, you're the sort of man who might know: what is wrong with us?' As the missives fly much is revealed about their lives as well as about Ian's current state of mind. Albrecht Durer is looking for an App developer. When Caravaggio asks for help finding a patron Ian suggests a crowd funding website. Meanwhile, how did Victorian photographer Julia Margaret Cameron get hold of Ian's address? Did her great niece Virginia Woolf pass on his details? And should he really be telling the Tate Modern that Picasso was having a mid-life crisis in 1932? In his on-going quest to write more epistles than St Paul, it seems Ian is receiving surprising replies from some of our best-loved artists. Producer - Mark McCleary for BBC Northern Ireland

'Dear Albrecht, Everyone had hair like that - did they? I'll take your word for it. You were very good at hair, can I just say?' In a series of imaginary correspondences, Ian Sansom is writing letters to five of history's most celebrated artists and interrogating them about, well, just about everything. 'Dear Caravaggio, you're the sort of man who might know: what is wrong with us?' As the missives fly much is revealed about their lives as well as about Ian's current state of mind. Albrecht Durer is looking for an App developer. When Caravaggio asks for help finding a patron Ian suggests a crowd funding website. Meanwhile, how did Victorian photographer Julia Margaret Cameron get hold of Ian's address? Did her great niece Virginia Woolf pass on his details? And should he really be telling the Tate Modern that Picasso was having a mid-life crisis in 1932? In his on-going quest to write more epistles than St Paul, it seems Ian is receiving surprising replies from some of our best-loved artists. Producer - Mark McCleary for BBC Northern Ireland

Kristin Musgnug navigates the tension between our constructed ideas of nature and the actual landscape. For Musgnug, painting is approached as a process of inquiry that draws on her interests in the scientific view of nature as well as the role that nature plays in culture and the human psyche. The work in the Catich Gallery exhibition, Disturbed Ground, began in response to Albrecht Durer's 1503 watercolor drawing, Great Piece of Turf. Durer's drawing is a nature study of grasses, dandelions, plantains, and other plants growing out of a slab of earth. Music Credit: Bensound.com-Rumble & All That

Gary Gunn is a dating-confidence coach, keynote speaker and best-selling author. You can schedule a free consultation call with Gary at the following link: https://calendly.com/garygunn/consultation/ Or visit his Social Attraction website to gain access to his free training pack worth £149; including: - 9 in-depth ways to approach women video course - Meet, attract & date women 3-day audio training - PDF handbook from his live training events https://www.socialattraction.co.uk/ Ok welcome back to today's episode we'll be looking at a famous piece of art created by Albrecht Durer; known as praying hands. The story behind this piece of art is what truly makes this work of art so famous. Creating a painting with the image of his brother broken fingers and knuckles as a thank you for helping him on his journey. This is really a lesson for all of us about maturity, knowledge and not being afraid to put your hands together and ask for some help as depicted in the image itself. This is also a great story to learn and to tell to women to illuminate the creative and artistic side of our personality.

He was one of the most notable names in the Northern Renaissance, he was responsible for bringing the image of Jesus to the common people, and he had indoor plumbing! Join the Babes as they get sauced with special guest, Zach Clark and talk all things Albrecht Durer. Zach's bizz zach@zachclarkis.com http://www.zachclarkis.com/ Trying to be more financially responsible in 2018? Try Acorns! Use our link at get $5 https://www.acorns.com/invite/?code=F7FU9C Magic color changing Art History Babes prints by featured artist, Faith Sponsler available at www.arthistorybabes.com/featured-artist/ Check out our Patreon for exclusive bonus episodes! www.patreon.com/arthistorybabes We got a blog! We got merch! We got newsletters! www.arthistorybabes.com Insta: @arthistorybabespodcast Twitter: @arthistorybabes Email: arthistorybabes@gmail.com Learn more about your ad choices. Visit podcastchoices.com/adchoices

Figs are one of the earliest if not our earliest cultivated plant.  Their reverence surely stems from their historic connection to our own agricultural journey and they are a symbol of abundance and important to ancient peoples, cultures, art, cookery and religions. They are symbols of fertility, wealth, youth and the brevity of life. This episode will look at the Greek etymology behind 'sycophancy' and the Roman Apicius' recipe for fegato. Artists discussed include Giovanna Garzoni, Albrecht Durer, Clara Peeters, Suzanne Valadon, Vivienne Westwood and Figs in Wigs.

