Style of art and architecture about 1890 to 1911
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10 episodes with Art Nouveau
3 episodes with Art Nouveau
4 episodes with Art Nouveau
4 episodes with Art Nouveau
3 episodes with Art Nouveau
3 episodes with Art Nouveau
2 episodes with Art Nouveau
2 episodes with Art Nouveau
3 episodes with Art Nouveau
Denise, alias Nora Colson, est passionnée de chant lyrique. Elle ne manque pas une occasion de chanter ou de siffler. En 1991, son public se compose de voyageurs du métro parisien où elle est gardienne de lavatory. Autrement dit, elle est Dame pipi. Parfois, elle a la chance de travailler place de la Madeleine. Construit en 1905, le lavatory madeleine est un bijou d'art nouveau. Il est même classé monument historique depuis 2011.*** Crédits archive *** Extrait de l'émission radiophonique "Là bas, si j'y suis : La dame pipi qui chante" de Mermet. Reportage : Carole Pither. - France Culture - 22/01/1991 ****** Crédits podcast *** Documentaliste : Anne Brulant - Textes : Lætitia Fourmond - Restauration et mixage : Ian Debeerst, Quentin Geffroy, Stéphane Rives - Enregistrement : Franck Couillard - Voix off : Clara De Antoni - Musique(s) : Universal Production Music France - Chargée de production : Delphine Lambard - Cheffe de projet : Lætitia Fourmond - Assistante cheffe de projet : Daphné Boussus - Responsable éditoriale : Zoé Macheret - Un podcast INA.Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.
By popular demand! For this month's podcast episode topic, I enlisted the help of my Patreon members in the form of a poll (well, two polls), and the topic chosen for April was Art Nouveau jewelry. In part 2, we dive into the histories of two of the most famous art nouveau jewelers, René Lalique and Georges Fouquet, along with the influence of Alphonse Mucha and the most important woman in the movement, Sarah Bernhardt.
Where has all the color and ornamentation gone??? Why has minimalism become so pervasive over the last century in America? Once, ornamentation and vivid color were celebrated hallmarks of art, architecture, and design—think Baroque paintings, intricate textiles, and the opulence of Art Nouveau. But with the rise of minimalism in the early 20th century, a dramatic change took hold. Clean lines, muted palettes, and functional simplicity replaced the flourish and decorative excess of previous eras. In this episode, we explore how and why ornamentation fell out of favor, and what that tells us about changing tastes, cultural values, and the evolving purpose of art itself.To watch the YOUTUBE VIDEO of this episode and the irreverent & somewhat unpredictable AFTERSHOW, subscribe to our Patreon: http://patreon.com/user?u=91688467
By popular demand! For this month's podcast episode topic, I enlisted the help of my Patreon members in the form of a poll (well, two polls), and the topic chosen for April was Art Nouveau jewelry. In part 1, we cover the basics of the Art Nouveau design movement, along with three incredible jewelry designers- Lucien Gaillard, Henri Vever, and Gabriel Falguieres.
This week Jes struggles to appreciate Mautog, the god of war, Cody struggles to get to a meeting on time, and Dave struggles to simply ask questions. Also, good old midwestern talk-speed roots! Show Notes: 00:00 - The Beginning 02:08 - Style It!: Art Nouveau 13:40 - Cody's Segment: Questions 26:05 - Dave's Segment: Paterson's Premises 32:55 - The Ending ~~~~ Come hang out on our Discord server! Check out Jes on her Twitch channel Jenga136 for chill art vibes Check out Cody on his Twitch channel PracticalRook for gamer Cody vibes Check out Dave's other audio projects Catch Me Up and Dave's Estate Reserve Podcasts Go bug Jon on "Twitter" @JHansenHimself while he's still not there If you're REALLY bored, go to Patreon and support our timewasting efforts!
"Jugendstil – A Voice from USA"– Mitchell Wolfssohn jr., Graham Dry and Ingvild Richardsen.© Ingvild Richardsen, Ukullnick, 03/25(Hördauer 13 Minuten)Willkommen bei unserem Radiopodcast "Jugendstil: A Star was born in Munich". Heute haben wir eine besondere Folge für Sie, die uns einen einzigartigen Einblick in die Welt des Jugendstils gewährt (in englischer Sprache).Wir hatten das Glück, dass Mitchell (Mickey) Wolfssohn aus Miami/Paris die aktuelle Ausstellung "Jugendstil Made in Munich" in der Kunsthalle München besuchte. Bei dieser Gelegenheit traf er sich vor dem Besuch der Ausstellung mit unserem Experten Graham Dry, was zu einer ungewöhnlichen Gesprächsrunde führte.An diesem improvisierten Treffen nahmen teil: Micky Wolfssohn Junior, Graham Dry, seine Frau Beate Dry von Zezschwitz , sowie Ingvild Richardsen und Uwe Kullnick, der das Gespräch für das Literaturradio aufzeichnete. Die Tonaufnahme entstand unter spontanen Bedingungen, was sich leider in der Tonqualität und einigen Hintergrundgeräuschen bemerkbar macht. Wir bitten dafür um Ihr Verständnis.Trotz der technischen Herausforderungen erwies sich das Gespräch als aufschlussreich zum Thema Jugendstil. (Diesen Teil haben wir in Teil 1 ausgekoppelt). Um die Authentizität zu bewahren, und weil Mickys Leben und Wirken in Sachen Kunst sehr interessant ist, haben wir uns entschlossen, das gesamte Gespräch (Teil 2) nahezu ungeschnitten zu präsentieren. Es bietet einen Einblick in Micky Wolfssohns Leben und seinen persönlichen Hintergrund.Tauchen Sie mit uns in das Zeitgeschehen eines ungewöhnlichen Mannes. Erleben Sie, wie wir in München den Geschichten von Micky Wolfssohn lauschten und gemeinsam die Bedeutung des Jugendstils erforschten und dabei von den Entwicklungen von Micky's Mäzenatentum erfuhren.Welcome to our radio podcast ‘Art Nouveau: A Star was born in Munich'. Today we have a special episode for you that gives us a unique insight into the world of Art Nouveau.We were lucky enough to have Mitchell (Micky) Wolfssohn from Miami/Paris visit the current exhibition ‘Jugendstil Made in Munich' at the Kunsthalle München. On this occasion, he met with our expert Graham Dry before visiting the exhibition, which led to an unusual round of talks.Taking part in this improvised meeting were: Micky Wolfssohn Junior, Graham Dry, his wife Beate Dry von Zezschwitz , as well as Ingvild Richardsen and Uwe Kullnick, who recorded the conversation for Literaturradio. The audio recording was made under spontaneous conditions, which is unfortunately reflected in the sound quality and some background noise. We apologise for this.Despite the technical challenges, the conversation proved to be informative on the subject of Art Nouveau. (We have extracted this part from part 1). In order to preserve authenticity, and because Micky's life and work in art is very interesting, we have decided to present the entire conversation (Part 2) virtually uncut. It offers an insight into Micky Wolfssohn's life and his personal background.Immerse yourself with us in the contemporary life of an unusual man. Experience how we listened to Micky Wolfssohn's stories in Munich and explored the significance of Art Nouveau together and learnt about the developments of Micky's patronage.Text und Inhalt: Ingvild Richardsen, Uwe Kullnick: Gestaltung und Realisation
