Podcasts about Arnolfini

Jan van Eyck: analisi, interpretazioni e storia del quadro Ritratto dei coniugi Arnolfini dipinto dal celebre artista belga.

In deze aflevering van The Dutch Historian Geschiedenis Podcast duiken we in twee fascinerende onderwerpen. Axel bespreekt zijn favoriete schilder, Jan van Eyck, en onthult de bizarre details en verborgen symboliek in het wereldberoemde Arnolfini-portret. Ondertussen neemt Lars je mee naar de Zaanstreek, waar hij het volksverhaal Stiers Wreedheid vertelt—een tragisch verhaal over een stier die een familie uit elkaar drijft. Dit eeuwenoude verhaal heeft door de jaren heen vele kunstenaars en schrijvers geïnspireerd.

El "Sona9" descobreix els discos de dos artistes balears: les "Consolacions" del sempre emocionant Miquel Serra i el power-pop d'"Encara un misteri" del trio Negre. I tamb

En este episodio exploramos la vida y obra de Jan van Eyck, el maestro flamenco cuya invención y perfeccionamiento de la técnica de la pintura al óleo transformó para siempre el mundo del arte. Conocido por sus impresionantes detalles y colores vibrantes, Van Eyck es considerado uno de los pioneros de este medio, lo que permitió una mayor precisión y profundidad en las obras de arte. Acompáñanos mientras desentrañamos su legado, su estilo único, y el impacto que tuvo en el desarrollo de la pintura renacentista. Analizaremos sus obras más famosas, como el "Retablo de Gante" y "El Retrato de Arnolfini", y cómo su innovación dejó una huella indeleble en la historia del arte.

¡Vótame en los Premios iVoox 2024! Flandes, esa tierra de brumas y canales donde campos y ciudades se funden con el mar en un horizonte infinito, fue la cuna de una escuela pictórica que deslumbró al mundo hace más de cinco siglos, un ramillete de pintores magistrales que exhibían un detallado realismo y una profunda introspección. Los maestros flamencos, alquimistas de la luz y el color, no solo retrataron la realidad con una precisión asombrosa, sino que también se adentraron en los misterios del alma humana revelando las pasiones, los anhelos, las miserias y las grandezas de una de las sociedades más opulentas de su época. En los albores del Renacimiento, cuando Italia recuperaba los cánones clásicos, Flandes florecía como un centro de comercio y cultura. Brujas, Gante, Amberes, ciudades vibrantes y cosmopolitas, se convirtieron en el escenario donde se forjó esta escuela singular a la sombra de los duques de Borgoña. Los artistas flamencos, herederos de la tradición medieval, pero abiertos a las nuevas corrientes artísticas, desarrollaron un estilo propio caracterizado por la minuciosidad del detalle, la riqueza cromática y la maestría en el manejo de la luz. El óleo, esa sustancia mágica que permite capturar la luminosidad y la transparencia, se convirtió en la herramienta predilecta de estos pintores flamencos. Jan van Eyck, el genio visionario, creo obras de una belleza y un realismo incomparables. Pero la Escuela Flamenca no se limitó a la representación fiel de la realidad. Sus artistas, imbuidos de un profundo sentido religioso y moral, dotaron a sus obras de un simbolismo complejo. Roger van der Weyden, maestro del dramatismo y la emoción, nos conmueve con sus escenas de piedad y sufrimiento. Hans Memling, con su pincel delicado y elegante, nos transporta a un mundo de serenidad y armonía. Sus vírgenes, de rostro dulce y mirada melancólica encarnan la pureza y la bondad. En sus retratos, la nobleza y la burguesía flamenca se muestran en todo su esplendor. Y luego está Hieronymus Bosch, más conocido en los países de habla hispana como El Bosco, que fue un pionero creador de mundos fantásticos poblados de criaturas extrañas y escenas oníricas. "El Jardín de las Delicias", esa obra maestra enigmática y perturbadora, nos sumerge en un universo de pecado y redención, donde la lujuria, la gula y la vanidad se mezclan con la inocencia y la esperanza. Pieter Brueghel el Viejo, por su parte, nos acerca a la vida cotidiana de los campesinos, con sus alegrías y sus penas, sus fiestas y sus trabajos. Sus paisajes, nos muestran la belleza de aquella tierra, pero también la dureza de la vida en el campo. La Escuela Flamenca, con su realismo y su simbolismo profundo, dejó una huella imborrable en la historia del arte. Sus maestros, con su dominio de la luz y el color, nos legaron un tesoro de valor incalculable. Su legado sigue vivo, inspirando a artistas y conmoviendo a aficionados de todas las épocas. Eso mismo es lo que vamos a tratar hoy en La ContraHistoria de la mano de Alberto Garín. Nos sumergiremos en la escuela flamenca que tuvo su continuación en los siglos XVI y XVII con artistas de la talla de Rubens, van Dyck o Jordaens. En el siglo XIX la pintura flamenca renació prefigurando los estilos contemporáneos de la mano de James Ensor. Cinco siglos de de arte con mayúsculas atado siempre a unas circunstancias históricas muy concretas e irrepetibles. Bibliografia: “Los primitivos flamencos” de Erwin Panofsky - https://amzn.to/3NtKjPS “El affaire Arnolfini” de Jean-Philippe Postel - https://amzn.to/4h4PuTX “Rubens” de Gilles Neret - https://amzn.to/48ccZWX “Historia de la pintura” de Paz García Ponce de León - https://amzn.to/3BJCTFn “Leer la pintura” de Nadeije Laneyre-Dagen - https://amzn.to/40658YY · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #pintura #flandes Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

Flandes, esa tierra de brumas y canales donde campos y ciudades se funden con el mar en un horizonte infinito, fue la cuna de una escuela pictórica que deslumbró al mundo hace más de cinco siglos, un ramillete de pintores magistrales que exhibían un detallado realismo y una profunda introspección. Los maestros flamencos, alquimistas de la luz y el color, no solo retrataron la realidad con una precisión asombrosa, sino que también se adentraron en los misterios del alma humana revelando las pasiones, los anhelos, las miserias y las grandezas de una de las sociedades más opulentas de su época. En los albores del Renacimiento, cuando Italia recuperaba los cánones clásicos, Flandes florecía como un centro de comercio y cultura. Brujas, Gante, Amberes, ciudades vibrantes y cosmopolitas, se convirtieron en el escenario donde se forjó esta escuela singular a la sombra de los duques de Borgoña. Los artistas flamencos, herederos de la tradición medieval, pero abiertos a las nuevas corrientes artísticas, desarrollaron un estilo propio caracterizado por la minuciosidad del detalle, la riqueza cromática y la maestría en el manejo de la luz. El óleo, esa sustancia mágica que permite capturar la luminosidad y la transparencia, se convirtió en la herramienta predilecta de estos pintores flamencos. Jan van Eyck, el genio visionario, creo obras de una belleza y un realismo incomparables. Pero la Escuela Flamenca no se limitó a la representación fiel de la realidad. Sus artistas, imbuidos de un profundo sentido religioso y moral, dotaron a sus obras de un simbolismo complejo. Roger van der Weyden, maestro del dramatismo y la emoción, nos conmueve con sus escenas de piedad y sufrimiento. Hans Memling, con su pincel delicado y elegante, nos transporta a un mundo de serenidad y armonía. Sus vírgenes, de rostro dulce y mirada melancólica encarnan la pureza y la bondad. En sus retratos, la nobleza y la burguesía flamenca se muestran en todo su esplendor. Y luego está Hieronymus Bosch, más conocido en los países de habla hispana como El Bosco, que fue un pionero creador de mundos fantásticos poblados de criaturas extrañas y escenas oníricas. "El Jardín de las Delicias", esa obra maestra enigmática y perturbadora, nos sumerge en un universo de pecado y redención, donde la lujuria, la gula y la vanidad se mezclan con la inocencia y la esperanza. Pieter Brueghel el Viejo, por su parte, nos acerca a la vida cotidiana de los campesinos, con sus alegrías y sus penas, sus fiestas y sus trabajos. Sus paisajes, nos muestran la belleza de aquella tierra, pero también la dureza de la vida en el campo. La Escuela Flamenca, con su realismo y su simbolismo profundo, dejó una huella imborrable en la historia del arte. Sus maestros, con su dominio de la luz y el color, nos legaron un tesoro de valor incalculable. Su legado sigue vivo, inspirando a artistas y conmoviendo a aficionados de todas las épocas. Eso mismo es lo que vamos a tratar hoy en La ContraHistoria de la mano de Alberto Garín. Nos sumergiremos en la escuela flamenca que tuvo su continuación en los siglos XVI y XVII con artistas de la talla de Rubens, van Dyck o Jordaens. En el siglo XIX la pintura flamenca renació prefigurando los estilos contemporáneos de la mano de James Ensor. Cinco siglos de de arte con mayúsculas atado siempre a unas circunstancias históricas muy concretas e irrepetibles. Bibliografia: “Los primitivos flamencos” de Erwin Panofsky - https://amzn.to/3NtKjPS “El affaire Arnolfini” de Jean-Philippe Postel - https://amzn.to/4h4PuTX “Rubens” de Gilles Neret - https://amzn.to/48ccZWX “Historia de la pintura” de Paz García Ponce de León - https://amzn.to/3BJCTFn “Leer la pintura” de Nadeije Laneyre-Dagen - https://amzn.to/40658YY · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #pintura #flandes

PRESENTACIÓN LIBROS 00:03:00 No somos parte del mundo (Soraya Nárez) 00:05:15 Si te gusta la oscuridad (Stephen King) 00:06:30 Las frases robadas (José Luis Sastre) 00:07:55 Cómo vender una casa encantada (Grady Hendrix) 00:10:00 Jiujitsufragistas (Clemént Xavier) 00:11:25 Orgullo y premeditación (Tirzah Price) 00:13:20 La vuelta al mundo con la tía Mame (Patrick Dennis) 00:15:10 El affaire Arnolfini. Investigación sobre un cuadro de Van Eyck (Jean Philippe Postel) 00:17:20 Reencuentro (Fred Uhlman) 00:19:10 No tocarás (Nuria Pérez) 00:20:55 La segunda venida de Hilda Bustamente (Salomé Esper) 00:22:15 El hechizo de Elsie (Patricia Highsmith) 00:24:20 La bruja Lois (Elizabeth Gaskell) 00:26:20 La asistenta te vigila. La asistenta #3 (Freida McFadden) 00:29:30 Feminismo para torpes (Nerea Pérez de las Heras) 00:30:50 Tres plumas blancas. Maisie Dobbs #2 (Jacqueline Winspear) 00:32:50 El espejo de nuestras penas. Los hijos del desastre #3 (Pierre Lemaitre) 00:35:15 El experimento del amor verdadero (Christina Lauren) 00:38:05 Todo lo que hay detrás que no se ve (Salseología) 00:40:05 Deberes: Blackwater. PELÍCULAS 00:44:10 La librería 00:46:50 Deadpool y Lobezno 00:48:50 El ministerio de la guerra sucia 00:49:50 No hables con extraños 00:52:15 Perfect days 00:54:40 Buscando a Coque 00:56:05 La trampa 00:59:10 Agente X: la última misión 00:59:40 Madre oscura 01:00:45 Borderlands 01:02:00 It ends with us 01:05:00 El sindicato 01:06:15 Disco, Ibiza, Locomía 01:07:45 Mamíferas 01:10:00 Dejar el mundo atrás 01:11:20 Políticamente incorrectos 01:13:00 Un sorbo frío: Asesinato, café y Jessica Wongso 01:15:30 No puedo vivir sin ti 01:17:45 Misántropo 01:18:50 Misery 01:20:50 Parpadea dos veces SERIES 01:25:05 Presunto inocente 01:27:25 Asesinato para principiantes 01:29:15 Cocina con química 01:31:00 ¿Quién mató a Lyric y Elizabeth? 01:32:35 Cómo cazar a un monstruo 01:36:05 Love is blind: Mexico (T1) y UK(T1) 01:39:00 Respira (T1) 01:40:10 Kaos (T1)* 01:42:20 Sentimos las molestias (T2) 01:43:00 House of dragon (T2) 01:45:55 The serpent queen (T2) 01:48:05 The Bear (T3) 01:51:30 Colegio Abbott (T3) 01:53:30 Welcome to Wrexham (T3) 01:55:40 My mad fat diary (T1-T3) 01:57:45 The Umbrella Academy (T4) 01:59:35 Evil (T4) 02:01:20 The Rookie (T6) 02:02:25 Élite (T8) 02:03:30 Friends (T1-T10) 02:06:35 Deberes: The White Lotus (T2) 02:11:10 DESPEDIDA En este programa suenan: Radical Opinion (Archers) / Siesta (Jahzzar) / Place on Fire (Creo) / I saw you on TV (Jahzzar) / Bicycle Waltz (Goobye Kumiko)