For almost three hundred years Europeans were not entirely sure what rhinos looked like. The most popular image of the beast was a print made by Albrecht Durer in 1515, which shows an Indian rhinoceros as a plated, scaled, animal […]

In this Quackcast we cover the Importance of good linework in comics and different line techniques such as Herge's Ligne claire, the traditional thick line for characters and thin for everything else as exemplified in the work of Mucha, variable line widths as in Manga, solid blacks like in American comics, and complex lines like Durer or Hyena Hell. I really seriously thought I could get an entire Quackcast out of the concept and techniques of linework, but honestly I was struggling… Okay, so linework constitutes the skeleton that most comics are built on, with the notable exception of painted comics, photo comics, 3D and vector comic among others… But for most comics line is a pretty essential element. There are a lot of different techniques involved in the use of lines. Herge popularised “ligne claire”, which means that all lines have the same thickness and that there's no line shading. A popular style that I was taut was to have thick lines around characters and overlapping elements, with thin lines for internals and backgrounds. This is popular in a lot of manga, US comics and famously the work of Alphonse Mucha. Part of my technique on Pinky TA involves making my lines grey, so that when I set the line layer to “multiply”, the lines take on some of the background colours beneath them and don't show up as darkly as traditional black lines. The work of Hyena Hell on the Hub is interesting for her use of very complex internal shading line to build up texture and shapes, this can also be seen in the works of Albrecht Durer. Manga is notable for its extensive use of very stylised shading, crisp lines and the use of variable line widths for outlines, while American comics make heavy use of solid blacks for areas of shadow, basically extending the width of the line as far and as solidly as it can go. How do YOU approach your linework? The music for this week by Gunwallace is for The Wallachian Library. It's a dark, black future sounds, neon glows, pulses of energy and ideas, vectors and virtual circuits.Sorry, no link to this comic, the user deleted it from the site. Topics and shownotes Featured comic: Monster Corp - http://www.theduckwebcomics.com/news/2017/may/24/featured-comic-monster-corp/ LINKS: Ligne claire by Herge - https://en.wikipedia.org/wiki/Ligne_claire Alphonse Mucha - https://en.wikipedia.org/wiki/Alphonse_Mucha The Hub - http://www.theduckwebcomics.com/The_Hub/ Monster - https://en.wikipedia.org/wiki/Monster_%28manga%29 junji ito - https://en.wikipedia.org/wiki/Junji_Ito Albrecht Durer - https://en.wikipedia.org/wiki/Albrecht_D%C3%BCrer Masamune Shirow - https://en.wikipedia.org/wiki/Masamune_Shirow Special thanks to: Gunwallace - http://www.virtuallycomics.com Banes - http://www.theduckwebcomics.com/user/Banes/ Tantz Aerine - http://www.theduckwebcomics.com/user/Tantz_Aerine Ozoneocean - http://www.theduckwebcomics.com/user/ozoneocean Featured music: The Wallachian Library WAS a comic by TheHereitcLocomotive, who has since deleted it… For what it's worth you can look at their profile here: - http://www.theduckwebcomics.com/user/TheHereitcLocomotive.