In this 95.9 Company Break program, Mike talks with Nancy Shaw, the owner of N.L. Shaw & Co. in Mystic. They are proud to have you browse their exquisite selection of Antique and Estate Jewelry and their fine selection of unique jewelry designers. The antique and estate collection embraces alluring jewelry from Victorian, Edwardian, Arts and Crafts, Art Nouveau, Art Deco, Retro, and the fabulous '50s and '60s. Their designers include original jewelry bells by Gordon Barnett, fabulous colored gemstones in sterling and marcasite by Argent, Butterfly wings set in sterling, Pea Pods by Michael Michaud, Mystical Madness creative colored stone line, and more. They welcome you to browse their wonderful selections. For more information, call 860-572-5838 or visit nlshaw.com
La Samaritaine est connue pour être un grand magasin parisien mais en réalité c'est aussi un monument.Symbole de l'architecture Art Nouveau puis Art Déco, la Samaritaine est représentative de toute une époque de la vie des parisiens.Découvrez dans cet épisode l'évolution de ce magasin fondé par le couple Ernest Cognacq et Marie-Louise Jay et construit par l'architecte Frantz Jourdain.Un magasin mais aussi une vitrine publicitaire et un véritable lieu de vie.Quelques lieux Art Nouveau et Art Déco dans Paris:Ballade dans le 16ème arrondissementN'hésitez pas à nous suivre et à nous faire vos remarques sur notre compte instagram @racontemoi.paris.Raconte-moi Paris c'est:Un podcast sur l'histoire des monuments de ParisUn podcast familialUn podcast jeunesseHistoires pour enfantsMonuments de ParisHistoire de FranceHistoire La Samaritaine#podcasthistoireParis#podcastSamaritaine#podcastmagasinsamaritaine#podcastgrandmagasin#histoirepourenfants#podcastenfants#podcastfamille© Olivia CAMINADE 2024Accompagnements musicaux: Lighter shades © Evert Z, The Return ©AlexanderNakarada, QuietTree ©Thoribass, Anticipating you ©Antony Vega, Sunrise ©Antony Vega, Special Times ©Antony Vega,Academy ©MrKey, Sleep- ©Scott Buckley Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
On this mini-episode from our archives, Tiffany (and a 4-year-old Aurelio!) will fill you in on one of Rome's most delightful hidden gems: the Owl House! Swiss cabin meets medieval hamlet meets art nouveau glass? As crazy as it sounds, this unlikely mash-up is not an abomination, but rather one of the most charming, yet little visited, museums in Rome. Tucked away among the greenery of Villa Torlonia in the leafy north of Rome, la Casina delle Civette, or the Owl House, was built in 1840 for an Italian prince, and added to over the decades that followed. It's most famous for its exceptional glass art, specifically the detailed works of flora and fauna by Art Nouveau master, Duilio Cambellotti. Take a aural tour of this one-of-a-kind place, and we bet you will want to visit in person. And don't miss your chance to visit Rome with us, on our intimate Rome listener trip, coming up in October 2025. Find out all about it here, or email us for more information! ------------------------------------- COME TO ROME WITH US: For the third year in a row, we are hosting an intimate group of listeners for a magical and unforgettable week in Rome, this October 2025! Discover the city with us as your guides, seeing a side to Rome tourists almost never see. Find out more here. ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!
Stéphane Bern raconte René Lalique, créateur de bijoux à la Belle Epoque qui a laissé son nom gravé sur des objets d'exception, et dans l'Histoire de l'art français… en devenant un véritable maître verrier ! En quoi René Lalique a-t-il inventé le bijou moderne ? Comment est-il passé maître dans l'art de la verrerie ? Comment a-t-il participé à la révolution industrielle ? Pour en parler, Stéphane Bern reçoit Véronique Brumm Schaich, directrice du musée Lalique et auteure du livre “René Lalique, le génie de la lumière” (Gallimard).
Stéphane Bern raconte René Lalique, créateur de bijoux à la Belle Epoque qui a laissé son nom gravé sur des objets d'exception, et dans l'Histoire de l'art français… en devenant un véritable maître verrier ! En quoi René Lalique a-t-il inventé le bijou moderne ? Comment est-il passé maître dans l'art de la verrerie ? Comment a-t-il participé à la révolution industrielle ? Pour en parler, Stéphane Bern reçoit Véronique Brumm Schaich, directrice du musée Lalique et auteure du livre “René Lalique, le génie de la lumière” (Gallimard).
Pinterest Reference Imagery Here Discover the top 15 interior design trends set to shape 2025 with Loui Burke! From the Art Nouveau revival and the rugged charm of Western masculinity to bold ceiling designs and the return of plush velvets, Loui dives into the themes redefining interiors this year. These trends go beyond homewares, focusing on architecture, materials, and timeless influences like 90s romcom aesthetics and Italianate elegance. Plus, Loui shares exclusive Pinterest boards packed with inspiration to help you visualise each trend. Stick around for practical tips to bring these ideas to life and a sneak peek at an upcoming episode on the "ins and outs" of interior design trends. Tune in now!
"Le voyage du Nautiscaphe et de sa cheminée dans la fosse des nouvelles hébrides": le titre sonne comme un roman de Jules Verne. A lʹinstar de la couverture au graphisme bleu et or très Art Nouveau. Pourtant il sʹagit dʹun nouveau roman fantastique rédigé à 6 mains suisses à lʹesthétique steam punk et engagée du côté de lʹécologie et du féminisme. Rencontre avec 2 des 3 autrices de ce projet original paru aux ed Presses Inverses, Marilou Rytz et Alice Bottarelli. Une interview menée par Sarah Clément, à retrouver en intégralité sur le site rts culture et sur la newsletter Qwertz.
Paris is home to over 100 museums, from world-renowned art galleries to quirky, hidden gems. In this episode, we highlight 5 underrated museums you won't want to miss, each offering a unique glimpse into Parisian history and culture. Discover the Bibliothèque Nationale Richelieu, where centuries of knowledge await. This historic library houses treasures like a rare Gutenberg Bible and an original manuscript of Les Misérables. Then, explore the newly renovated Musée Carnavalet, a free museum dedicated to the history of Paris, complete with a beautiful Art Nouveau shop and a charming courtyard café. Next, step into the elegant Musée Jacquemart André, an aristocratic mansion on Boulevard Haussmann that showcases Italian art and a stunning fresco. For something truly unique, visit the Musée des Moulages, a museum of dermatological casts housed in one of Paris' oldest hospitals. Finally, don't miss Musée de Montmartre, where iconic artists like Renoir once worked, and the beautiful gardens are just as impressive as the exhibits. This episode is brought to you by My Private Paris, the award-winning travel company offering private tours in Paris, day trips around France, and custom travel itineraries. Become a member of The Earful Tower on Patreon or Substack for bonus content, early access, and invites to exclusive events. Members can read the full "Top 20" list of our tips for Best Museums in Paris, one for every arrondissement.
Dijakinje gimnazije Kranj so nedavno ustvarile koledar z naslovom Muhasti Mucha. Rdeča nit je bilo ustvarjanje na Češkem rojenega umetnika Alfonsa Marie Muche, ki je zaznamoval slog imenovan art nouveau. Koledar Muhasti Mucha za leto 2025 krasi 12 mladenk zasanjanih, otožnih ali melanholičnih pogledov, z dolgimi valovitimi lasmi, elegantnimi in romantičnimi gestami, so na Gimnaziji Kranj zapisali v spremni besedi. Kako so te mladenke naslikane v tehniki akvarela nastajale, kako so Muchov slog prilagajale sebi in koledarju, so nam ustvarjalke predstavile v oddaji Gymnasium.