durée : 00:02:54 - L'Humeur du matin par Guillaume Erner - par : Guillaume Erner - Il faut lire le dossier que Paris Match consacre à Michel Barnier, ou plus exactement, je vous fais gagner du temps — je suis là pour ça — regardez la une de l'hebdomadaire. Les époux Barnier, un peu à la manière des époux Arnolfini, Isabelle et Michel Barnier... - réalisation : Félicie Faugère

durée : 00:02:54 - L'Humeur du matin par Guillaume Erner - par : Guillaume Erner - Il faut lire le dossier que Paris Match consacre à Michel Barnier, ou plus exactement, je vous fais gagner du temps — je suis là pour ça — regardez la une de l'hebdomadaire. Les époux Barnier, un peu à la manière des époux Arnolfini, Isabelle et Michel Barnier... - réalisation : Félicie Faugère

I detta avsnitt tar vi oss an den mytomspunna målningen ”Makarna Arnolfinis trolovning” av Johannes van Eyck från 1434, som nuförtiden finns på National Gallery i London. Vi pratar om allt från den ytterst snåriga proveniensen till de många avbildade vardagsföremålen och deras möjliga dolda betydelser.Inte minst resonerar vi om det avbildade paret och om det verkligen är en trolovning vi ser i målningen. Kan det verkligen vara den i Brygge verksamme handelsmannen Giovanni Arnolfini och hans fru Giovanna Cenamis giftermål som är avbildat? Bröllopet ägde rum 1447, men konstnären Jan van Eyck dog redan 1441. Eller är ”Makarna Arnolfinis trolovning” i själva verket ett minnesporträtt föreställandes Giovanni di Nicolao Arnolfinis och hans döda maka Constanza Trenta? Och är Hernaoul le Fin och Arnoult Fin som man läser om i de historiska källorna samma person som Arnolfini?Vi följer arkivspåren hur målningen kom från Brygge via Spanien till National Gallery i London? Köpte den skotske översten James Hay - som sålde tavlan till National Gallery 1842 efter det engelska kungahuset avböjde att köpa den - verkligen tavlan när han kurerade sig i Bryssel efter slaget vid Waterloo? Eller är tavlan snarare ett byte efter plundringen av den spanska kungliga samlingen vid slaget av Vitoria 1813, som han medverkade i?Allt detta och mycket mer får ni höra mer om i vårt nya avsnitt!Support till showen http://supporter.acast.com/konsthistoriepodden. Hosted on Acast. See acast.com/privacy for more information.

The Daily Quiz - Art and Literature Today's Questions: Question 1: Which artist painted "The Arnolfini Marriage" Question 2: Which artist painted "School of Athens" Question 3: Which author wrote 'The Word for World Is Forest'? Question 4: Which author wrote ''Salem's Lot'? Question 5: Which author wrote 'The Silmarillion'? Question 6: In which book does 'Charles Stewart Parnell' appear? Question 7: Who wrote the epic poem "The Iliad"? Question 8: Which Hunter S. Thompson book involves a wild journey through the desert and a series of autobiographical stories? Question 9: Which author wrote 'The Valley of Fear'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Isabel SanJuan y el arte, conocemos la obra de Ciria, las actividades para favorecer la salud mental y Los días del rehén por Fernando Mejón.

⚔️ Burgundy in the 15th century, duchy of all excess, luxury and ostentation. Main trading center of north-west Europe and home of the Flemish primitives. Today a fraction of the territory it once occupied, its history and its cultural, material and gastronomic riches have left an essential legacy in modern Europe. Join this week's conversation on https://www.frenchconversationgroup.com Related episodes: Jeanne d'Arc (https://youtu.be/-tGpao-Azis), Clovis Ier (https://youtu.be/OMaNZKJvWIU), les Époux Arnolfini (https://youtu.be/k3NMl1RR6QI)

Jan van Eyck was a remarkable painter. He worked in oils during the Renaissance, and created stunning photorealistic portraits centuries before photography was developmed. In the Arnolfini portrait, he captures not only the subjects standing before him, but also a reflection of the room in a convex mirror showing the full scene and accurately rendering the distortions caused by the curved glass. Check out my other podcasts Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Boycotting Arnolfini for Palestine Censorship https://www.artnews.com/art-news/news/amid-palestine-controversy-artists-boycott-bristols-arnolfini-1234689935/ #peoplearerevolting twitter.com/peoplerevolting Peoplearerevolting.com movingtrainradio.com

Welcome to another episode of the ARU Start-up Podcast. We are joined by Robert Good, an author, artist, and director. Good shares his artistic journey, transitioning from freelance work to a full-time career. He also reflects on his experiences while studying at ARU and how he successfully balanced his academic commitments with pursuing his passion. Good shares about his fascinating book 'A New Dictionary of Art: One Word - 3000 Definitions,' in which he explores art from 3000 unique perspectives. Tune in to the podcast to discover more about his intriguing career path. About the guest speaker: Robert Good Robert Good is an artist based in Cambridge UK who works with text to explore the problems of knowledge and the limitations of language. His work critiques the systems and structures of both analogue and digital landscapes, currently using found text sourced from automated online searches to create digital animations and immersive installations. Good's work has been shown across the UK and in the US, Australia and Spain. It has been hosted online from India and the Netherlands. A New Dictionary of Art has been stocked at bookshops and galleries including Tate Modern, Arnolfini and BALTIC. Host: Omkar Singh, Student Enterprise Officer, Anglia Ruskin University. Resources: Book by Robert Good: A New Dictionary of Art: One word - 3000 definitions Get your copy at here: https://shorturl.at/yzEHT

On this week's episode the boys talk about our favorite art, the Arnolfini portrait, Piss Christ, Rembrandt, Picasso and Hannah Gadsby. 

Rafael Sánchez Ferlosio llegó a escribir que Walt Disney es "la mayor catástrofe estética, moral y cultural del siglo XX". Su odio venía, entre otras cosas, de la representación antropomórfica de los animales Disney. Para Ferlosio, el reino animal debe ser siempre inhóspito, salvaje, soberano e irreductible. En el programa de esta semana, charlamos sobre el bestiario ferlosiano y sobre el secreto que esconde 'El matrimonio Arnolfini', cuadro de Jan Van Eyck que Jean-Philippe Postel disecciona en un ensayo publicado por Acantilado. 

Rafael Sánchez Ferlosio llegó a escribir que Walt Disney es "la mayor catástrofe estética, moral y cultural del siglo XX". Su odio venía, entre otras cosas, de la representación antropomórfica de los animales Disney. Para Ferlosio, el reino animal debe ser siempre inhóspito, salvaje, soberano e irreductible. En el programa de esta semana, charlamos sobre el bestiario ferlosiano y sobre el secreto que esconde 'El matrimonio Arnolfini', cuadro de Jan Van Eyck que Jean-Philippe Postel disecciona en un ensayo publicado por Acantilado. This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/4412383/advertisement

We meet Hettie Judah, chief art critic on the British daily paper The i, a regular contributor to The Guardian's arts pages, and a columnist for Apollo magazine. Following publication of her 2020 study on the impact of motherhood on artists' careers, in 2021 she worked with a group of artists to draw up the manifesto How Not To Exclude Artist Parents, now available in 15 languages. She writes for Frieze, Art Quarterly, Art Monthly, ArtReview and other publications with 'art' in the title, and is a contributing editor to The Plant magazine. She regularly talks about art and with artists for museum and gallery events, and has been a visiting lecturer for Goldsmiths University and the Royal College of Art in London and Dauphine University, Paris. A supporter of Arts Emergency she has mentored artists and students through a variety of different schemes. As a broadcaster she can be heard (and sometimes seen) on programmes including BBC Radio 4's Front Row and Art That Made Us. Recent books include How Not To Exclude Artist Mothers (and other parents) (Lund Humphries, 2022) and Lapidarium (John Murray, London, 2022/ Penguin, NY, 2023). She is currently working on a book and Hayward Touring exhibition On Art and Motherhood (opening at Arnolfini in Bristol, March 2024) among other things.In 2022, together with Jo Harrison, Hettie co-founded the Art Working Parents Alliance - a supportive network and campaigning group for curators, academics, gallerists, technicians, educators and others working in the arts. Follow: @HettieJudahVisit: https://www.hettiejudah.co.uk/ Hosted on Acast. See acast.com/privacy for more information.

On this episode of Big Blend Radio's "Toast to The Arts" Show, artist Victoria Chick talks about the symbolism behind the famous “Arnolfini Wedding Portrait” of Giovanni Arnolfini and Giovanna Cenami. This painting was completed in 1434 by Jan van Eyck, a noted Flemish painter. See her article about the painting here: https://blendradioandtv.com/listing/the-arnolfini-wedding-portrait/Victoria Chick is a contemporary figurative artist and early 19th/20th century print collector based in Silver City, New Mexico. She appears on Big Blend Radio every 3rd Saturday. See her work: https://victoriachick.com/ Hosted on Acast. See acast.com/privacy for more information.