HAPPY PHOOLE YEAR! It’s Phoole’s last Phoole & the Gang of 2016. Lighthearted tributes to the late Jean-Jacques Perrey, David Bowie, Prince and George Michael bounce between sets of serious groove. Phoole handles a dayjob crisis while simultaneously doing a show. Then she dabbles in the occult and pulls out Brian Williams’s Ship of Fools Tarot Deck (which she incorrectly attributes to being drawn from the work of Albrecht Durer but it is REALLY inspired by Sebastian Brant) to act as oracle, finding out fortunes for the Phooligans chatting live with the Phooleout Shelter from around the Phooliverse! Board the Chewb! https://TheChewb.com Be a Phoole Patreon Patron! https://patreon.com/phoole https://twitter.com/phoole https://facebook.com/DJPhoole https://chew.tv/phoole https://chew.tv/crew/thechewb https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/aephoole www.phoole.com/video

HAPPY PHOOLE YEAR! It’s Phoole’s last Phoole & the Gang of 2016. Lighthearted tributes to the late Jean-Jacques Perrey, David Bowie, Prince and George Michael bounce between sets of serious groove. Phoole handles a dayjob crisis while simultaneously doing a show. Then she dabbles in the occult and pulls out Brian Williams’s Ship of Fools Tarot Deck (which she incorrectly attributes to being drawn from the work of Albrecht Durer but it is REALLY inspired by Sebastian Brant) to act as oracle, finding out fortunes for the Phooligans chatting live with the Phooleout Shelter from around the Phooliverse! Board the Chewb! https://TheChewb.com Be a Phoole Patreon Patron! https://patreon.com/phoole https://twitter.com/phoole https://facebook.com/DJPhoole https://chew.tv/phoole https://chew.tv/crew/thechewb https://mixcloud.com/phoole https://hearthis.at/phoole https://instagram.com/aephoole www.phoole.com/video

This is a fun week about pets, animals and art!  The great master artist, Albrecht Durer, was primarily an engraver and printmaker, he was also a painter and “theorist”.  During his lifetime (1471 – 1528) he created some of the most recognizable animal prints that people are familiar with today.  He is also said to […]

Intaglio uses metal plates into which lines have been incised; it includes engraving, drypoint, etching, mezzotint, and aquatint. The ink is pressed into the lines with a dabber and the remaining ink is removed. The paper is dampened, placed over the plate, and passed through a press, where it receives ink from the lines, printing the image in reverse. The pressure from the press must be strong enough to force the damp paper into the lines on the plate, lifting the ink onto the paper. Intaglio printmaking emerged as an art form in the fifteenth century in works by artists such as Albrecht Durer (1471-1528) and Rembrandt van Rijn (1606-1669). While many artists continued to experiment with intaglio, in the twentieth century, publishers Universal Limited Art Editions (ULAE) and Gemini G.E.L. fostered new approaches to the medium, which contributed to a printmaking renaissance in the United States.

Our Chorus of Mankind returns to the stage, now wearing bloody bandages and scorched rags; there is sound of a huge battle beyond them and shocks of shells exploding in midair, screams of women and the crying of babies.Faustus stands apart from the Chorus of Mankind, looking on it as it begins its address.***The image is an etching by Albrecht Durer of the Four Horsemen of the Apocalypse.Music excerpt is Violin concerto No. 5 in A minor, Op 37 - II. Adagio by Paganini, from the album Paganini; Vieuxtemps Violin Concertosperformed by Viktoria Mullova (violinist) and Neville Marriner and the Academy St. Martin In The Fields.

A spotlight is cast upon Helen holding her child in her arms, standing upon an orb poised above a crescent moon, within the bowl of it, so that the moon resembles golden horns cradling the Earth, and she above it, enthroned. About her head twelve star-points are arrayed in a halo, rotating. The orb-and-moon rises, lofting Helen and child, as the chorus speaks.***Image is a common motif of the Virgin Mary, this one by Albrecht Durer. It is identical to the motif of the Great Mother Goddess as related by Apulieus in his pagan Roman novel, The Golden Ass.Music excerpt is
 Hovhaness: Harp Concerto, Opus 267 performed by 
Yolanda Kondonassis (harp).