Episode 030: December 7, 2024 Sara Breslin joins me and we talk about how to make your merchandise. What do you choose? How do you make it? Which vendors do you choose? Who is your audience? How do you reach them? Everything we can think of and PLEASE ask questions. :) About Sara Breslin: Sara Breslin has made a name for herself as a Symbolist Figure Artist with colorful, feminine work informed by the late 19th-century Art Nouveau style and the early 20th-century Surrealism movement. She obtained her BFA in 2014 from the University of Rhode Island, having majored in Fine Arts, and has continued her studio practice in Rhode Island ever since. Breslin's watercolor and mixed media paintings meld reality and fantasy to create empowering images of the Divine Feminine. These images employ strong narrative concepts, incorporating elements from nature, ancient symbols, and dynamic colors to breathe life into her mesmerizing figures. Through her work, Breslin explores the power of womxn and femininity while delving into the complexity of human emotions. Her own experiences deeply inform Breslin's work, and she uses her paintings to express and affirm her own gender identity and mental health. With representation in local galleries and retail locations, Breslin's art has become a unique addition to the community. She regularly shows work in exhibitions and art fairs and frequently collaborates with nonprofits Beyond the Diagnosis and Art for Eyes. Most notably, in 2023 Breslin presented an ambitious solo exhibition, Sonder at AS220 in Providence, RI. Sara Breslin's Links: Website: https://www.sarabreslin.com Instagram: https://www.instagram.com/sarabreslin Echo Chernik Links: Website: https://www.EchoChernik.com Illustration: https://www.echo-x.com Facebook: https://www.facebook.com/echoxartist Instagram: https://www.instagram.com/echochernik Patreon: https://www.patreon.com/thexcaliberproject Kickstarter: https://www.kickstarter.com/profile/echox/created
Richey Beckett, is a master of pen-and-ink illustration whose meticulous detail has earned him a distinctive place in the world album art, along with film, television and rock poster illustration. Working from his studio in rural Wales, Beckett's craft is defined by an exquisite sense of design, where each line is carefully considered, creating images that are as precise as they are evocative. Drawing inspiration from classic engravers like Doré and Dürer, Beckett's work is a modern homage to timeless traditions, blending the ornate beauty of Art Nouveau with the vibrant essence of psychedelia and the raw textures of nature. His compositions invite viewers to explore their intricacy, finding something new with each glance—a testament to his remarkable technique and dedication. Over the years, Beckett has applied his unique visual language to album art and posters for legendary bands, including Metallica, Mastodon, and Grateful Dead, as well as creating posters for iconic films and series such as Jim Henson's "Labyrinth," HBO's "Game Of Thrones," and Sam Raimi's "Army Of Darkness,". Yet beyond the collaborations, his work stands on its own, drawing the viewer into a visual journey that is as much about what is seen as what is felt. | CONNECT WITH RICHEY BECKETT | https://www.richeybeckett.com/ https://www.instagram.com/richeybeckett/ | PALEHORSE OFFERINGS | https://palehorse.komi.io/ | INTRO MUSIC BY SOMA KIRTAN | https://www.instagram.com/soma_kirtan/ | CLOSING MUSIC BY JOHANNA WARREN | https://tinyurl.com/4sa9bu4h | INTRO VIDEO CLIPS SAMPLED FROM REVOLVER MAGAZINE | https://www.youtube.com/watch?v=_VRiCp1KoL8
My last chit-chat
Fluent Fiction - Norwegian: Finding Light: A Painter's Journey Through Ålesund's Fjords Find the full episode transcript, vocabulary words, and more:fluentfiction.org/finding-light-a-painters-journey-through-alesunds-fjords Story Transcript:Nb: Svein stirret ut av vinduet i det lille atelieret sitt i Ålesund.En: Svein stared out the window of his small studio in Ålesund.Nb: Bak gardinene kunne han se de smale gatene fylt med fargerik Art Nouveau-arkitektur.En: Behind the curtains, he could see the narrow streets filled with colorful Art Nouveau architecture.Nb: Han ønsket å male byens sjel, men alt bleknet i tankene hans.En: He wanted to paint the city's soul, but everything faded in his mind.Nb: Hans inspirasjon var tom, og fargene på paletten hans virket dystre.En: His inspiration was empty, and the colors on his palette seemed gloomy.Nb: "Ingrid!"En: "Ingrid!"Nb: ropte Svein fra rommet sitt.En: Svein shouted from his room.Nb: Søsteren hans var alltid full av energi og gode ideer.En: His sister was always full of energy and good ideas.Nb: Kanskje hadde hun enda en løsning på problemet han ikke klarte å fikse selv.En: Maybe she had another solution to the problem he couldn't solve himself.Nb: "Vi skal på fergetur," svarte Ingrid med et smil, idet hun kom inn.En: "We're going on a ferry ride," Ingrid replied with a smile as she entered.Nb: "Fjorden venter."En: "The fjord awaits."Nb: Svein nølte.En: Svein hesitated.Nb: Han elsket roen i studio, men også stillheten som truet med å kvele kreativiteten hans.En: He loved the peace of the studio, but also the silence that threatened to stifle his creativity.Nb: "Er du sikker?En: "Are you sure?Nb: Været er ustabilt," sa han, pekende mot den tunge himmelen utenfor.En: The weather is unstable," he said, pointing to the heavy sky outside.Nb: "Det er perfekt," insisterte Ingrid.En: "It's perfect," Ingrid insisted.Nb: "Litt frisk luft og natur vil gjøre deg godt."En: "A little fresh air and nature will do you good."Nb: Svein lot seg til slutt overtale.En: Svein eventually let himself be persuaded.Nb: Tidlig om morgenen sto de på dekk av ferga.En: Early in the morning, they stood on the deck of the ferry.Nb: Båten gled stille gjennom fjorden.En: The boat glided quietly through the fjord.Nb: Vannet var rolig mot skroget, og de høye fjellene som omkranset dem var farget i gul og rød høstprakt.En: The water was calm against the hull, and the high mountains that surrounded them were painted in the gold and red of autumn splendor.Nb: Svein trakk pusten dypt.En: Svein took a deep breath.Nb: Kald luft fylte lungene hans.En: Cold air filled his lungs.Nb: Det var noe i luften; en forventning han ikke hadde følt på lenge.En: There was something in the air, an anticipation he hadn't felt in a long time.Nb: Men skyene truet fortsatt, tunge og grå.En: But the clouds still threatened, heavy and gray.Nb: Plutselig, mens ferga rundet en sving, brøt en solstråle gjennom skyene.En: Suddenly, as the ferry rounded a bend, a ray of sunshine broke through the clouds.Nb: Den kastet et gyllent lys over fjellene, som om verden ble tent i brann.En: It cast a golden light over the mountains, as if the world had caught fire.Nb: Svein stirret, hypnotisert av det flyktige øyeblikket, da alt plutselig ble klarere for ham.En: Svein stared, mesmerized by the fleeting moment when everything suddenly became clearer to him.Nb: Ingrid så på broren sin og smilte.En: Ingrid looked at her brother and smiled.Nb: Han grep raskt skisseblokken sin, og begynte å tegne.En: He quickly grabbed his sketchpad and began to draw.Nb: Fingrene beveget seg i en feberaktig hastighet, men i stedet for kaos skapte de orden og skjønnhet.En: His fingers moved with feverish speed, but instead of chaos, they created order and beauty.Nb: Ingrid lente seg tilbake, fornøyd med at Svein hadde funnet gnisten igjen.En: Ingrid leaned back, satisfied that Svein had found his spark again.Nb: Solen skinte nå klart, og ferga gled videre.En: The sun now shone brightly, and the ferry continued onward.Nb: Svein tegnet, fylte siden med linjer som fanget lyset, fjellene, og hjelpen fra søsteren.En: Svein drew, filling the page with lines capturing the light, the mountains, and his sister's help.Nb: Turen tilbake føltes raskere.En: The return trip felt faster.Nb: Ålesund kom inn i synsfeltet igjen, med sin fargerike prakt.En: Ålesund came back into view, in all its colorful glory.Nb: Svein og Ingrid steg av ferga.En: Svein and Ingrid stepped off the ferry.Nb: Han takket Ingrid, lyste opp av nyvunnet inspirasjon.En: He thanked Ingrid, glowing with newfound inspiration.Nb: "Du hadde rett.En: "You were right.Nb: Noen ganger må man ut av studio for å finne fargene," sa Svein.En: Sometimes you have to leave the studio to find the colors," Svein said.Nb: Ingrid ga ham en klem.En: Ingrid gave him a hug.Nb: "Og noen ganger må man stole på familien."En: "And sometimes you have to trust your family."Nb: Så med det dro de hjem, Svein med hjertet fullt av bilder som ventet på å bli malt.En: And with that, they went home, Svein with his heart full of images waiting to be painted.Nb: Nå forstod han skjønnheten utenfor sitt eget vindu, og verdi i å ha noen som så ham.En: Now he understood the beauty outside his own window and the value of having someone who saw him. Vocabulary Words:studio: atelieretcurtains: gardinenenarrow: smalearchitecture: arkitekturpalette: palettengloomy: dystreinspiration: inspirasjonsolution: løsningferry: fergefjord: fjordenhesitated: nøltesilence: stillhetenstifle: kveleunstable: ustabiltdeck: dekkhull: skrogetsplendor: praktlungs: lungeneanticipation: forventningmesmerized: hypnotisertfleeting: flyktigesketchpad: skisseblokkenfeverish: feberaktigchaos: kaosorder: ordenbeauty: skjønnhetspark: gnistenglory: prakthug: klemvalue: verdi