Jan van Eyck was a remarkable painter. He worked in oils during the Renaissance, and created stunning photorealistic portraits centuries before photography was developmed. In the Arnolfini portrait, he captures not only the subjects standing before him, but also a reflection of the room in a convex mirror showing the full scene and accurately rendering the distortions caused by the curved glass. Arts Madness Tournament links: Check out the Brackets Tell me which artist you think will win this year's tournament Give a shoutout to your favorite teacher (the teacher who gets the most shoutouts on this form by Feb 27 will get a $50 Amazon gift card) Who ARTed is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.WhoARTedPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textIn today's episode, I chat with the man in charge of culture for the city of Gloucester, Philip Walker, Head of Cultural Services, Gloucester City Council.  Where would we be without culture? Culture is vitally important, it provides the vitality, sense of belonging and opportunity for us to come together and connect with things that light up our hearts. For tourists, culture is the distinction which sets a place apart from another and forms ‘the experience'. Imagine a Britain without our pubs, theatres, football, rugby, music, and beautiful historic buildings.  Imagine being responsible for culture within a whole city!? My guest in today's podcast, Phil Walker, has the responsibility of overseeing the culture of the city of Gloucester. His role is to ensure it thrives and is distinctive enough to drive inbound tourism – a big remit.    Phil began his career in the visitor economy in Bristol, during that time he worked in several venues across the city including Arnolfini, Watershed and Bristol Museums.   It's not often I get to speak to someone who was involved in a massive Banksy exhibition.  Do you remember the Banksy take over at Bristol Museum and Art Gallery? It was epic! Phil shares how he received that call from Banksy's ‘people' one day and how he almost lost his job!  He's taken his amazing experience with him to Gloucester, a smaller and diverse city with similar heritage to Bristol, as a trading post based on a river.     Phil and I talk about the plans for Gloucester and the importance of big events in driving footfall and bringing a city or destination together.  We talk about how Gloucester is investing in its cultural sector to retain its creative talent, and the idea of giving people freedom to curate the city with their own ideas and events.   We chat about why it's important for a Council and those with power, to hand over control to young people and others involved in the creative industries, to not only give the place life and distinction but to create a sense of belonging and pride.There are some interesting insights into what it takes to drive a city's culture.  I hope you enjoy the episode. You can find Phil here:LinkedIn To share your views on this subject and ask questions about the episode, head over to:InstagramLinkedIn This episode is sponsored by Hello Starling. Hello Starling, is an award-winning Media Planning and Buying agency that specialises in delivering advertising campaigns with great results for visitor attractions and destinations. They've worked with brands such as Bristol Zoo Project, Visit Shropshire, Visit Conwy, Visit Herefordshire and the National Tourism Office for Poland. If you want to be the centre of attention, visit hellostarling.com today. FREE GUIDE - 6 Steps to finding your Ideal Customer Do you want to know who your ideal customer's are and how you can focus your time and money reaching them? Download my FREE guide now. If you have enjoyed this podcast episode, please take a moment to give me a few stars on Apple podcasts or Spotify, it helps to encourage more people to listen and learn from our stories.

In today's episode, I chat with the man in charge of culture for the city of Gloucester, Philip Walker, Head of Cultural Services, Gloucester City Council.  Where would we be without culture? Culture is vitally important, it provides the vitality, sense of belonging and opportunity for us to come together and connect with things that light up our hearts. For tourists, culture is the distinction which sets a place apart from another and forms ‘the experience'. Imagine a Britain without our pubs, theatres, football, rugby, music, and beautiful historic buildings.  Imagine being responsible for culture within a whole city!? My guest in today's podcast, Phil Walker, has the responsibility of overseeing the culture of the city of Gloucester. His role is to ensure it thrives and is distinctive enough to drive inbound tourism – a big remit.    Phil began his career in the visitor economy in Bristol, during that time he worked in several venues across the city including Arnolfini, Watershed and Bristol Museums.   It's not often I get to speak to someone who was involved in a massive Banksy exhibition.  Do you remember the Banksy take over at Bristol Museum and Art Gallery? It was epic! Phil shares how he received that call from Banksy's ‘people' one day and how he almost lost his job!  He's taken his amazing experience with him to Gloucester, a smaller and diverse city with similar heritage to Bristol, as a trading post based on a river.     Phil and I talk about the plans for Gloucester and the importance of big events in driving footfall and bringing a city or destination together.  We talk about how Gloucester is investing in its cultural sector to retain its creative talent, and the idea of giving people freedom to curate the city with their own ideas and events.   We chat about why it's important for a Council and those with power, to hand over control to young people and others involved in the creative industries, to not only give the place life and distinction but to create a sense of belonging and pride.There are some interesting insights into what it takes to drive a city's culture.  I hope you enjoy the episode. You can find Phil here:LinkedIn Twitter  Mentioned in the podcast:Visit GloucesterThe Music Works Jolt GloucesterGloucester GuildhallGloucester CathedralHuge thanks to podcast sponsor Noble Performs. Noble provide Unstoppable digital marketing to maximise your performance. From SEO to Paid Social and more, we have the tools you need.Find out more about host Kelly Ballard and the Visitor Elves here.Subscribe to the Visitor Elves newsletter, to receive the latest podcast releases and inspirational tips to help you with your visitor economy business. To comment and ask questions about the episode, head over to: InstagramLinkedIn If you have enjoyed this podcast episode, please take a moment to give me a few stars on Apple podcasts or Spotify, it helps to encourage more people to listen and learn from our stories.

Bristol's International Centre for Contemporary Arts, The Arnolfini, this summer and into the autumn will be offering an immersive exhibition of sensory delights with 'Forest: Wake This Ground' which is also accessible to blind and partially sighted people through audio described recordings, tours and events. RNIB Connect Radio's Toby Davey caught up with Keiko Higashi, Engagement Producer at the Arnolfini to find out more about ‘Forest: Wake This Ground' and how they are making it accessible to blind and partially sighted people. Keiko began by giving Toby a bit of history and background to the Arnolfini and why they have done and continue to offer access through audio described tours and events for blind partially sighted people.  Keiko then talked about some of the work from the many Artists who's work is on display at the Arnolfini before giving a run down of some some highlighted work and of course all the audio described tours and events too.  ‘Forest: Wake This Ground' is on at the Arnolfini in Bristol until 3 October 2022 and more details along with info about audio described can be found by visiting - https://arnolfini.org.uk/whatson/forestwakethisground/ (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

In the 1400s, influencers couldn't simply scout a location, arrange the perfect lighting and pull out their camera phone to snap dozens of pics testing different angles to find the perfect shot demonstrating how much better their curated life is than the lived experience of the rest of us plebeians. No back then, if someone wanted a picture to go along with their smug sense of superiority, they needed to hire a painter and in 1434, Jan van Eyck painted one of the greatest testaments to the enduring power of carefully constructing a casually posed portrait. There is a lot of debate about the meaning and symbolism in the work, but a common interpretation is that this is a sort of wedding scene. The man is taking the hand of his wife. She is in the interior of the space near the bed reinforcing the gender roles of the time with the woman's place being taking care of the home while he stands by the open window symbolizing his role in the outside world. The mirror in the background is said to represent the eye of God witnessing their union and the frame of the circular mirror has a dozen small scenes from the passion of Christ. The small dog could be seen as a symbol of fidelity, or some say simply it is another signifier of wealth as many wealthy women were given lap dogs as companions. The green of the dress symbolizes hope. Many speculate the hope of becoming a mother and while many viewers today believe the woman in the portrait appears to be pregnant, as we all know, one should never assume a woman is pregnant. Scholars say this was actually a fashionable look for the day. Clothing was very expensive. Their clothing was particularly expensive with fur lining etc. The idea back then was the more clothing, the more wealthy one must be, so no matter how ridiculous the silhouette may appear to contemporary audiences, in the 15th century, those strange bulges of fabric showed that this was a person who could afford to dress themselves. It was conspicuous consumption proving yet again that for as long as we have had a means to record what people looked like, those people have worked to dress themselves up and surround themselves with markers of their high status. While some see modern mass media as producing a more vain and shallow culture, I would argue van Eyck shows us people have always been feeding their egos and flaunting their privilege with material goods. At least now most people know better than to use animal fur to do it. Who ARTed is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.WhoARTedPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

تابلویی دیگر از یان ون آیک. این بار تابلوی حیرت انگیز پرتره ی آرنولفینی و حقیقت پشت تابلولینک باکیفیت تر تابلو:https://upload.wikimedia.org/wikipedia/commons/5/53/The_Arnolfini_portrait_%281434%29.jpgلینک دوم تابلو:https://upload.wikimedia.org/wikipedia/commons/thumb/5/53/The_Arnolfini_portrait_%281434%29.jpg/1497px-The_Arnolfini_portrait_%281434%29.jpgقطعات موسیقی:Persischer Marsch - Johann Strauss IIMozart Piano Concerto No.9 in E flat Major K. 271 JeunehommeBeethoven - Für Elise Hosted on Acast. See acast.com/privacy for more information.

Dr Frances Hatherley is a writer, researcher and curator. Her writing provokes critical engagements with working-class women's subjectivities, creativities, art works, and notions of a classed-aesthetics.In 2018 she was awarded her PhD from Middlesex University titled “Sublime Dissension: A Working-Class Anti-Pygmalion Aesthetics of the Female Grotesque” examining the intersections of class and gender in the formations of grotesque, and sublime femininities in art and visual culture.She has published writing on surrealism and the subversive female grotesques of Leonora Carrington's book The Hearing Trumpet and in David and Al Measles' film Grey Gardens, and on working-class sexualities and fat femininities in characters from the comic Viz, as well as challenging stereotypes of working-class aesthetics in the photography of Richard Billingham. Other articles discuss class, sexuality, education in film and television.In 2020 She published her first book on Jo Spence, with a foreword by Marina Warner, titled Class Slippers: Jo Spence, Fantasy, Photography & Fairytales.Frances has been involved in curating several exhibitions in the UK, the first at the Pelz Gallery working with Patrizia di Bello and a group of MA students, with a show titled “Cultural Sniping: Photographic Collaborations in the Jo Spence Memorial Library” in Spring 2018. She co-curated the exhibition “Jo Spence: From Fairytales to Phototherapy” at the Arnolfini, Bristol, December 2020 – June 2021. Before Christmas, she was involved in curating the expanded film project “The Hurrier: Poor on the Roll” with Anne Robinson showing at galleries APT and Five Years, taking up topics of women, work, sexuality, and time travel.And she's currently working on her second book exploring her conception of the Anti-Pygmalion in representations of women in art and popular culture with a focus on the practices of working-class cultural workers in Britain. 

WYŚWIETL OBRAZ TUTAJ (zjedź na dół ekranu) >>> http://bajkologia.pl/audiobajka-pomoge/Ion jest małym pieskiem, ale ma wielkie serce. Nie zastanawia się. Kiedy trzeba pomóc – pomaga. Wykorzystuje to, co ma w dyspozycji (świetny węch), by wybawić z kłopotu swoich ukochanych właścicieli.A państwo Arnolfini, choć od wieków z niewzruszonym spokojem patrzą ze swojego portretu na przetaczające się przez świat burze, byli ludźmi takimi jak my. Czasem się denerwowali, czasem śmiali. Mieszkali w pokoju, którego wyposażanie nie jest wcale tak różne od współczesnego: łóżko, otomana, miejsce na przechowywanie i lampa zwisająca z sufitu. I zupełnie jak współcześni psiarze, kochali swojego kudłatego pupila.Obraz Jana van Eycka, przedstawiający małżeństwo włoskich kupców osiadłych w zimnej Brugii, pełen jest symboli. Pomarańcze, sandały, świeca i lustro – te wszystkie przedmioty mają tajemnicze dla nas, a dość oczywiste dla ówczesnych ludzi, znaczenia. W audiobajce usłyszycie o większości przedmiotów, które można zobaczyć na obrazie, ale w innym kontekście. Są scenografią dla działań małego pieska.Bo, jak się okazuje, czasem gorące i skore do pomocy serce to wszystko, co potrzeba, by zdobyć swego rodzaju nieśmiertelność. Chcecie wiedzieć, jak Ionowi udało się tego dokonać? Posłuchajcie!Pytania, które możesz zadać dziecku bo wysłuchaniu audiobajki:Jaki kłopot spotkał pana Arnolfini, a jaki – jego żonę, panią Giovannę?Jak myślisz, dlaczego Ion tak bardzo chciał pomóc pani i panu Arnolfini? Czy oczekiwał jakiejś nagrody?Co według Ciebie czuli państwo Arnolfini, gdy otrzymali pomoc od swojego pieska?Kiedy ostatnim razem komuś pomogłeś/aś?Czy potrafisz wskazać na obrazie wszystkie przedmioty, o których była mowa w audiobajce?INSTAGRAM BAJKOLOGII http://instagram.com/bajkologia_pl/BAJKA-USYPIANKA do ściągnięcia (mp3+tekst w pdf) http://bajkologia.pl/do-pobrania