**Today's host(s):** Scot Landry and Fr. Mark O'Connell **Today's guest(s):** Fr. Gerry Dorgan, Pastor of St. Mary of the Annunciation Parish in Danvers * [St. Mary of the Annunciation Parish, Danvers](http://stmarychurchdanvers.org/) * ["A day to celebrate Father Dorgan," Danvers Herald, 4/10/08](http://www.wickedlocal.com/danvers/news/lifestyle/religion/x1620715324#axzz1RRfpaqIU ) **Today's topics:** Pastor Profile: Fr. Gerry Dorgan **Summary of today's show:** Fr. Gerry Dorgan joins Scot and Fr. Mark to discuss his 53 years in the priesthood; his 20 years at St. Mary in Danvers; how he ended up teaching in the seminary after just 5 months as a priest; what makes a good homily (hint: not that's short!); and his love of art and art history. Also, this Sunday's Gospel from Mass. **1st segment:** Scot welcomed Fr. Mark back to the show. He asked how his summer is going at its halfway point. He is starting his vacation this weekend.  on today's program, one of Fr. Mark's former pastors, Fr. Jerry Dorgan, will be on the program today. Fr. Mark was at Fr. Dorgan's parish for two years before he was sent to Rome to study canon law. Fr. Mark will always remember how Fr. Dorgan gave him a good sendoff from the parish. Fr. Dorgan was also Fr. Mark's homiletics professor in the seminary. When Fr. Mark presented his first homily to the professor, Fr. Dorgan said it would be a very good children's homily. Unfortunately, Fr. Mark was not writing a children's homily. **2nd segment:** Scot and Fr. Mark welcomed Fr. Dorgan to the show. He is celebrating 53 years as a priest this year. He has been at St. Mary in Danvers since 1991 and was at the seminary before that. He began his priesthood at St. Margaret Mary in Westwood, but wasn't there long because he was suddenly drafted to Cardinal O'Connell Minor Seminary. He attended graduate school at night and studied English Literature and also taught American history. He was 24 years old, had been ordained for four months, and was suddenly teaching English and history. Fr. Dorgan graduated from St. John Prep at 16 and then attended Holy Cross College. He'd already been thinking about the priesthood and at the end of the year he transferred to the seminary. After ordination he taught at seminaries until being made pastor in 1991. Scot was surprised that Fr. Dorgan has had only three assignments in his priesthood, which is very unusual over such a long period. He also did a religious talk show on WBZ Radio. The year he was ordained, there were 61 in his class. St. Mary's in Danvers is a wonderful parish. They have about 100 people who come to daily Mass to the 7am and 9am Masses. Scot has heard that there is a tradition in the parish that after Sunday Mass, the people kneel after the final song and pray a prayer of thanksgiving. Fr. Mark also heard that the original St. Mary's Church was demolished during the construction of Route 128 and that it was a good thing because the old building in such bad shape. The new church was built by [Gray Architects](http://www.grayarchitects.net), who have built many beautiful churches in the area. In 1998, they built a parochial school. Fr. Dorgan said it is going very well. It is shared with St. Richard of Chichester Parish in Danvers. It was founded by the Sisters of St. Joseph. There is a strong relationship with St. John's Prep. * [St. Mary of the Annunciation School](http://www.smadanvers.org/) * [St. John's Prep](http://www.stjohnsprep.org/) Having taught at the college seminary for many years (St. Clement's Seminary), he had taught many of the priests who serve in the Archdiocese today. Fr. Mark noted that Fr. Dorgan's collection of books took over many rooms at the seminary. Fr. Mark estimated that there were many more than 10,000 volumes. One day he told Fr. Dorgan about a favorite Wyeth painting in the Museum of Fine Arts. So Fr. Dorgan found a book with the image of the painting and gave it to Fr. Mark. He told him he'd been hoping to count down his collection and Fr. Mark said he would need to give away many more books to even make a dent. **3rd segment:** Fr. Dorgan taught homiletics in the seminary. He noted it's never been particularly noted as a strength in the Catholic Church. Scot asked him why it's not one of our strong suits compared to other Christian faiths. Fr. Dorgan said in Protestant churches the primary experience of Sunday worship is the homily while the Liturgy of the Eucharist is of equal importance to the Liturgy of the Word. He thinks it's