Modernism is one of the most important art movements in Catalonia, one that played a crucial role in shaping the cultural identity of Catalonia at the turn of the 20th century. The movement drew clear inspiration from parallel artistic trends throughout Europe, known by different names such as Art Nouveau, Jugendstil, or Modern Style. While the world of painters was very male-dominated, with Catalans Ramon Casas and Santiago Rusiñol responsible for bringing the movement from Paris to Catalonia, a few women also made their mark on the movement in Catalonia, namely Lluïsa Vidal. Emma Monrós Rosell joins Lea Beliaeva Bander to delve into this pivotal art movement, exploring some of its defining characteristics and motifs, as well as some of its most influential artists. We hear from art historian Elina Norandi, who sheds light on the notable absence of women in this movement, and we share some recommendations for contemporary female Catalan artists to watch. This week's Catalan phrase is “Una flor no fa estiu, ni dues primavera,” which translates as ”One swallow does not make a summer.” Get in touch with the podcast team: fillingthesink@acn.cat
Nous sommes en 1893, à la rue Defacqz, à Bruxelles. C'est au numéro 71 que lance la construction de sa propre maison. Le jeune architecte n'hésite pas à bousculer les codes en usage, ainsi, il utilise généreusement le métal comme support apparent pour les bow-windows et la corniche. Il s'en sert également comme élément décoratif pour la balustrade du balcon et d'autres éléments comme des colonnes. La façade se caractérise par la polychromie des matériaux : la brique rouge, la pierre bleue ou rose et de nombreux sgraffites colorés. Cette réalisation est une révolution et est, aujourd'hui, considérée comme un véritable manifeste du style Art Nouveau. Hankar connaîtra d'ailleurs la consécration même si quelques voix se montreront critiques , telle celle de l'architecte Henri Van Dievoet qui, le deux février 1896, écrit dans la « Chronique des Travaux Publics et de la Finance » : "M. Paul Hankar est un des jeunes architectes dont on discute le plus la valeur et les tendances – nous ne discuterons ni l'une ni les autres. Nous serons peut-être amené à dire que nous nous sentons peu porté vers cette architecture rationnelle ou baroque, très prisée ou conspuée selon les aspirations. Nous nous plaisons à constater l'effort fait par l'artiste pour produire des œuvres sortant autant que faire se peut des sentiers battus". Que reste-t-il de Paul Hankar, précurseur de l'Art Nouveau ? Pourquoi son œuvre est-elle bien moins connue que celle de Victor Horta et Henri Van de Velde les deux autres « grands » Belges de ce bouleversement architectural ? Avec nous : Anne Hustache, historienne de l'art. A lire : « Art nouveau belge, Vers l'idéal, tome 2 » Un regard inédit sur l'oeuvre de cinq figures majeures de l'Art nouveau en Belgique : Paul Hankar, Adolphe Crespin, Paul Hamesse, Léon Sneyers et Henri Jacobs. Réalisé sous la direction de Borys Delobbe (UCLouvain), Jonathan Mangelinckx et Werner Adriaenssens (MRAH-VUB) Editions du musée Horta. Sujets traités : Paul Hankar, architecte, art nouveau, précurseur , révolution Henri Van Dievoet Victor Horta, Henri Van de Velde Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
Alphonse Mucha exhibition is currently on display at the Art Gallery of New South Wales. SBS Russian welcomed art historian Ekaterina Heath in the studio and discussed Art Nouveau and the complex history of Mucha's works. - В Художественной галерее Нового Южного Уэльса проходит выставка работ Альфонса Мухи. Историк искусств Екатерина Хиз в гостях в студии SBS Russian рассказала об ар-нуво и о сложной истории творчества Мухи.
Nous sommes en 1894. Paul Hankar, architecte belge, inventeur, avec Victor Horta et Henry van de Velde, de l'Art nouveau, conçoit avec son complice de toujours, le peintre-décorateur Adolphe Crespin, l'idée d'un « quartier moderne » qui pourrait être érigé sur le site de l'qui doit se tenir, à Bruxelles, trois ans plus tard. Dans « Le petit bleu du matin », nouveau quotidien de la capitale, ils publient un article pour présenter leur projet. En cette année 1894, Anvers vient d'accueillir son Exposition et la reconstitution d'un quartier Renaissance flamande à connu un énorme succès. Hankar et Crespin veulent s'inscrire en rupture de cette vision architecturale. Ils écrivent : « On a déjà pour Bruxelles proposé l'édification de vieux monuments de toutes sortes. Nous ne pensons pas qu'après Anvers la chose offrirait un intérêt bien transcendant … Soyons de notre époque : au lieu de regarder en arrière, voyons devant nous… Nous proposons donc la création (…) de tout un quartier non pas du seizième mais du dix-neuvième siècle… » Nos deux compères vont alors se retrouvés plongés au cœur d'une polémique qui va opposer les modernes aux tenants de l'architecture néo-historique. Chemin faisant, va se poser la question du rôle joué par les Expositions universelles dans la promotion de la modernité. Le dix-neuvième siècle était-il « condamné à finir sans avoir possédé une architecture à lui » se demandait l'architecte français Viollet-le-Duc ? Tentons de voir clair dans cette affaire… Invité : Yaron Pesztat, curateur Architecture moderne au CIVA ( Centre International pour la Ville, le Paysage et l'Architecture) de Bruxelles. Auteur de : « Expositions universelles – Le procès perdu de l'architecture moderne » ; CFC éd. SUjets traités : Paul Hankar, Victor Horta, Henry van de Velde,, architecture, Art nouveau, peintre-décorateur , Adolphe Crespin, Exposition universelle , Bruxelles, Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
In Episode 8, we review Bruxelles 1893: Belle Époque and discuss our first, second, and third impressions of the game. To start off the episode, we chat about the games that are bringing us joy: Robinson Crusoe: Adventures on the Cursed Island, Faraway, Ark Nova with Marine Worlds, Castles of Burgundy, and Carcassonne. Building the first Art Nouveau buildings, we–Paul, Paul, Paul, and Victor–balance worker placement, managing finances, and art collecting in order to build our houses, win area majorities, and increase scoring multipliers for the end game. For playing as architects, this game is a mean one, but we thoroughly enjoy this knife fight in a phone booth. Share your thoughts about Bruxelles 1893: Belle epoque with us on instagram @boardgamehomies
"(Alphonse) Mucha is well known as a flag-bearer of Art Nouveau. But actually he became so unintentionally and he didn't like it ," Tomoko Sato, curator at Mucha Foundation, said. Ms Sato co-curated the latest exhibition at the Art Gallery of New South Wales (AGNSW). - ニューサウスウェールズ州立美術館で今月始まったアルフォンス・ミュシャ展 。日本での人気が高いチェコ出身のアーティストですが、知られていない部分も多くあります。ミュシャ財団キュレーターの佐藤智子さんを中心に３人にお話を聞きました。
Hoy profundizamos en el modernismo más popular, el Art Nouveau francés. A través de esta corriente estética podemos entender la división de las artes durante el siglo XX. Si te gusta la Historia, el arte y la literatura, este es tu pódcast.