Oriana Fox interviews the insatiable, sexy and weird performance artist Eirini Kartsaki who expounds her Manifesto and entices Oriana to show more cleavage. More accurately, Oriana listens to her guest and sometimes interjects with a question or two as Kartsaki fleshes out what it means to live a life free from norms and expectations, a life that is weird, inconsistent, too much and without children. In doing so she calls for a revaluation of inconsistency, uncertainty and instability. Kartsaki's top tip for self care (spoiler alert), is to scream 'lawlessness' ten times in a row. Lawlessness! Lawlessness! Lawlessness! Lawlessness! Lawlessness! Lawlessness! Lawlessness! Lawlessness! Lawlessness! Lawlessness!  The interview was recorded live on Instagram in May 2021 as part of Oriana's digital residency at Mimosa House Gallery. You'll want to watch the episode here to witness all the cleavage that's mentioned herein. Oriana Fox is a London-based, New York-born artist with a PhD in self-disclosure. She puts her expertise to work as the host of the talk show performance piece The O Show.Eirini Kartsaki is a writer, performance maker and lecturer in East15 Acting School, University of Essex. Her work explores sexuality, excess and female desire. She has been awarded the Audiences Award and the Champe Libre Award for her work with Tante&Tante. Her performances take place across art, theatre and academic contexts including Tate Britain, V&A, Whitechapel Gallery, Sadler's Wells, Camden People's Theatre, Arnolfini, The Yard, Chisenhale Dance Space, Palais de Tokyo, amongst others. Credits:Produced, edited and hosted by Oriana FoxIntroductory Voiceover by John Kilduff, aka Mr. Let's PaintOriginal theme song written and performed by Paulette HumanbeingSpecial Thanks to Sven Van Damme, Katie Beeson, Janak Patel and Mimosa House Gallery, Londonwww.orianafox.com***Would you like to see your name in the above credits list? In a couple of short steps, you can make that happen by supporting this podcast via Patreon.***Please rate and review this podcast to help others to find it!How to Rate and Review a Podcast in iTunesFirst, Search for the Podcast in the Podcasts App. Note: You'll need to look the show up in the app.From Here, Select the 'Reviews' Tab, Then 'Write a Review'You'll Then Be Asked to Log in to iTunes.Then Tap the Stars to Rate the Podcast and Write Your Headline and Review.How to Rate and Review a Podcast in SpotifyFirst of all, you have to log in to your Spotify account, then follow these steps"Search Podcast pre-installed App on your phone.Hit the “Search” button. Here you will see “Write a Review” in the top right corner.You can also give ratings in the form of stars 1-5 (One star for lowest rating and five stars for highest ratings.)Submit your review.

PHYLLIS CHRISTOPHERBuy Dark Room: San Francisco Sex and Protest, 1988–2003 herePhyllis Christopher is a photographer whose work documenting LGBTQ sexuality and protest in San Francisco has been published widely in anthologies such as Nothing But The Girl: The Blatant Lesbian Image (Susie Bright and Jill Posener, 1996), Photo Sex: Fine Art Sexual Photography Comes of Age (David Steinberg, 2003), Art & Queer Culture (Catherine Lord and Richard Meyer, 2013) as well as magazines such as DIVA, Aperture and Art Monthly. Between 1991 and 1994 Christopher was the photo editor of the groundbreaking lesbian erotica magazine On Our Backs. She has featured on HBO's ‘Sexbytes', Canadian television's ‘Sex TV' and the documentary film, Erotica – A Journey into Female Sexuality. Recently, her photographs have been included in various exhibitions including ‘On Our Backs: An Archive' (The NewBridge Project, Newcastle, 2016) and ‘Still I Rise: Feminisms, Gender, Resistance' (Nottingham Contemporary, De La Warr Pavilion and Arnolfini, Bristol, 2019). She is a 2020 finalist of the Queer|Art Robert Giard Grant for Emerging LGBTQ+ Photographers.Current exhibitions by Phyllis Christopher:‘Contacts', Baltic Centre for Contemporary Art, 23 Oct 2021 – 20 Mar 2022'Heads and Tails', Grand Union, Birmingham, through March 2022For more information on Phyllis and her work please check out her websiteTHE SUN HOTEL, BRADFORDThe Sun Hotel in Bradford is the oldest lgbtq+ bar in the district. It hosts international drag queens every weekend. Once described by one reviewer as being stuck in the 80s the bar proudly owns this title as the music is cheesy, the drinks cheap and plenty of characters in attendance. For more information please check out their Facebook pagePEACE MUSEUM UKThe Peace Museum explores the history and the often untold stories of peace, peacemakers, social reform and peace movements. It occupies three small galleries in one of Bradford's many fine Victorian buildings. It is unique in that it is the only accredited museum of its kind in the UK.Peace Out is a project exploring Peace and LGBTQ+ activism. The exhibition aims to explore the journey from Stonewall, a moment in history that exemplifies violence perpetrated against LGBTQ+ people and their violent retaliation, and marks the beginning of the following struggle for equality and justice. It can be viewed online hereCheck the Peace Museum out on Twitter, Instagram and Facebook Hosted on Acast. See acast.com/privacy for more information.

Szaruga za oknem i przenikliwe zimno sprawiają, że z radością przyjmuję każdy dzień, który mogę spędzić w domowym cieple. Myślę sobie wtedy, jak się czuli małżonkowie Arnolfini w swojej rezydencji w Brugii, pewnie odrobinę chłodnej jak na ich włoskie przyzwyczajenia. Nie dziwi mnie wcale, że nawet latem sięgali po podbite futrem płaszcze. A może to wszystko jedynie fantazja mistrza Jana van Eycka? W dzisiejszym odcinku posłuchacie o tym:

This mini episode is about Jan van Eyck's Arnolfini Portrait. It is one of the most famous paintings of a couple and loaded with symbolism. Mostly, it symbolizes that the couple was totally rich.  As always you can find an image of the work at www.whoartedpodcast.com The website also has resources for my fellow art teachers, and if you enjoy this podcast, please follow and rate it on your favorite podcast app. Finally, please check out my other podcast, Art Smart available on Spotify.

Tout est dans les sandales...Cliquez ici pour voir le tableauAuteure des textes : Anne SchmauchDirection Editoriale: Pénélope BoeufVoix : Pénélope BoeufProduction : La Toile Sur Écoute Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Hoy Aurora Morales entrevistará a la redactora del artículo de Judith Leyster, Esther Arce Bayón (@segnora_Arnolfini en su cuenta de divulgación de Arte en Instagram). Esther se graduó por la Universidad de León en Historia del Arte, allí también se especializaría en Educación y en la Universidad de Oviedo en música. En la Universidad de Alcalá de Henares haría el máster de tasación de arte y actualmente lleva 7 años dedicándose a la divulgación en las redes sociales.

VENERIS DIES. Nuestra sección de arte, música y cultura general esta dirigida para todos aquellos que disfrutan de las obras de arte, de escuchar un buen disco y entender la vida de los diferentes artistas que han pasado por la historia de la humanidad. Tenemos una sección donde se hablara del Séptimo Arte de forma sencilla y entendible visto desde un concepción de un neófito “domiguero” HISTORIA DEL ARTE *La conquista de la realidad 146. Filippo Brunelleschi – Duomo de Florencia (Catedral), h. 1420-1436 147. Filippo Brunelleschi – Capilla Pazzi, Florencia, h. 1430 148. Filippo Brunelleschi – Interior de la capilla Pazzi, Florencia, h. 1430 149. Masaccio – La Santísima Trinidad (con la Virgen, San Juan y los donantes) h. 1425-1428 150. Detalle de la ilustración 151 151. Donatello – San Jorge, h. 1415-1416 152. Donatello – El festín de Herodes 1423-1427 153. Detalle de la ilustración 152 154. Claus Sluter – Los profetas 155. Jan van Eyck – El altar de Gante (con laterales cerrados) 1432 156. El altar de Gante (con laterales abiertos) 157. Detalle de la ilustración 156 158. Jan van Eyck – El matrimonio Arnolfini, 1434 159, 160. Detalle de la ilustración 158 --- Send in a voice message: https://anchor.fm/irving-sun/message

This week we jump in to the actual podcast and Kourtney kicks us off with aquite the story… Today, we take a deep dive on one of art history's most debated paintings. Plus, we talk about the origin of dogs, oily nuts, and maybe finally figure out how to run a podcast?? All this and more of this episode of arts farts! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/evan-hansen037/support

We are still gearing up for Season 8 Episode 7, so in the meantime, please enjoy this blast from the Patreon Past - A Stitch in Time. Our wonderful Fashion Historian, Amber Butchart, takes us through the historical implications of the famous Arnolfini family portrait and the bodily fluid journey that is a 15th century dye process. And, our favorite coven of historic garment makers (Ninya, Harriet and Hannah) figure out how to make the elaborate green dress worn in the painting. Watch the episode here --> https://youtu.be/-u2RM1odsf4 Stay Tuned! Take care! And we'll see you in The Workoom for episode 7 soon!

This month we are proud to present a piece of new writing created for audio, ‘The Arnolfini Portrait' by Tamsyn Chandler; from Berlin to Bristol, Jean has been avoiding herself, but when she returns for a weekend at home, she is confronted by the ghosts and the archives of her past. Join us on a journey of memory and hallucination as Jean explores her past, present and future, all within the walls of her local art gallery. Visit the Industry website to view a video wall created by Luisa Karman to accompany the play.CREW Writer/Director - Tamsyn Chandler Assistant Director - Ariadne Si Suo Producer - Amy Evans Sound Editors - Bella Watts, Toni Quadri, Sarah Catterall Video Editor - Luisa Karman Art - Chloe Dootson-Graube CAST Jean - Grace de Souza Alexander - James Newbery Receptionist - Kat Cooper Caller - Michael Yates Edited using a variety of Creative Commons licensed sounds by dobroide, Sirderf, Ambientsoundapp and foxen10 from freesound.org, and the Introducing Sample Collective from BBC Music (License link). See acast.com/privacy for privacy and opt-out information.