important for the people to hear God's Word and to love and live it. Scot wonders if the problem is that laypeople encourage shorter homilies or if it's that priests are so busy during the week that they don't put as much preparation into it, especially if people aren't going to appreciate a long homily. Fr. Mark asked how helps a seminarian who is a terrible preacher. Fr. Dorgan said they often just need help determining what the message should be and how to deliver it. He believes that prayer is a key part of preparing a homily. Fr. Mark said Fr. Dorgan would not allow his students to have notes in front of them when preaching. Fr. Dorgan said a man would not read from a paper when on a date with his wife or girlfriend. Scot said he would certainly never do that if he wanted a second date. Fr. Dorgan said a Sunday homily should be 10-12 minutes. If it's well done it doesn't seem very long at all. During the week, he might speak for a minute or two.  Scot asked when you have such a diverse audience for the homily, how do you prepare for it to address everyone. Fr. Dorgan said that strictly speaking the Lectionary is the basis of the homily and so the priest studies the readings to determine what it means to him and to the situation of his parish. **4th segment:** Scot noted  that Fr. Dorgan also studied art history to teach it in the seminary as well. Fr. Dorgan said he thinks there's a tremendous potential in art history, particularly in Western art where so much of it is religious. He puts reproductions of fine art in his church to expose the congregation to beautiful religious art. A picture is worth 1,000 words. Art in Roman Catholicism is a tremendous part of our tradition. He was not himself an artist, but his family were lovers of art and he went to many art auctions as a child. He has a triptych of the [Annunciation](http://www.metmuseum.org/works_of_art/collection_database/the_cloisters/annunciation_triptych_merode_altarpiece_robert_campin/objectview.aspx?page=1&sort=6&sortdir=asc&keyword=annunciation&fp=1&dd1=7&dd2=0&vw=1&collID=7&OID=70010727&vT=1&hi=0&ov=0) in the Museum of Metropolitan Museum of Art. It is in the [Cloisters Museum](http://www.metmuseum.org/cloisters/) of the Metropolitan Museum. He is also a big fan of [Albrecht Durer](http://en.wikipedia.org/wiki/Albrecht_D%C3%BCrer). His favorite museum in the world is the Louvre in Paris. He loves [Chartres Cathedral](http://en.wikipedia.org/wiki/Chartres_Cathedral) outside of Paris. In Italy, Florence is his favorite place for art. When showing art, he prefers reproductions instead of slides. He prefers to be able to see the art in three dimensions as it was intended. There was a discussion of the sacred art in the churches of Boston, especially in churches that have closed. Most of the art has been preserved. Scot noted that Immaculate Conception in Newburyport and St. Mary in Dedham have beautiful art. They also agreed that the two parish in Charlestown and St. Mary in Melrose are also beautiful. Scot added that [St. Anthony of Padua in New Bedford](http://www.saintanthonynewbedford.com/images/virtualtour.html), where his brother is pastor, is the most beautiful church in the United States. The church was built to be the cathedral when the area become a diocese, but it was placed in Fall River instead. Scot said the [Cathedral in Covington, Kentucky](http://en.wikipedia.org/wiki/Cathedral_Basilica_of_the_Assumption,_Covington) has the largest stained glass window in the United States. **5th segment:** Now, as we do every week, we look forward to this coming Sunday's Mass readings to help us prepare to celebrate together. * [Gospel for Sunday, July 17, Sixteenth Sunday in Ordinary Time (Matthew 13:24-43)](http://www.usccb.org/nab/071711.shtml#gospel) >Jesus proposed another parable to the crowds, saying: “The kingdom of heaven may be likened to a man who sowed good seed in his field.  While everyone was asleep his enemy came and sowed weeds all through the wheat, and then went off.  When the crop grew and bore fruit, the weeds appeared as well.  The slaves of the householder came to him and said, ‘Master, did you not sow good seed in your field?  Where have the weeds come from?' He answered, ‘An enemy has done this.' His slaves said to him, ‘Do you want us to go and pull them up?' He replied, ‘No, if you pull up the weeds you might uproot the wheat along with them.  