SPECIAL SUMMER EPISODE: A Conversation w/ Ann Powers, author of Traveling: On the Path of Joni MitchellFor Part Two of our celebration of Joni Mitchell, the great ANN POWERS, esteemed rock writer and NPR music critic, joins Mark for a conversation about her brilliant new book Traveling: On the Path of Joni Mitchell. Topics include: the question of critical enthusiasm, Ann Beattie, Don DeLillo & Don Henley, Joni's plug into the pulse of the culture, Joan Didion and Play It As It Lays, Roberta Flack, Miles Davis, Art Nouveau and Don Juan's Reckless Daughter, Joni's evolving obsession with rhythm (and percussionists), Los Lobos, Chaka Khan, Prince's song for Joni, the Jazz Fusion scene of the mid-1970s, Jaco Pastorius, Brandi Carlisle and the Joni Jams, Taylor Swift and a celebration of the studio nerd, the underrated Larry Klein, Joni's relationship with the press, Joni's live performances, Michelle Mercer, and what moment in music Ann would travel in a time machine. Plus, a passionate reappraisal of Joni's four 1980s albums on Geffen Records and the value of meeting (and not!) your musical heroes. Special thank you to Dey Street Books and Mr. Brian Ulicky for his assistance with this conversation.Order Ann's book at your local independent bookstore here!
In this heartfelt episode, Kimberly opens up about the recent delays in her podcast episodes, attributing them to the emotional aftermath of her mother's passing and technical internet issues. She takes a moment to reflect on the unwavering support of her parents, particularly in her decision to move to Italy to pursue her photography career. This move not only enriched her appreciation for Italian culture but also inspired the creation of her podcast. Key Highlights: Personal Reflections: Kimberly shares a touching tribute to her parents and their support for her adventurous career shift to Italy. Insights into how her experiences in Italy have shaped her podcast's content, focusing on travel, culture, and personal stories. Travel Insights: Historic “Motonave Milano” Steamship: The refurbishment of this iconic Art Nouveau steamship on Lake Como, despite facing recent extreme weather in Lombardia. The steamship's rich history, architectural beauty, and the modern amenities it offers to travelers. Travel Tips for Northern Italy: Essential packing tips to prepare for Northern Italy's unpredictable weather. Practical advice on using credit cards, recommending Visa or Mastercard over American Express. Tips for enjoying Venice at night, along with new regulations aimed at managing overtourism. Sustainable Tourism: Camino Reto Hiking Route: Introduction of the 170-kilometer hiking route in the Dolomites, promoting eco-friendly travel. Connection of remote villages through this scenic trail, offering diverse landscapes and historical sites. Future enhancements including a traveler's passport, a diploma for completing the route, and plans for a twin cycling route by 2025 to improve accessibility for outdoor enthusiasts.
What you'll learn in this episode: Jennifer's unique process of layering acrylic and art images, and how she discovered her signature technique. Why the most important thing a young artist can do is find their voice. Why Jennifer rarely uses images her customers request in her jewelry. How Jennifer's work ties into the history of pop and op art. Why Jennifer sees other art jewelers as inspiration, not competition. About Jennifer Merchant: Jennifer Merchant is a studio t based in Minneapolis, MN. She graduated with a BFA in Metals and Jewelry from the Savannah College of Art and Design. She is a full-time artist showcasing her work in galleries, museums and exhibitions. Her work has been published in several national magazines such as American Craft, Ornament and Delta Sky Magazine. Merchant is best known for her innovative layered acrylic process in which images and prints are layered between solid acrylic. Her work is graphic with clean lines and modern aesthetic. Pieces confound viewers, appearing transparent from one angle of view while showcasing bold patterns and colors from another. Photos available on TheJewelryJourney.com Additional resources: Website Facebook Instagram Twitter Transcript: Like the op and pop art that inspires it, Jennifer Merchant's jewelry challenges your eye. Clear from some angles and bold and colorful from others, the jewelry is created by layering acrylic with images from art books. Jennifer joined the Jewelry Journey Podcast to talk about how she developed her technique; how she chooses the images in her jewelry; and why art jewelers need to work together to push the discipline forward. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. Today, my guest is Jennifer Merchant. Jennifer was also a guest several years ago. She thought she would be a metalsmith but segued to acrylic jewelry, which is what she has become known for: creative and innovative acrylic jewelry such as necklaces, bracelets, earrings and brooches. They have eye-catching graphics embedded in them. I was also surprised to learn that hand carving is sometimes involved. Welcome back. When you left college, did you know you were going to have your own business? Jennifer: Not right away. I think it took me about five years to really get the confidence together to start my own business. I definitely spent that first five years after graduation very lost and not really sure what in the heck I was going to do with my jewelry degree, especially because I went to school in Savannah, Georgia. That's where I made all my art connections and jewelry connections. Moving back to Minneapolis, I was off on my own. I didn't have a community at that point. It definitely was a number of years of wondering, “How am I going to end up using this degree that cost me so much money?” I had been waiting tables and was increasingly unhappy because I knew I had something different to offer the world. I ended up getting fired from a job. I had been speaking with a friend at work who had another friend that was putting on an art show. She had told me about it because she knew I was an artist. I remember getting fired from the job and calling her up right away, like, “I think I want to do that art show because I need to try to make some money.” It went okay, and it inspired me to say, “Jewelry is something you can do and make a living with. Let's give this a shot.” I had to move back home with my mom for a couple of years and cut my expenses way down, because I wasn't going to take out another loan to start a business. I built it very small, very scrappy. I had a second bedroom in my mom's house where I had my workshop, and I started from there doing little local events. That's where it all started. Sharon: Wow. What's the biggest piece of advice you can give to somebody who's just starting out? Jennifer: I would say when you're just starting out, really try to find your voice. Sharon: What do you do? What does one do when they find their voice? For instance, some people have found the voice, but they're homemakers or they work in an office. What do you do when you find your voice? Jennifer: I think once you know what you want to say, the next step is finding out who wants to hear it. And that is a very hard step, finding your niche and finding your people that resonate with your voice. I think the only way to really do that is to get yourself out there, get your work out there. I think with the Internet now and how accessible online stuff is, it might be a little easier to get yourself out there through social media, through the Internet, than maybe it was years ago when you had to have a physical presence out in the world. People can start by getting their work out there online and hopefully seeing who is interested, who connects with it, and then finding places in the real, outside world to continue that process and eventually find your market. Sharon: Do you have people who come to you with the image they want to include already? Jennifer: Not very often. I've had people ask me about that, but I think ultimately, I have to be drawn to the image specifically in order to be able to incorporate it in a piece. I did have a client that had a specific art piece she wanted in a bracelet for her daughter. That I was able to do because I resonated with the work and it was something that worked well within the form of jewelry. I've also had requests where someone wants family mementos or something encased in the acrylic. That's a very cool, sentimental thing, but visually, it doesn't really work with my aesthetic as well. I'm not going to do something just because I get asked for it. I also have to be drawn to it enough in order to go through with it, because it is a labor-intensive process and it is an art of passion. If I'm not super excited about the thing I'm making, it's probably not going to turn out that great either. I have tried to do things early on in my career specifically for a client that just didn't quite work out. We weren't on the same page. I think as you get more into it, you figure out the types of things you can push the boundaries on and the types of things that you can't. When someone's request is something that you can do and make them happy with, and when it's just not something that'll work out, you know. Sharon: That's interesting. So if somebody brought you their wedding photo, it depends on whether you like the wedding dress or something like that. Jennifer: Or if it has enough visual interest. I think the thing that makes my work successful is the images that I do use are interesting within a small scale of jewelry, and not all images can do that. I work with a lot of op art and pop art, and there's a lot of visual interest going on in a small space. With a photograph or something more sentimental, that's not always the case. It just wouldn't look as cool as they think it's going to. Sharon: I've seen comic books used in your work. How did you come to that? Jennifer: All of the things in my work that look like comic books are actually Roy Lichtenstein pieces. His pop art was inspired by comics, and he reimagined them into huge canvases and paintings. My jewelry does something similar, where I take Roy Lichtenstein's work and images and collect tons of books and rip out those pages and put that in my jewelry. It feels kind of meta. I've actually met some of his descendants and collectors and friends over the years, and a lot of them assure me that he would really appreciate what I'm doing with his work. It's a very similar idea as to how he repurposed art and things that he saw into something new and different. Sharon: That's interesting. I didn't know that. Did you study art history in college as you were studying jewelry and metal and all that? Jennifer: Yeah, art history is definitely part of your Bachelor of Fine Arts degree. It wasn't always my favorite class because the art history classes were about art that was ancient and a lot of religious art and that sort of thing. I think I had one class where it was modern art in the 20th century, which, of course, is the most interesting to me. But that art history background definitely sparked some interest in different art movements and art periods. Art Deco is a very favorite design motif of mine. As I was talking about earlier, I'm very inspired by pop art and op art. I think art history plays a huge role. I never thought at the time when I was in school that I would end up studying more about art history and specific artists and doing that kind of research, but it is really important to my work now. Sharon: Can you explain what the difference between pop art and op art is? Jennifer: Sure. With pop art, everyone knows Roy Lichtenstein and Warhol. They took popular things or everyday objects like a soup can and made them stylized and put them in the context of fine art as this kind of ridiculous thing. Op art deals with optical properties. A lot of op art is very linear. It kind of tricks your eye. It looks like it's moving, but it's a static image. Funny enough, when I started working with op art, I was actually collecting those optical illusions books for kids. There'd be very few usable images in there, but there'd be a few black and white, scintillating-looking, squiggly-lined spirals or something like that. That sparked my interest in optical art and looking it up outside of the context of those silly books for kids. I found out this is a whole art movement, and there are artists like Richard Anuszkiewicz and Victor Vasarely and Bridget Riley that pioneered this in the 60s, when it really became a thing. I just find it so fascinating. But it's kind of funny that my two art movements that I use a lot in my work are pop and op. Like, who knew? Sharon: Do you ever use any other kind besides those? You say you like Art Deco. I don't know what you'd use for an image, but I guess you could use an Art Deco image. Jennifer: I think with Art Deco I am more inspired by the overall forms of pieces or the shapes. I like the ideas. I like the repetitive nature of Art Deco. They went from Art Nouveau, where it was all crazy and ornate, and then Art Deco kind of simplified things. It was a little more streamlined. I really like that. I think I carry those design principles through my work, not as much the direct visuals. Although if I could find great books with Art Deco prints of patterns or wallpapers or whatever, I'd love to use those. I just haven't quite found the right image sources yet for that. Finding pop art and op art books has been pretty easy for me, and the images are just so striking, so that's why I've gravitated towards those. I'm open to other types of art and other artists. I just haven't moved on yet from the things I am working on. I can only focus on so many things at a time, but I could see myself doing some collections using Rothko paintings or Gerhard Richter with those interesting images, Jackson Pollock with the splashes. Those kinds of things I could see being very interesting within the context of layered acrylic. It just depends on where my book collection takes me. Sharon: So, if we're looking at used books at a used bookstore, we should keep our eyes open for interesting things that could be used as interesting prints. Jennifer: Yeah. I actually buy so many of my books online because physical shops only have so many things, and what I'm looking for is so specific. The art sections are usually kind of small, so I've ended up finding a lot of online retailers. I've gotten pretty good at being able to figure out whether a book is going to be visually interesting based on the online listing. I will even look at the size of the book, if they list dimensions, to give me ideas. If it seems like a good coffee table art book with lots of pictures, that's what I'm trying to find. Something with lots of great images. Sharon: It sounds like people would be very interested in your leftovers. Jennifer: I have a whole shelf of these books that are like little skeletons. You can see the sections where I've really gone to town ripping pages out, and then other sections that are left. There's plenty of things I leave in the book that I think are amazing, but they just aren't going to work for jewelry. Yeah, I've got a lot of skeleton books on my shelf. I keep them. I can't get rid of them. Sharon: I like that, skeleton books. Once again, it's a Herculean task, the whole thing of starting your own business. Would you say that there is somebody that inspired you and keeps inspiring you? Jennifer: I wouldn't say it's a specific person. I think after that initial, tiny show that I did trying to sell my work, I think the most inspiring thing was seeing the other artists and seeing people that were making a living doing their work. I think that's what's really inspiring to me, finally meeting other people that were already doing what I wanted to do and realizing, “Wow, this is a viable career path.” There's not a lot of artists in my family, so no one really had any advice to give me back in the day. They weren't necessarily unsupportive, but they didn't really know how to encourage my art, either. It's been very helpful getting out there and seeing people that are doing things and just being inspired. Different artists and different people inspire me for very different reasons. Some artists, their work is the thing that inspires you, and other artists have such a great work ethic or a really creative way of marketing. I try to keep my eyes and ears open all the time, and I let inspirations muddle around in my brain. And then one day some other thing will trigger an idea. You just never know. I try to always be open. Sharon: I'm surprised; I usually see you at shows where there are a lot of other art jewelers, which is what I categorize you as. I see art jewelers, makers a lot. I'm thinking of New York City Jewelry Week, which is where I saw you once or twice. The last time I saw you, I wasn't able to say hello. I would think you'd be more—well, maybe it's the way I am, but I'd be more envious or competitive seeing all the other art jewelers, as opposed to finding inspiration. Jennifer: I don't know. I don't think of it as a competition in any way. I think it helps me a lot because my work is so different from everyone else's, so there isn't a super direct comparison. I think maybe for some other types of jewelers it might be a little different because there is more of a direct comparison with their aesthetic or their materials. In that respect, there isn't really competition. I used to be a lot more of a competitive person, but as I've gotten older and been in the business long enough and met all different artists, you just see that it's so much more about passion and drive. You can be successful doing just about anything if you're willing to put the work in. I've met so many different people with so many different types of jewelry and art, and they're successful in radically different ways. Even if some other artist is successful in a way that will never work for me, I still love learning about what they're doing. Even if it doesn't directly apply to me, there's something in that lesson, in listening to them and their story that might click something for me in an indirect manner. So, I really do try to be open and inspired by everyone, and I definitely don't see it as competition. I think it's great seeing more and more art jewelers getting work out there, making things that are big and bold and wild and weird materials. The more of it that's out there, the better for all of us, because then the consumer or the client is seeing more of it out in the world. Then when they come across my work, it might not seem as weird or as off putting. They might get it a little bit faster and a little bit easier because of all the other people that came before me and all the people that are alongside me. I think working together as a community, being inspired by each other, helping each other be successful, that can only help all of us. Sharon: Do you think when people first see your art, they don't think of it as jewelry because it doesn't have diamonds or emeralds? Do they think of it as a throw away, in a way? Jennifer: Oh, yeah. I've had the gamut of reactions to my work, and it really depends on the setting it's in as well as how people respond to it. There are definitely people out there that, to them, jewelry is diamonds and gold, and that's fine. I might not be able to change their mind. Other people see the work and, right away, think it looks cool. Maybe they didn't even know it was a bracelet, but they were drawn to it. Then when they find out it's an actual wearable piece, they're even more blown away. You never know what kind of reaction you're going to get from people. I've definitely had to do a lot of educating on my process and the materials because when someone sees a plastic necklace that costs $2,000, they kind of scratch their heads, like, “What is going on here?” And then I tell them all about the process and all the different steps and all the different things that went into it. Sometimes you win people over, and sometimes they're like, “Why bother?” I just try to pay more attention to the people that are won over and interested. If they're not, that's fine. I know my work is not for everyone, and I'm okay with that. Sharon: That's an interesting philosophy. You've given me a different perspective as well on your jewelry. Thank you for being here today, Jennifer. Jennifer: Yes. Thank you so much for having me. It's been a pleasure. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