Since the first lockdown in March 2020 with many theatres going dark and many museums, galleries and heritage sites having to close their doors, VocalEyes the national audio description charity providing access to the arts for blind and partially sighted people started up a weekly email newsletter titled The Interval to share up-coming online accessible events for blind and partially sighted people.In this week’s VocalEyes - The Interval here on RNIB Connect Radio, Toby Davey is joined again by Jess Beal from VocalEyes to highlight a number of online accessible arts events from the VocalEyes weekly email newsletter The Interval.Items highlighted included: Royal Opera House - audio described opera performances - The Seven Deadly Sins/Mahagonny Songspiel,Two Temple Place, London - online audio described building tour 2036, Bush Theatre - audio described performancesCity of Threads podcast from the Arnolfini in Bristol Edouard Vuillard’s The Mantelpiece (La Cheminée) - Art Through Words, National Gallery, London - described online tour To sign up to the VocalEyes weekly email newsletter The Interval and more details about these and other accessible events do visit the VocalEyes website - https://vocaleyes.co.uk/(Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath) 

Mindenki ezerszer látta már ezeket a képeket, ezért úgy tűnhet, nincs már mit elmondani róluk. Ám az igazi remekművek titkait nem könnyű megfejteni, és mindig tartogatnak meglepetéseket. És ha az ember jó kérdést tesz fel, meglepően izgalmas válaszokat kaphat. Kérdés: Ki ez a férfi? A figyelem központjában évszázadok óta a fiatal nő áll – talán a smaragdzöld ruha az oka? –, és egy pillantásra sem méltatjuk a férfit, aki a kezét fogja. A nő igazán extravagáns látvány – a furcsa szarvszerű hajviselet, a felborotvált homlok, a művészi redőkbe rendezett hosszú, uszályos ruha mind őt teszi a kép főhősévé. A mellette álló, sötét ruhába öltözött férfi szinte belesimul a háttérbe. Pedig a korabeli nézők számára nyilvánvaló volt: valójában ő a kép főszereplője, aki mindezt a luxust, amit a kép ábrázol, megteremtette. Jan van Eyck: Az Arnolfini házaspár (1430) Merthogy a pár gazdag volt – méghozzá elképesztő mértékben. A picike hálófülkében a kor legdrágább luxustermékei láthatók: a valódi üveggel fedett ablak, a narancs az ablakpárkányon, a tükör a falon, a fémből készült csillár és a piros kelme, amely beborítja a hátteret. A fiatal nő uszálya olyan hosszú, hogy csakis egy szolgálólány segítségével tudott járni, a zöld ruhát szegélyező hermelinprém pedig legalább 600 állatból készült. A férfialak ruhája is méltó a vagyonához. A kor nemesei sem hordtak ennél különb öltözéket – ám ez a két figura polgári származású volt. Erre utal a lakás, ahol állnak, a picike tér, a fapadló és a papucs, amelyet azért húzott a férfi a lábára, hogy az utca mocska ne piszkítsa be a ruháját. A férfi kereskedő és bankár lehetett, gazdagságát az eszének köszönhette. Annak a józan észnek, ami itt és most cserben hagyta. A fiatal lányt ugyanis nem a pénzéért vette el, hanem puszta szerelemből, és a képet látva ez a korabeli nézőknek egyértelmű volt. A kép főhőse, Michele Arnolfini – aki bátyjával a francia király gazdasági tanácsadója volt – a képen épp egy névtelen és rangtalan szegény lányt vesz el feleségül, akinek mindent ő ajándékozott. Egyet kivéve: a vagyont. A kép valóban a házasságkötés pillanatát ábrázolja, ehhez ugyanis a 15. században még nem kellett templomba menni, sőt pap jelenlétére sem volt szükség. A domború tükörben látható tanúk nem is az esküvő igazolására kellettek, hanem a házassági szerződéshez, amely a korban nagyon gyakori volt, különösen ha az egyik fél nagy vagyonnal rendelkezett. A kép legfontosabb részlete ugyanis a férfi keze, amelyet az arának nyújt: ez a kéz a bal. Ez azt jelenti, hogy ez csak „balkézről való” házasság, amelyben a feleség – bár törvényes hitves – nem egyenrangú a férjjel, és nem örökölheti annak vagyonát sem ő, sem a gyermekeik. A feleség így sem járt rosszul, a szerződés alapján annyi pénzt kapott, amennyi özvegysége esetén is kitartott, ám a vagyon a családban maradt. A férj nevét ismerjük, ám a fiatal ara kilétét homály fedi. A nevét sehol nem említik, ami csak egyet jelenthet: sem ő, sem a családja nem volt fontos. Ám az biztos, hogy nem volt várandós – csak ilyen volt a kor ruhadivata. Ma a mellet hangsúlyozzuk, akkoriban a nagy has volt hasonlóan szexis. --- Írta: Fodor Mária | Megjelent: Nők Lapja Évszakok 2012/ősz, 118. o. | Elmondja: Ambrus Attila József | Aláfestő Free zene: Bethoven: Moonlight Sonata #remekmuvektitkai #fodormaria #ambrusaalkotoistudioja

On Practice: Cooking asks how cooking can bring people together and provide nourishment and care? What are the ways that cooking together can open up difficult conversations - about racism, colonialism and migration?  This episode highlights artist Jasleen Kaur's collaboration with women from the Portman Early Childhood Centre through the Changing Play project Everyday Resistance, and includes Yogyakarta based artist and researcher Elia Nurvista's reflections on food and power, and researcher and cook Fozia Ismail speaking about food as resistance. On Practice is produced by Reduced Listening. Image Credit: Joy Yamusangie.  Show Notes Over the last year through the pandemic, we've seen more than ever how our individual actions impact others, how we're all interdependent. This three-part podcast series explores the practices that can sustain us individually and collectively – Cooking, Listening and Walking - and how they can be used to bring people together to work towards change. Hosts Amal Khalaf and Alex Thorp welcome artists, collaborators and friends to explore ideas and projects developed as part of Serpentine's Education and Civic programme, which connect communities, artists and activists to generate responses to pressing social issues. These are projects that have been developed in collaboration with people, centred on the body, the city, and exploring the injustices we experience in our everyday life. Hear from Jasleen Kaur, Elia Nurvista, Fozia Ismail, Ain Bailey, Micro Rainbow, Portman Early Childhood Centre, Ultra-red, Ximena Alarcón, Sam Curtis, Tim Ingold, Voice of Domestic Workers and Katouche Goll. Each of the three episodes are accompanied by an exercise, kindly shared by the artists, an invitation to join their practice. Jasleen Kaur was born in Glasgow and is now based in London. Her work is an ongoing exploration into the malleability of culture and the layering of social histories within the material and immaterial things that surround us. Her practice examines diasporic identity and hierarchies of history, both colonial and personal. She works with sculpture, video and writing. Recent and forthcoming presentations include exhibitions and projects at the Wellcome Collection, UP Projects, Glasgow Women's Library, Market Gallery, BALTIC Centre for Contemporary Art, Eastside Projects and Hollybush Gardens. Her work is part of the permanent collections of the Government Art Collection, Touchstones Rochdale and the Crafts Council. https://youtu.be/1j5XreNGtYk?t=1644  https://www.serpentinegalleries.org/whats-on/everyday-resistance/  Instagram: @_jasleen.kaur_ Fozia Ismail, scholar, cook and founder of Arawelo Eats, a platform for exploring politics, identity and colonialism through East African food. Ismail is a researcher writing about race and British identity and has spoken at the Oxford Symposium on Food & Cookery, designed workshops with Keep It Complex, Jerwood Project Space and the Museum of London using food as a method to think through issues around race and empire in Britain today. Fozia is also part of Dhaquan Collective, a feminist art collective of Somali women, centering the voices of womxn and elders in the community, and privileging co-creation and collaboration. She was a City Fellow for the Arnolfini, Bristol in 2019.  Her work has been published and featured in a range of media including Observer Food Magazine, Oxford Symposium on Food & Cookery and BBC Radio 4 Food Programme.   https://www.dhaqan.org/  https://www.serpentinegalleries.org/whats-on/radical-kitchen-2018-fozia-ismail-chilli/ https://www.araweloeats.com/  https://oxfordculturalcollective.com/fozia-ismail-food-as-resistance/  https://www.youtube.com/watch?v=3BfCuBZdhlc&list=PLbP2rruaw4OvyHmG5tYtqgtJ67xIJ5rOf&index=1  Instagram: @arawelo_eats Elia Nurvista is an artist who lives and works in Yogyakarta, Indonesia whose practice focuses on food production and distribution and its broader social and historical implications. Food in various forms — from the planting of crops, to the act of eating and the sharing of recipes — are Nurvista's entry point to exploring issues of economics, labour, politics, culture and gender. Her practice is also concerned with the intersection between food and commodities, and their relationship to colonialism, economic and political power, and status. She runs Bakudapan, a food study group that undertakes community and research projects, and her social research forms the background of her individual projects, presented through mixed media installations, food workshops and group discussion. Her previous installations use a range of materials from crystalline sugar sculptures to sacks of rice, often incorporating video or mural painting and an element of audience interaction. www.elianurvista.com www.bakudapan.com Instagram: @elianurvista

Perché il ritratto dei Coniugi Arnolfni è un'opera metafisica? Quali sono le simbologie degli oggetti che decorano l'opera? Chi era Giovanni Arnolfini e chi era la donna al suo fianco? La risposta a queste domanda le trovate in questa puntata di Mono. Tutte le immagini su https://quellodiarte.com/2021/02/20/matrimonio-alla-fiamminga/Vuoi richiedere una puntata di MONO sulla vostra opera d'arte preferita? Invia la la tua richiesta cliccando il seguente link: https://quellodiarte.com/2021/01/11/arte-monografie-on-demand/Se vuoi scrivere a Quello di Arte l'email è quellodiarte@gmail.comPlaylistMichelangelo Mammoliti, Mono, 2020

Episode 3 of Season 2 of ARTiculate. I continue to talk to remarkable artists who inspire me in their pursuit of finding their authentic voice within their practise. In a time when it is dangerous to touch our friends, the sensitive touch embodied in a good painting is a genuine gift. They embody something of the human intelligence that made them. They are the products of care embedded in a surface through touch. They speak to us as physical bodies, and remind us of how that physicality connects us to the people around us and to the larger world. I had the pleasure of talking with Jai Chuhan who's unique and expressive paintings are as she puts it ‘painterly exploration of displacement, conflict and desire challenging tropes of exploitation or celebration. Jai is an Indian born British artist who studied at UCL Slade School of Fine Art in the 80s and is currently based in Manchester. Her paintings are sculptural, thick with the texture of impasto paint giving her portraits a certain gravitas. The deliberate use of a vivid colour palette presents the female body as a physical and psychological presence, suggested by simplified geometric areas of colour and lines and shifting viewpoints. Anonymous figures observed in the city are complemented by portrayal of familiar people including self-portraits, using a combination of observation, memory and photographs. Jai's thinks of her practise as an act of zoning in to process beginning with layers of marks. She invests her time in reworking each and every individual picture by erasing an image, after another image, negotiating with time and the image as an act of searching and finding a visual crystallization of ideas. Whether she uses thick impasto of pigments or thin washes that fill the canvas, whatever the method, it makes us as the viewer lose sense of time. Her genre of painting reflects her transcultural aesthetic influences. Jai's work have been exhibited widely in the UK and internationally in solo including the Home and Unhome group show in China, and two solo shows for Asia Triennial Manchester 2018. Some of the prestigious institutions in the Uk include the Tate Liverpool; Barbican, London; Ikon, Birmingham; Arnolfini, Bristol, University of Cambridge; among many many other galleries and institutions.
Recent solo exhibitions include at People's History Museum for Asia Triennial Manchester 2011; Victoria Gallery & Museum, Liverpool 2013; Liverpool Biennial 2014; Gallery Oldham and at HOME for Asia Triennial Manchester 2018. Recent group exhibitions include at ArtANKARA Contemporary Art Fair, Turkey 2020.