Let them grow together until harvest; then at harvest time I will say to the harvesters, “First collect the weeds and tie them in bundles for burning; but gather the wheat into my barn.”'” > >He proposed another parable to them.  “The kingdom of heaven is like a mustard seed that a person took and sowed in a field.  It is the smallest of all the seeds, yet when full-grown it is the largest of plants.  It becomes a large bush, and the ‘birds of the sky come and dwell in its branches.'” > >He spoke to them another parable.  “The kingdom of heaven is like yeast that a woman took and mixed with three measures of wheat flour until the whole batch was leavened.” > >All these things Jesus spoke to the crowds in parables.  He spoke to them only in parables, to fulfill what had been said through the prophet: I will open my mouth in parables, I will announce what has lain hidden from the foundation of the world. > >Then, dismissing the crowds, he went into the house.  His disciples approached him and said, “Explain to us the parable of the weeds in the field.”  He said in reply, “He who sows good seed is the Son of Man, the field is the world, the good seed the children of the kingdom.  The weeds are the children of the evil one, and the enemy who sows them is the devil. The harvest is the end of the age, and the harvesters are angels.  Just as weeds are collected and burned up with fire, so will it be at the end of the age.  The Son of Man will send his angels, and they will collect out of his kingdom all who cause others to sin and all evildoers.  They will throw them into the fiery furnace, where there will be wailing and grinding of teeth.  Then the righteous will shine like the sun  in the kingdom of their Father.  Whoever has ears ought to hear.” Fr. Dorgan recalls a professor telling him that great writers have one thing to say. The Bible is a big book and has one thing to say: I'll be with you. I'll be the one who'll be there with you. In exodus 3, the Lord says to Moses to go to Pharaoh to let his people go. The Lord says, "I'll be with you." He does about 130 funerals in his church each year and the people often choose the reading, "If God is with us, who can be against us." The good news is that we do not walk alone. Scot said God is sowing good seed, which is us. Even if we have a small seed of faith, God will make it grow. Mother Teresa going to Calcutta with millions of people in need. Look at the good she did for Calcutta and the entire Church. The weeds are those things in life which take us away from God, which distract us from him. Fr. Mark recalled Mother Teresa said that if you want to feed everyone in the world, start with one. The message of the mustard seed and the yeast is essentially the same. When Fr. Mark was ordained his uncle, Fr Dana Delaney, preached the homily. He said the yeast is the opposite of the bad apple. You plant the yeast and it makes everything grow, whereas one bad apple ruins the barrel. Scot said the last line is almost in-your-face because everyone has ears and so they are all called to hear. Fr. Mark notes that the owner of the field lets wheat and weeds grow together. We give the weeds a chance because they might be wheat in the end. God is patient with us and stays with us in difficult times.

This week, we'll look at the many aspects of melancholia. In particular, German Renaissance master Albrecht Durer engraving of the same name. We can linger over the many symbols of mathematics and alchemy portrayed in the work but ultimately it's all about how one feels. Expounding and deflecting for us this week are All India Radio, Plastik Joy, Matisse and Deeper Sublime, Eskazed, Blind Divine and Gate Zero

Neil MacGregor's world history as told through things that time has left behind. This week he is exploring vigorous empires that flourished across the world 600 years ago - visiting the Inca in South America, Ming Dynasty China, and the Timurids in their capital at Samarkand and the Ottomans in Constantinople. Today he examines the fledgling empire of Portugal and describes what the European world was looking like at this time. His chosen object is one of the most enduring in art history, and one of the most duplicated - Albrecht Durer's famous print of an Indian rhino, an animal he never had never seen. The rhino was brought to Portugal in 1514 and Neil uses this classic image to examine European ambitions. Mark Pilgrim of Chester Zoo considers what it must have been like to transport such a beast and the historian Felipe Fernandez-Armesto describes the potency of the image for Europeans of the age.