It's the first WORK OF THE WEEK for 2021!...so Conor Tallon and The Crawford Gallery's assistant curator Michael Waldron ring in the New Year with this suitably seasonal work of art!A painting that exists somewhere between the abstract and figurative, Blue Constrictor (2006) by Elizabeth Magill offers the viewer an image of unending contemplation.The dark silhouettes of both deciduous and evergreen trees rise across this large canvas. Streaks and glimmers of yellow, red, and blue dart among their wintry forms against a softer wash of twilight. The artist's use of primary colours, however, implies that we are being presented with something constructed, while the uncertain viewpoint and atmosphere suggest the sense of being ‘in between'. Forms on the left even appear as spectres or echoes and tiny mixed media elements figure in the upper branches.Does the title, Blue Constrictor, allude to a contracting muscle or a large species of snake? Does the perspective have a dizzying effect or make us uneasy? Is it a landscape?Elizabeth Magill (b.1959) explores the relationship between the Picturesque and Romantic traditions in art. Born in Ontario, Canada, she grew up in County Antrim and now lives and works in London. She studied firstly at the Belfast School of Art and later at the Slade School of Art. Magill has exhibited widely, including at Arnolfini, Limerick City Gallery of Art, IMMA, Hugh Lane Gallery, Tate, and in 0044: Contemporary Irish Art in Britain (1999) at PS1, New York.Blue Constrictor (2006) by Elizabeth Magill is featured in lucid abnormalities (until March 2021) in our Gibson Galleries (Floor 1). See acast.com/privacy for privacy and opt-out information.

Natasha Rivett-Carnac is a curator and writer with a focus on arts & culture, and education. She runs a blog that supports writers and other creatives to find practical and artistic resources about motherhood. She is a home educator. Until COVID, her family split their school year between Costa Rica and the UK. Her family also participated in The Greenhouse, an outdoor education project The Daily Mail called “Britain’s most hipster school”. I loved how Natasha talked about how words and pictures split for her and for most people, but how she’s bringing them back together. She thinks of drawing as language and uses words as drawing, combining them in her visual artwork and bouncing between visual art-making and writing as creative pursuits. Her focus on personalized education as a primary reason for homeschooling really resonated. We talked about the overlap in theory of TAB (Teaching for Artistic Behavior) and this method of letting children initiate their own questions as a way of learning. She articulated so well the idea of curating the learning experience - creating the environment for learning to happen and occasionally adding new and exciting materials or ideas into it. I’m excited to see how the workshops she’s thinking about and nurturing come into being. She is published in The International Journal of the Arts in Society, Edinburgh University’s Dangerous Woman Project, Resurgence magazine, and elsewhere. Her project Doing Nothing, a collaboration with London-based photographer Grace Gelder, documents Natasha’s experience of early motherhood in Bonn, Germany. It was presented at Carlyle University’s Visualising the Home conference, and is archived at Goldsmith University’s Women’s Library. Natasha supported Chief Curator Jane Trowell at Platform London on the exhibition C Words: Climate, Capital, Culture at Arnolfini in Bristol (UK), one of the leading contemporary art centres in Europe. The exhibition also included a programme of over 80 events and workshops. She has an MA in Arts & Cultural Management from Dartington College of Arts in the UK, and a BA in Interdisciplinary Art: Violin Performance, Visual Art, and Creative Writing from the University of Minnesota. Natasha is originally from Minneapolis and currently lives in Somerset in the UK with her husband and two children. Blog post with images and links www.natasharivettcarnac.com @natasharivettcarnac on Instagram . . . Featured Artist: @lauraanncolussi . . . Submit to our Open Call! Register for Call to Art 2: Un-Conference for Art Educators! Follow: @teachingartistpodcast @pottsart Support this podcast. Subscribe, leave a review, or see more ways to support here. We also offer opportunities for artists! --- Send in a voice message: https://anchor.fm/teachingartistpodcast/message Support this podcast: https://anchor.fm/teachingartistpodcast/support

This week's episode is sponsored by:   Escape to Britain and beyond without leaving your seat. Try Acorn TV free for 30 days, by going to Acorn dot TV and use my promo code knitmore. That’s A-C-O-R-N dot T-V, code knitmore to get your first 30 days for free!             Carry your creativity with Erin Lane Bags! Whether you show your fiber fandom with the woolly wonder  Sheepleverse, or dive into history with the Curiosities collection, our project bags, totes, and hook and needle    organizers are at the ready to keep your hobby happy.         When was the last time your knitting yarn was a work of art? Infinite Twist produces one-of-a-kind semi-solid gradients featuring speckles, high-lights, low-lights, and gorgeous color transitions. From 700 y Giant Gradients to 200 y matching sock sets, Infinite Twist Gradients will hold your interest from cast on to bind off. See the currently available gradients at infinitetwist.com, or be the first to know when new colors are posted by signing up for our newsletter at infinitetwist.com/newsletter-signup   Have you ever had to frog because you forgot a step several rows back? Or lost your spot because you dropped your magnet board or lost track with your highlighter tape? Instead of wrestling with paper, use the knitCompanion app. It keeps you on track so you can knit more and frog less. knitCompanion works with ALL your patterns and is available for apple, android and kindle fire devices. Books plus knitting plus happy memories. That’s Little Skein in the Big Wool. We make kits, yarn and project bags that bring your favorite stories to life. Find *your* favorite story at littleskein.com       Do you know what October is a great time for? Making the switch to an all-natural deodorant. Our long-time sponsors LoLo Body Care have the best product for when you’re ready to swap out your conventional deodorant for an aluminum-free, probiotic deodorant. LoLo’s Pitty Perfect glides on smoothly, doesn't cake or crumble, or leave white streaks.   Their effective recipe contains natural ingredients that work together to kill odor-causing bacteria and keep you smelling fresh. Choose from Bergamot, Cucumber Melon, or Lavendar Rose Geranium scents. If you prefer no scent at all, LoLo even has a version called Plain Jane. Check them all out at LoLoBody.com.       On the Needles:(0:48) Gigi's new arbitrary knitting rule: finish something out of the UFO bin before casting on something new. Gigi started the (RAVELRY LINK) Excavation, a diagonal fringed scrap blanket out of leftover sock yarn that she absolutely loves. Jasmin is making slow progress, 2rd to last stripe on her Match and Move shawl. (by Martina Behm #behmalong); knitting it in Black Cat Fibers Nomad Sock.  Gigi dug out some sock yarn to start knitting socks from the Operation Sock Drawer book Hicklebee's Jasmin made a (Ravelry link) Windschief hat by Stephen West in The Lemonade Shop’s Comfy Worsted in “Witchy Stitchy” And Get Organized with the Home Edit Team Jasmin finished the tail and possibly flippers on the Dragonfish sweater for Rex . She is adding the bit for the lure. #ProjectSweaterChest Jasmin is up to the neck opening on her Jurek pullover in Lisa Souza Polwarth/Silk in “Styx” #KALLoween Gigi started the(RAVELRY LINK) Excavation, a diagonal fringed scrap blanket out of leftover sock yarn . Absolutely love this  Jasmin swatched for a rev st st Payne Pullover in Seismic Yarns “Llamas in Pajamas”. Gigi dug out the Polygon blanket from the UFO bin. Finished knitting last ball of coral  Gigi mentions the Welcome blanket   Opus the Octopus had a bath, and got blocked. Got his head stuffed. Also, one tentacle is stuffed and sewn.  Jasmin started Sam’s Gramps Cardigan (by TinCanKnits) in Magpie fibers Nest Worsted in “Twilight Dark” Gigi is working on her second Treppenviertel In Stitches:(26:36) Jasmin wore the (RAVELRY LINK) constellate hat  And the Payne pullover , and her Ursa  Gigi wore the (RAVELRY LINK) knitmore cowl and one of the new nightshirts.   Also, the (RAVELRY LINK) Sockhead cowl Vanilla is the new black socks out of rainbow and rag Patons Kroy. Identical  We mention Cast On by Brenda Dayne Events:(29:39) The Operation Sock Drawer book will be published in October. Call Hicklebees for a PERSONALIZED, SIGNED copy. Jasmin enjoyed the Bay Area Fiber Fair. XRX Stitches at Home November classes are up. Halloween craft all the things  hosted by the Knitgirllls  9/15/2020 to 10/31/2020 #KALloween/ #CALloween!  Mother Knows Best:(33:16) Fix it, finish it, keep it moving   Check your voter registration here. Here's the Vote Tracker   ACORN TV (36:25) LINK TO OUR PROMO When Knitting Attacks: (38:11) Gigi soaked the (RAVELRY LINK) Flickering shawl, the black color bled . Knits in Space:(41:14) Acorn tv. A Stitch in time. They recreated the Arnolfini portrait with the green dress from the Van Eyck portrait. Gigi talks about sumptuary laws. And Sew On: (50:45)  Gigi is taking a virtual tailoring class at Cañada college. Muslin of coat: fixed the sleeves. It pinched under the arm. Teacher said to make the armscye ¼ inch longer. Counterintuitive, but it worked. Teacher said to sew on collar next. Also, she finished sewing Avengers pillow cases for Rex for Xmas. Jasmin did leopard shark surgery

Fozia Ismail is founder and researcher at Arawelo Eats, a supper club which explores East African food and what it can mean for our understanding of belonging in a post-Brexit world.She has designed and delivered workshops/presentations for organizations such as Keep It Complex Serpentine Gallery, Jerwood Project Space, Tate Modern, Museum of London, National Trust -Colonial Countryside Project, Oxford Cultural Collective and The Courtauld Institute of Art. She was Bristol City Fellow for Arnolfini, Bristol's contemporary art centre in 2019.Her work has been published and featured in a range of media including Observer Food Magazine, Oxford Symposium on Food & Cookery and BBC Radio 4 Food Programme.Photo Courtesy of Fozia IsmailFollow Item 13 on social media: Instagram, Facebook and Twitter @item13podcastDon’t forget to subscribe & leave us a review!Heritage Radio Network is a listener supported nonprofit podcast network. Support Item 13 by becoming a member!Item 13: An African Food Podcast is Powered by Simplecast.

Artfully is BACK after a hiatus and despite a summer dominated by Covid-19, there are still some juicy art world controversies to feast upon. We take on the controversial job losses at the Tate galleries, the drama at the Musee d'Orsay after they refused entry to a woman in a low-cut dress, and the new Mayfair gallery opened by Charles Saatchi's daughter, Phoebe Saatchi Yates. We also share some good news from Christie's, who held an auction of works by Black artists where collectors had to pledge not to flip the works. Finally, from the sublime to the ridiculous: is Art Attack's Neil Buchanan actually Banksy? Elsewhere we select our top tips for exhibitions this Autumn including Edmund de Waal at the British Museum and a girl power gang round-up of Cecily Brown, Chantal Joffe, Katherine Bernhardt, Jadé Fadojutimi and Flora Yukhnovich. Our Artist Focus this episode is British artist Sarah Lucas. Born out of a boozy, party-hard YBA art scene, her profile has continued to rise to meteoric heights. She represented her country at the Venice Biennale in 2015, and nabbed her first American museum retrospective in 2018. We discuss sex, body parts, and those famous fried eggs. SHOW NOTES: (For the dog and cat lovers, here are the documentaries suggested by Jessie: https://www.bbc.co.uk/programmes/m000mf93)Cecily Brown exhibition at Blenheim Palace until 3 January 2020: https://www.blenheimpalace.com/whats-on/events/cecily-brown-art-exhibition/ Chantal Joffe 'For Esme - with Love and Squalor' at the Arnolfini until 22 November: https://arnolfini.org.uk/whatson/chantal-joffe/Katherine Bernhardt and José Luis Vargas 'Voodoo Mayo Ketchup' at Carl Freedman Gallery until 25 October 2020: https://carlfreedman.com/exhibitions/2020/voodoo-mayo-ketchup/Grayson Perry 'The MOST Specialest Relationship' at Victoria Miro until 31 October 2020: https://online.victoria-miro.com/graysonperry-london2020/Flora Yukhnovich 'Barcarole' at Victoria Miro Venice until 24 October 2020: https://online.victoria-miro.com/florayukhnovich-venice2020/Jadé Fadojutimi 'Jesture' at Pippy Houldsworth Gallery until 31 October 2020: https://www.houldsworth.co.uk/exhibitions/12-jade-fadojutimi-jesture/press_release_text/'Alfred Wallis Rediscovered' at Kettle's Yard 24 October - 3 January 2021: https://www.kettlesyard.co.uk/events/alfred-wallis-rediscovered/Edmund de Waal 'library of exile' at the British Museum until 12 January 2021: https://www.britishmuseum.org/exhibitions/edmund-de-waal-library-exileMore than 300 artists sign letter in support of striking Tate workers: https://www.theguardian.com/artanddesign/2020/sep/15/more-than-300-artists-sign-letter-supporting-striking-tate-workersWhy Tate Staff Are on Strike: https://www.frieze.com/article/why-tate-staff-are-strikeMaria Balshaw, Desert Island Discs: https://www.bbc.co.uk/programmes/m000lnld London's Royal Academy of Arts plans to slash 40% of jobs: https://www.theartnewspaper.com/news/royal-academy-of-arts-announces-potential-40-jobs-cutsParis museum refuses entry to woman in low-cut dress: https://www.theguardian.com/world/2020/sep/10/paris-museum-refuses-entry-woman-low-cut-dress-musee-dorsayKeeping it in the family: Charles Saatchi's daughter to open huge London gallery: https://www.theartnewspaper.com/news/keeping-it-in-the-family-charles-saatchi-s-daughter-to-open-huge-london-galleryCollectors buying from a Christie's exhibition of works by Black artists must pledge not to flip them: https://www.artsy.net/news/artsy-editorial-collectors-buying-christies-exhibition-works-black-artists-pledge-flipIs Neil Buchanan actually Banksy? https://www.dazeddigital.com/art-photography/article/50414/1/is-neil-buchanan-actually-banksy-an-expert-weighs-inSarah Lucas, Unmasked: From Perverse to Profound: https://www.nytimes.com/2018/09/05/arts/design/sarah-lucas-new-museum.htmlSarah Lucas: ‘I have several penises, actually': https://www.theguardian.com/artanddesign/2015/may/06/sarah-lucas-venice-biennale-interview

Episode 6. Martin Clark is a curator and the director of Camden Art Centre in London. Art has taken Martin all over the world. From the Arnolfini in Bristol and Tate St Ives in Cornwall to the Bergen Kunsthall in Norway. Sharing his love of new art and artists is what drives Martin every day. The Botanical Mind: Art, Mysticism and The Cosmic TreeThis exhibition just opened at https://camdenartcentre.org/ (Camden Art Centre) in London – on until December 23. The Botanical Mind brings together the work of over 50 artists, spanning more than 500 years, to investigate the ongoing significance of the plant kingdom to human life, consciousness & spirituality. Listen to this episode to hear Martin Clark speak about the inspiration behind this show. Plus the necessary twists and turns brought on by a certain… worldwide pandemic. Not something you're expecting to happen right when an exhibition is scheduled to open! Art & The Environment:A more sustainable global perspective. Yes, we can still be committed to internationalism. But how can the art world be more sustainable? Artist residencies and virtual exhibition walkthroughs are just a couple of possibilities. Foster local creativity but still reach out and celebrate our multicultural world. Finding creative solutions. There's loads of work still to be done as we all consider the environmental impact of our businesses, our lives. Does that mean less flying? Fewer big exhibitions travelling the world? Let's all find ways to continue to explore, make connections and celebrate the diverse world we live in. Further Inspiration:https://www.theguardian.com/books/2020/mar/30/funny-weather-art-in-an-emergency-olivia-laing-review (Olivia Laing: Funny Weather) A fantastic collection of essays on art and artists. http://olivialaing.co.uk/lonely-city (Olivia Laing: The Lonely City) A different take on loneliness: “that loneliness could be a really productive, creative and special space, particularly for art and the making of art”. https://norwegianrain.com/ (Norwegian Rain) Made in Bergen. “The philosophy is simple. Hard core functional and waterproof outerwear that does not compromise on style. The hi-tech is hidden”. Gorgeous rainwear to make you welcome the rain! Seasonal Colour Analysis:Ever wondered why certain colours suit you more than others? Discovering your true colours is a transformative experience. It's like having a face lift… but better. Wearing your true colours evens out your complexion, makes you look more youthful and energetic, and is a brilliant confidence booster. Wearing your true colours is also likely to get the compliments flowing. What to know a little secret? It's all about your skin tone. And how colour reflecting close to your face reacts with your skin. Colour analysis is a powerful blend of genetics, science and psychology. Alexandria helped Martin discover his true colours shortly before the pandemic hit the UK. Have a listen to this episode to hear more about Martin's experience. Full show notes for this episode: https://alsoinpink.com/6-martin-clark/ (visit our official site) And, wherever you get your podcasts: https://ratethispodcast.com/alsoinpink (Rate & Review ALSO in PINK) Thank you for your support!

The Arnolfini Portrait was painted by Jan van Eyck in the 15th century. It is a remarkable double portrait filled with symbolism. Come explore it in this episode of Accessible Art History: The Podcast. For images and sources, please visit this blog post: https://www.accessiblearthistory.com/post/podcast-episode-16-the-arnolfini-portrait --- Support this podcast: https://anchor.fm/accessiblearthistory/support

Versione audio: Il Ritratto dei coniugi Arnolfini, datato 1434 e firmato («Johannes de Eyck fuit hic»), è probabilmente l’opera più celebre del pittore fiammingo Jan Van Eyck (1390 ca.-1441). Si tratta del doppio ritratto di Giovanni Arnolfini, ricco mercante di Lucca trasferitosi nelle Fiandre per curare gli affari di famiglia, e di sua moglie, la […] L'articolo Il Ritratto dei coniugi Arnolfini di Jan Van Eyck proviene da Arte Svelata.

Bugün çok ünlü bir tablo üzerinde düşünüp, tablonun görsel anlatısındaki ayrıntılara odaklanmaya çalışacağız. Bu tablo Jan van Eyck'ın ünlü tablosu: Arnolfini'nin Evlenmesi. Podcastimizin bu bölümünün kapağında bu tabloyu bulabilirsiniz ya da bu tabloyu bilgisayarınızda açarak bu bölümü dinleyebilirsiniz.

Painted in 1434 by the famous Jan Van Eyke, the Arnolfini Portrait is both extremely strange and extremely cryptic. Just who were the people in the double portrait, and what was the biggest secret concealed in Van Eyke's brush strokes?Music by Fesliyan StudiosSupport the podcast at Patreon.com/HistoryObscuraVisit us at www.HistoryObscuraPodcast.com and on Twitter @HistObscuraPodcast--- Support this podcast: https://anchor.fm/historyobscura/support

Learn about Jan Van Eyck's famous painting the Arnolfini Portrait

This week we go WAY back and look at the prolific Jan van Eyck in an art heavy episode. We will look at Man in a Red Turban (aka Waldo), Portrait of Arnolfini (aka Vladimir Putin) and his masterpiece, the Ghent Altarpiece. And we will look for Waldo in all of them. Tune in to see if we find him.

Desde la web investigart.com, el historiador del arte Cipriano García Hidalgo Villena nos ayuda a descrifrar las claves del famoso doble retrato firmado por Jan van Eyck que hasta la Guerra de la Independencia permaneció en poder de la Corona española.   Escuchar audio

Whoever said the devil was in the details clearly had a thing for Northern Renaissance portraiture. See the images: http://www.thelonelypalette.com/episodes/2019/11/17/episode-41-jan-van-eycks-arnolfini-double-portrait-1434 Music used: Django Reinhardt, “Django's Tiger” The Andrews Sisters, "Bei Mir Bist Du Schoen" The Blue Dot Sessions, “Our Son the Potter,” “Bundt,” “Pacing,” “Secret Pocketbook,” “Oriel,” “Floretin Interlude” Poddington Bear, “Clay” Joe Dassin, “Les Champs-Elysees" Support the show: patreon.com/lonelypalette

Éste es el episodio 39 de 3 Cosas Que Ayer No Sabía, el del jueves 24 de octubre de 2019. ¡Al lío! 01.La Galaxia Yeti Hoy José Manuel Nieves publicaba una noticia sobre la “galaxia Yeti” descubierta por la astrónoma Christina Williams al revisar imágenes tomadas por la red de telescopios denominada ALMA. Esta señal resultó provenir de un lugar que está a 12.500 millones de años luz, es decir, cuando inició su viaje, a nuestro planeta aún le quedaban 8.000 millones de años para nacer. Además, entre nosotros y la galaxia que la emite existen nubes de polvo que hacen que la luz de sus estrellas sea totalmente invisible para nosotros. La noticia completa: https://www.abc.es/ciencia/abci-descubren-monstruosa-galaxia-yeti-oculta-confines-universo-201910231958_noticia.html#vca=rrss-inducido&vmc=abc-es&vso=tw&vli=noticia-foto 02. El matrimonio Arnolfini @VmorVincitOmnia publicaba en Twitter un hilo sobre la última teoría acerca de El matrimonio Arnolfini, cuadro firmado por Jan Van Eyck en 1434. La teoría es de Margaret L Koster, experta en Historia de Arte Medieval y Renacimiento, que asegura que este cuadro habría sido un encargo de Giovanni Nicolao para retratar la familia que nunca pudo formar ya que su esposa, que aparece embarazada en el retrato, había muerto antes del encargo de dicha pintura. Aquí el hilo completo donde encontrarás más datos. https://twitter.com/VmorVincitOmnia/status/1187101777956659206 03. Dato mierder de Coco 3.153.600 minutos de trabajo se invirtieron para crear la película de animación Coco producida por Disney Pixar y que tiene una duración en pantalla de 105 minutos. Lo cierto es que he dado con el dato de la forma menos glamourosa posible: a través de una publicidad en Instagram de un coleccionables del diario el País llamado “El Arte de Disney” y que recoge en 15 entregas el trabajo artístico y toda la información de 15 largometrajes de esta factoría. Despedida Y con esto termina el episodio número 39 de “3 cosas que ayer no sabía”, el del jueves 24 de octubre de 2019. Suscríbete a este podcast en cualquier plataforma y no te olvides de dejarme alguna review o comentario, ¡que siempre ayuda! A mí me encuentras en Twitter por @almajefi. Escríbeme y cuéntame qué te parece este podcast y, por qué no, enséñame cosas nuevas. Con dió.

Magazyn "NN6T" w cyklu "Wystawy, które już się skończyły" prezentuje: Janek Simon to artysta-sejsmograf. Mapuje i odszyfrowuje rozmaite nowinki i paradoksy, które następnie stają się tematem jego prac: od globalizacji i geografii politycznej, przez sztuczną inteligencję, spekulacje finansowe, strategie DIY, teorie postkolonialne. Wystawa "Syntetyczny folklor" prezentowana była wiosną 2019 w CSW Zamek Ujazdowski w Warszawie. Na wystawie znalazły się m.in. chodzący chleb – polska wariacja robotycznych osiągnięć Boston Dynamics, kolekcja obrazów zebranych na cmentarzysku statków w Indiach, wizualizacja budżetu Polski, nowe prace na temat psychodelii i domek z dzieciństwa zbudowany na podstawie błędnych obliczeń kalkulatora. Janek Simon – artysta konceptualny i czasami kurator. Interesuje się geografią kulturową, a szczególnie kwestią różnicy i odległości pomiędzy miejscami, anarchizmem, etyką i praktyką DIY, a także możliwościami użycia form nauki do produkcji znaczeń w sztuce. Jego prace były pokazywane między innymi na Manifesta 7, Biennale w Liverpoolu i wystawach indywidualnych w Arnolfini w Bristolu, Casino Luxembourg i wielu publicznych instytucjach, także w Polsce. W roku 2007 otrzymał główną nagrodę w konkursie „Spojrzenia”, był także nominowany do Paszportu “Polityki”. W latach 2008−12 współprowadził w Krakowie autonomiczną przestrzeń sztuki Goldex Poldex. Mieszka i pracuje w Warszawie. Rozmowę przeprowadziła Bogna Świątkowska, www.nn6t.pl Montaż: Ola Łapkiewicz Fot. Bartosz Górka, www.u-jazdowski.pl

Back in the Lower East Side but this time to kick it with Marc Leader of 212 Arts Gallery. Marc talks about growing up in Coney Island, his introduction to Jan van Eyck, his love for the movie Road House, the key to selling art and the misconceptions of owning a gallery in New York. Show Notes: https://www.newyorksaid.com/marc-leader/

Have you ever thought much about the politics of fashion? How can paintings help us understand the social context of fashion throughout history? Is the woman in the famous Arnolfini portrait pregnant or does her dress make it appear that way? This week we chat with Amber Butchart, fashion historian and host of BBC’s ‘Stitch in Time’ series, about the hidden meanings we can glean from the fashions in paintings. This episode's guest: Amber Butchart is a fashion historian exploring the intersections between dress, politics and culture. She began her career as the Head Buyer for Beyond Retro, where she also helped establish their print and design archive. Amber went on to presented the six-part BBC series ‘A Stitch in Time’ wherein she explored the stories of figures in paintings via the clothing they wore. She’s also written four books on fashion for the British Library, Thames & Hudson, and the Octopus Publishing Group on nautical fashion, fashion in film, and fashion illustration. Images: https://artuk.org/discover/artworks/called-john-rose-16191677-the-royal-gardener-presenting-a-pineapple-to-king-charles-ii-16301685-217099 https://artuk.org/discover/artworks/portrait-of-giovanni-arnolfini-and-his-wife-115018/ https://artuk.org/discover/artworks/la-belle-iseult-117726/ https://artuk.org/discover/artworks/study-for-the-private-view-1881-231652/

Art Detective Dr Janina Ramirez meets Amber Butchart at the National Gallery to discuss the Arnolfini Portrait.Episode Credits:Producer - Natt TapleyAudio - Pete Dennis--------Patreon: https://www.patreon.com/ArtDetectiveInstagram: https://www.instagram.com/DrJaninaRamirez/Twitter: https://twitter.com/ArtDetectivePodTwitter: https://twitter.com/DrJaninaRamirez Facebook: https://www.facebook.com/DrJaninaRamirezFacebook Group (Patreon Backers Only): https://www.facebook.com/groups/ArtDetective/ See acast.com/privacy for privacy and opt-out information.

Playwright and screenwriter (Atonement; Les Liaisons dangereuses) Christopher Hampton on translating the work of Florian Zeller, as his latest play The Truth transfers to London's West End.Maggie's Plan starring Greta Gerwig, Ethan Hawke, and Julianne Moore - and directed by Rebecca Moore - is a romantic comedy with a twist. After Maggie, played by Gerwig, falls for a married man, she decides to try and reunite him with his wife. Film critic Larushka Ivan-Zadeh reviews.With the announcement of the winner of the 2016 Art Fund Prize for Museum of the Year being made this evening, Front Row visits the fifth and final shortlisted entry, Arnolfini, a gallery and arts centre on the harbourside in Bristol.Queens of Syria began in Jordan as a project for female Syrian refugees, updating Euripides' The Trojan Women to reflect their own experiences. As the play comes to the UK for a nationwide tour we speak to cast members Sham and Amwar and the director of the UK production Zoe Lafferty.

Things are getting festive at A Thousand Words as we celebrate the Arnolfini Wedding and subsequent Portrait by Jan Van Eyck. Along with pondering the couple's future bliss, we gift the newlyweds with marriage tips and mentholated baby powder.

Aasmah Mir and Richard Coles are joined by the award-winning singer and composer Laura Mvula, poet Josephine Dickinson who has just regained her hearing after being deaf since she was six, and 'Educating Yorkshire' English teacher Matthew Burton. Plus Carl-Magnus Helgegren who took his two sons, aged ten and eleven, to visit a war zone after they asked to play the computer game 'Call of Duty', Clive and Jane Green who set out on a short sailing trip in 1998 and returned 51,000 nautical miles and 16 years later, and three folk musicians travelling from London to Bristol researching and playing the music of the canals on their way. And the former England cricket captain Andrew Strauss shares his Inheritance Tracks. JP Devlin will read your tweets (#saturdaylive), texts (84844) and emails (saturdaylive@bbc.co.uk). Laura Mvula will perform at the Proms on Tuesday August 19th - #Prom 45: Late Night with ... Laura Mvula'. "Educating Yorkshire - One Year On" will be broadcast at 2100 on Channel 4 on August 21st. The folk-trio The Dead Rat Orchestra are performing at The Arnolfini in Bristol on Saturday August 16th. Andrew Strauss inherits Boney M's 'Rivers of Babylon', and he passes on Hootie & The Blowfish's 'Hold My Hand.' Andrew Strauss' autobiography 'Driving Ambition' is available now. Producer: Joe Kent.

Desde el siglo XV "El matrimonio Arnolfini" ha viajado de Brujas a Madrid y, pasando posiblemente por Bruselas, ha llegado hasta la National Gallery de Londres, donde se hospeda desde 1842. Repasamos su trayecto y echamos un vistazo a los misterios que encierra esta mágica tabla del maestro Jan van Eyck.

Tom Trevor, the Director of Arnolfini, Bristol, in conversation with Stephen Foster in 2007, talks about 'Port City: On Mobility and Exchange', an international group exhibition which explores the relationship between global sea trade, slavery and the migration of people today.

John GrayIn this programme I talk to John Gray about some of the ideas that emerge from his latest book, The Immortalization Commission: The Strange Quest to Cheat Death. The podcast was recorded at the Bristol Festival of Ideas in May, at the Arnolfini. Hosted on Acast. See acast.com/privacy for more information.

DH Lawrence was, in the words of Geoff Dyer, a man with thin wrists and thick trousers. He was also the author of Women in Love, Sons and Lovers and Lady Chatterley's Lover. But poet and performer John Hegley has chosen him above all for the quality of his poetry, an admiration presenter Matthew Parris also shares. Lawrence died aged just 44. An obituary at the time reckoned he was 'a rebel against all the accepted values of modern civilization'. Certainly his life - born in Eastwood, Notts, became a teacher only to run off with a German-born mother of three to embark on his 'savage pilgrimage' around the world - was unpredictable. As indeed was this programme, recorded in front of an audience at the Arnolfini in Bristol, with John Hegley using both music and verse to make his point. Geoff Dyer, the author of Out of Sheer Rage, makes the case that Lawrence's unpredictability was a sign of strength, and that his best work lies in his letters and not his books. The producer is Miles Warde.

This painting presents a group of people in a reflected image. They stand in the low-beamed living-room of Belwethers, a cottage in the village of Cranleigh. The former country cottage of Mrs Halford, Lambert’s patron and friend, had been taken over by her daughter Mary and her son-in-law Sir Edmund Davis after her death in 1915. Sir Edmund stands at the window in the background; his wife, dressed in black, sits at the table; a maid serves tea; Amy Lambert, dressed in blue, stands; Sir Edmund’s sister-in-law Amy Halford sits with her hands on her lap; and the artist looks out of the image in the foreground. The oak beams in the ceiling take up half the picture and become, in the reflection, curved instead of straight lines, causing the design to flow in a circle – disturbing the very solidity of the room. It is a jewel-like piece of painting, with the lustre of a looking-glass, in which Lambert explored the distinction between how things appear in the picture or in a mirror, or how they are in life itself. He placed the artist within the painting on a separate plane from the other people within the scene, and showed him ignoring them and looking out to the viewer – observing the entire scene through a convex mirror. His hand thrusts forward, without a brush, spread wide as it would when distorted in a mirror. In 1916 Lambert visited Cranleigh, Surrey, when his son Constant became seriously ill with osteomyelitis while he was a scholarship pupil at Christ’s Hospital school in Horsham, West Sussex. (Cranleigh is situated halfway between Guildford and Horsham.) Constant’s condition was so grave that Lambert and Amy moved to Cranleigh to be near him. To pass the time, and determined not to give way to brooding over his sick son, Lambert painted The convex mirror , the reflection of a room in this cottage. Yet Lambert captured some of his sadness at the death of Mrs Halford (who acted as a grandmother to his children) and his anxiety over his son’s illness, as well as the universal unease and apprehension created by the First World War, in the way he presented the world through a convex mirror – disturbed and distorted. Lambert carefully constructed the painting, drawing the lines of the beams and other structural elements onto the wood panel before commencing the painting. He used fine brushes to convey the scene. In addition to his masterful depiction of the illusion of a room viewed through a convex mirror, he also captured a soft light coming through the windows and lighting up the tablecloth and the cane chair. Lambert saluted the sixteenth-century Italian mannerist painter Parmigianino’s illusionist tour-de-force, Self-portrait in a convex mirr or 1523–24 (Kunsthistorisches Museum, Vienna) in this painting. Like Parmigianino Lambert painted his work by looking at himself (and the others in the room) in a curved mirror and then recreating the effect. As in Parmigianino’s work, he captured the way the mirror widens the scene, enlarging everything nearby and making everything distant seem further away. But most significantly, like the Italian master, he created a display of virtuosity. Many artists have included a convex mirror in their work, such as van Eyck in The Arnolfini portrait 1434 (National Gallery, London) in which the mirror probably reflects the painter himself; Quentin Massys in The moneylender and his wife 1514 (Musée du Louvre, Paris), which reflects the artist and the outer world into the picture; and Caravaggio in Martha and Mary Magdalene c.1598 (Detroit Institute of Arts, Michigan), in which the artist used the mirror to enable Martha to reproach Mary for her vanity. The mirror device was fashionable at the turn of the century, and frequently used by artists such as William Orpen. Orpen depicted himself reflected in a convex mirror on the wall behind his subjects in both The mirror 1900 (Tate, London) and A Bloomsbury family 1907 (Scottish National Gallery of Modern Art, Edinburgh) – a device Orpen borrowed from van Eyck’s TheArnolfini portrait , which he would have known in the National Gallery. Likewise, genteel interiors, universes of the private individual, were popular subjects during this period, particularly in the exhibitions of the New English Art Club. In this work, Lambert depicted mistresses and maids, and the daily domestic ritual of tea. He depicted people reading and reflecting in the comfort of familiar surroundings. He also showed the master looking out the window and the wider world beyond. And he presented sun coming through the windows and lighting up the interior. Thea Proctor wrote in The Home on 1 July 1930 that The convex mirror ‘has the exquisite finish of the Dutch Masters, and shows that a present-day artist could also paint small things in a large manner’.

Mark Cosgrove, Watershed's Head of Programme, discusses Casablanca, Climates' director Nuri Bilge Ceylan and Japanese film programmes showing at Watershed and Arnolfini with Jasper Sharp