Nous sommes en 1898, à Vienne, au Palais de la Sécession. Le Sécession, c'est ce mouvement de renouveau des formes artistiques qui s'épanouit en Autriche et ailleurs en Europe sous différentes appellations, comme Art Nouveau ou Jugendstil. Depuis l'année précédente, le mouvement organise régulièrement des expositions et c'est au cours de l'une d'entre elles que le belge Fernand Khnopff, figure de proue du symbolisme, va accéder à une dimension réellement internationale. Fernand Khnopff que le poète Emile Verhaeren avait décrit en « clergyman en train de devenir dandy ». Figure énigmatique comme il est communément admis de le présenter, mais aussi paradoxal, égotique, solitaire et mondain. Sculpteur, poète, photographe, le créateur a mené une vie de démiurge dans un Bruxelles qui, au tournant des 19e et 20e siècles, était un phare de la vie culturelle. Une œuvre qui suscite l'admiration de ses contemporains mais qui , après sa mort en 1921, entrera dans une longue période d'oubli. Si depuis quelques années, elle a fait l'objet de quelques expositions prestigieuses, son auteur n'a pas livré toute sa part de mystère. Partons sur les traces du maître du symbole : Fernand Khnopff… Invité : Joël Goffin, historien de l'art. Sujets traités : Fernand Khnopff, Autriche, Art Nouveau, Jugendstil, symbolisme, Emile Verhaeren, Sculpteur, poète, photographe,exposition, maître Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
Historically Thinking: Conversations about historical knowledge and how we achieve it
The Paris of the Belle Époque was a city divided by new and old conflicts–the tensions of modernity, and the schisms which had divided France since 1789. Modernity, which the city both exemplified and advanced, could be both celebrated and the source of anxiety–sometimes by the same person at more or less the same time, certainly by the same person at different times. “The glories of the Belle Epoque were real enough,” writes my guest, “like many myths and cliches, they contain an element of truth–but they tell only one side of the story. The era was also riven by political conflict, crackling with social tension, and fraught with cultural friction. And, of course, it ended with the industrialised carnage of the First World War in 1914.” Michael Rapport is Reader in Modern European History at the University of Glasgow. He has previously written about topics related to the age of the French Revolution, and the revolution of 1848. His most recent book is City of Light, City of Shadows: Paris in the Belle Époque, which is the subject of our conversation today. For Further Investigation Michael Rapport has also written 1848: Year of Revolution; The Napoleonic Wars: A Very Short Introduction; and The Unruly City: Paris, London, and New York in the Age of Revolution, which is a fine companion read to Episode 350, Episode 281, and Episode 176 Urban Insider's guide to the Paris Metro A guide to Montmartre And a walk through Montmartre A guide to Art Nouveau in Paris A collection of Zola reading lists: his novels in their written order; his suggested way to read through his novels; a five-novel list; a ten-novel list; and a twenty-novel list
One of the beauties of antique jewellery is that it can serve as a reminder of defining moments or movements in history that led to truly unique pieces. Today, we're taking a look at the jewellery that was inspired by and created for the suffragette movement in the UK. These political pieces are some of the most collectible antique jewellery you will come across and are an important reminder of the fight for women's right to vote in the early 20th century. Matthew and Alyce take a look at the origin of the suffrage movement, including why jewellery became such an important part of their protest and honour the incredible women who gave up their lives to fight for the cause. THINGS WE SPOKE ABOUT The origin of the Suffragette movement Colours and gemstones typical to suffragette pieces Trade tips for collecting the incredibly rare suffragette jewellery A badge of honour brooch for political prisoners of the movement Iconic women of the suffragette movement and jewellery they created MORE INFORMATION Sylvia Pankhurst Holloway Prison Brooch https://artuk.org/discover/artworks/holloway-prison-brooch-279701 Suffragette necklace available at Courtville Antiques https://www.instagram.com/p/C5QUUTZCM_J/ Social Media IG - @CourtvilleAntiquesFB - @CourtvilleantiquesTik Tok - @matthew.weldon YouTube - @courtvilleantiquePinterest - @courtville QUOTES The fact that they were willing to go to these extreme lengths to gain their rights is very inspiring, and of course, it inspired not only that movement, but a jewellery movement as well. - Alyce Ketcher I think the key factor for a suffragette piece of jewellery comes down to the colors really. - Matthew Weldon My trade tip for you is if you're looking at a suffragette piece, it wants to be in the arts and crafts style, Art Nouveau style or Edwardian style and yellow gold or silver. - Alyce Ketcher Sylvia Pankhurst actually designs a brooch. Now referred to as the Holloway prison brooch, they were given to suffragettes who were incarcerated at Holloway prison as kind of like a badge of honor. - Alyce Ketcher KEYWORDS #suffragette #women #jewellery #edwardian #suffrage #brooch
Making Tracks is back for the 190th studio episode as the Marks delve deep into the galaxies far, far away and the hottest news. We discuss the Maker George Lucas finally getting his Honoray Palme d'Or, look at the freshest news from The Acolyte, Qi'ra joining Star Wars Outlaws and take a listeners question. All this plus a look at last weekends Echo Base LIVE 14 in Redditch, the latest items to hit our collection rooms and Marks worrying lust for Ewoks. Sit comfortably for the latest from Making Tracks. Remember to tune in to Good Morning Tatooine, LIVE Sunday evenings at 9.00pm UK, 4.00pm Eastern and 1.00pm Pacific on Facebook, YouTube, X, Instagram and Twitch and check out our Fantha Tracks Radio Friday Night Rotation every Friday at 7.00pm UK for new episodes of The Fantha From Down Under, Planet Leia, Desert Planet Discs, Start Your Engines, Collecting Tracks, Canon Fodder and special episodes of Making Tracks, and every Tuesday at 7.00pm UK time for your weekly episode of Making Tracks. You can contact any of our shows and send in your listeners questions by emailing radio@fanthatracks.com or comment on our social media feeds: https://www.youtube.com/@FanthaTracksTV/ https://links.fanthatracks.com/ https://link.chtbl.com/fanthatracksradio www.instagram.com/fanthatracks www.facebook.com/FanthaTracks www.twitter.com/FanthaTracks www.pinterest.co.uk/fanthatracks/ www.fanthatracks.tumblr.com/ www.tiktok.com/@fanthatracks www.twitch.tv/fanthatracks www.threads.net/@FanthaTracks
What you'll learn in this episode: How to use Antique Jewelry University to identify maker's marks and find out when your jewelry was made. Why access to more (and better) information has made interest in antique jewelry explode. What characteristics Suzanne looks for when evaluating antique jewelry. Why buyers should beware of lab-grown diamonds in vintage jewelry. Why modern diamonds and manufacturing techniques can't compare to the materials and skills used by jewelers in the past. About Suzanne Martinez Suzanne Martinez is the co-owner of Lang Antiques, a San Francisco-based shop that offers the largest collection of fine vintage engagement rings and antique jewels to be found under one roof. She is a highly credentialed senior gemologist, jewelry appraiser, jewelry historian and the curator for Lang's collection. She actively buys from sellers all over the world. Suzanne is also the founder of Lang's Antique Jewelry University. Suzanne started collecting rocks and minerals as a child, and by the time she was 13 knew that the jewelry world was her passion. For fun she makes enameled jewelry and studies natural history and Latin American cultural anthropology. Images courtesy of Lang Antique & Estate Jewelry available on TheJewelryJourney.com Additional resources: Website Suzanne's LinkedIn Instagram Facebook Antique Jewelry University Lang Antique and Estate Jewelry is the prime destination for vintage jewelry lovers, but you don't have to be in San Francisco to take advantage of the store's services. Lang ships jewelry globally and offers Antique Jewelry University, a completely free online guide to maker's marks and jewelry history. Jewelry historian and Lang co-owner Suzanne Martinez joined the Jewelry Journey Podcast to talk about how Lang curates its huge collection of antique engagement rings; the history of Antique Jewelry University; and what she looks for when evaluating an antique piece. Read the episode transcript here. Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the first part of a two-part episode. Please make sure you subscribe so you can hear part two as soon as it's released later this week. Today, we're talking with Suzanne Martinez of Lang Antiques in San Francisco. I should say that's where the brick and mortar is, but they sell all over the world. Lang Antiques is the country's, if not the world's, largest purveyor of vintage engagement rings. They have an unparalleled collection. Suzanne herself is a jewelry historian, among other things. Lang Antiques has developed an online Antique Jewelry University. Researchers from all over the world use this as a resource to research the history of a piece of jewelry. If you're interested in jewelry, then this makes a very good read. I was looking at it last night again, and I didn't have any piece of jewelry in mind, but it was very interesting to read. I've heard Suzanne give a talk at ASJRA, another major jewelry organization, and I've heard Suzanne give talks identifying a piece of jewelry, and she goes into tremendous detail. There's no way that you could not look at a piece of jewelry and know what you should be looking for. She'll tell us more about Antique Jewelry University. She'll also tell us how over the years, the store has become world renowned. They have done this by developing an unparalleled collection of jewelry, a reputation for professional expertise, and the longevity of this jewelry store. Suzanne, welcome to the program. Suzanne: I'm happy to be here. Good morning. Sharon: Can you tell us where the Lang in Lang Antiques and Estate Jewelry comes from? Suzanne: We bought the store from Jarmilla Lang in 1991. She was the original owner of the store and a jewelry historian herself way before her time. She had worked in Europe in museums, so she had this breadth of knowledge of decorative arts and jewelry that she brought to San Francisco with her when she opened this store. Sharon: Wow. There aren't any certificates as a jewelry historian. It's just knowledge, right? Knowledge and other people saying, “Well, you're a jewelry historian.” I presume you're a gemologist also. You look at so many rings. That's very interesting. What do you say to those who would never buy a piece of jewelry online because they have to feel it and see it and all of that? Suzanne: Like you said, I am a gemologist and I have been for 45 years. Part of the gemological training is learning how to be forensic with what you're looking at. Whether it's a gemstone or a piece of jewelry, if you are buying from someone who is knowledgeable enough to understand what they're looking at and share that information with you, that gives a huge degree of trust. I think that's one thing that stands out for Lang. We have a really good understanding of whether it's a real piece of antique jewelry. How is it made? Why is this design important? Who else made this design popular over time and why? We like to give tidbits of history with every piece we sell. I do call myself a jewelry historian, but by no means do I know everything. I have a library. I haven't read every single book in my library. However, if a piece comes in and I look at it, I know which book to look for to find a reference about it. And there are many jewelry historians that I look up to. It's a community. Sharon: If I see a piece of jewelry on your website and I want to know more about it, or I want to know if I can trust this outfit If I don't know it, do I call you or send you the piece? Can you explain the process? Suzanne: If you want to know more about your own piece of jewelry, that's why we have Antique Jewelry University. It's a place where you can do your own research. We have a huge database of hallmarks because one thing that we probably get the most inquiries about is, “Who made this piece of jewelry? Here's the mark I have.” We refer them to this database we have because it's pretty impressive. Auction houses and appraisers and people all over use that database. Every piece of jewelry we have with a maker's mark, we do our best to research it. It's not always easy. It's not always possible. Then we photograph it, and we include it on our website. We try and add a little snippet about who the jeweler was, where they were located, and what years they did their manufacturing. You have to match when a piece was made because some there are false marks, too. If a piece of jewelry is marked 585, which is the percentage for 14-karat gold, it was not made in the 19th century. They didn't mark jewelry like that. There is that forensic bit, too. Hopefully we can help people down that path. We call it the jewelry journey. We do. It's finding out when their jewelry was made. If they want to find out more about a piece of jewelry we have on our website that they might be interested in buying, we invite inquiries. We talk to them over the phone or by email, whatever they're comfortable with, and try and satisfy all their questions about it and add information as well. Sharon: Did you develop the online Antique Jewelry University yourself? Suzanne: When we started our website, that was back in 1998. We were kind of early adapters. There were no e-commerce platforms at that time, so we developed our own e-commerce platform. By the early 2000s, we were actually selling online. When we launched our website, Antique Jewelry University was a 1000-word glossary. I had been collecting terms. Christie Romero was an incredible jewelry historian. She was here in Southern California, and she taught jewelry history. I don't remember which college it was down there, but she would put on symposiums and bring speakers in. Anyway, incredible woman. She started a glossary of terms and a timeline that, when she passed—unfortunately, she's no longer with us—she gifted to Antique Jewelry University. So, between her information and my glossary of terms, we started Antique Jewelry University and just built upon it. Sharon: Do you continue to build upon it if you see a new term or something you haven't included before? Suzanne: Absolutely. We are always researching. We have a woman who does a lot of our writing. Her name is Mary Borchert, and that is her job, just doing research. We have quite a library of reference books, so everything that we put on Antique Jewelry University is fully referenced. We notate that at the bottom of all our articles as well. We're not just copying it from somewhere else on the internet, which a lot of people do, and a lot of people copy Antique Jewelry University. That can be a compliment, but at the same time, we do all of our own work. Sharon: That's impressive, considering how in-depth it is. Just look at it online. Why do you think that the interest in antique jewelry has grown so much in the past few years? Suzanne: I think there's a lot of transparency. A lot of people are able to access information because of the advent of social media. Just think of all the people that are sharing their own personal information. We are on all the different social media channels as well, and I've seen them grow. If you have an interest in a particular type, like Art Nouveau jewelry, you can find Art Nouveau jewelers that have Instagram or Pinterest and look at beautiful jewelry and learn about it. In the past, when I started as a jeweler, if you didn't have a library, there was no place to go. You went to a museum, and that's where you found your information. Now I think it's a rich time for people to access information. I think we also visually see antique and vintage jewelry worn on the red carpet, at the Met Gala, and we see jewelry that is inspired by antique jewelry. You have famous houses. Everybody knows who Cartier is. You have the most beautiful antique Cartier jewelry, and then you have people that have copied it. That's a big tribute, but you don't always know if it's a Cartier or it isn't. That's why it's important who you buy it from. But at the same time, it's permeated everything, antique and vintage styles. Whether it's somebody creating something new with a nod to something vintage or it's truly vintage, I think it's just what people see today. It's massive. Sharon: Your selection of engagement rings is massive. Have you seen that grow in the past few years, the interest and the couples coming in and wanting to see your vintage only? Suzanne: Because that's what we specialize in—we specialize in antique diamonds, so our vintage and antique jewelry is why people come to buy from us. They understand that it's socially responsible, it's recycled. That's one of the reasons they buy it. They also want a little bit of history. They want something that no one else has, something very unique. They want something that has a beautiful design and is executed in a way that jewelry isn't executed today. You get a beautiful Edwardian jewel, no one can make a piece of jewelry like that in today's world. They just don't. The jewelry today is made on CAD. Very few jewelers are hand fabricators or can fabricate something that delicate. If you want the real deal, you're going to shop at a store like Lang. Sharon: What happens if you get a call from somebody outside of the U.S. or even on the other side of the U.S. that wants a piece? They want a vintage engagement ring, but they can't come to the store. What do you do? Suzanne: Actually, more of our customers are outside of our store and shop just online because we have jewelry that no one else has. Where are they going to find it if they don't find it from a store like Lang? We have a very large selection. It's not unusual for a customer to narrow their choice down to two or three. Sometimes we just send them all three and they can try them on in the comfort of their own home. They have a period of time which they can return them. We make it work. Sharon: I thought it was really interesting that you had that, the one, two, three. Maybe it's the person who writes about the antique jewelry. The one, two, three of what you look for to know more about a piece of jewelry. That was like first looking at the hallmarks. I looked at it last night but I don't remember what's next. Suzanne: For a private individual, when they're trying to identify their own jewelry, style is really important. But for an individual, if you have family history and you know that piece was your grandmother's, at least you have a date within which to start. If you're just out in the world and you identify a piece of jewelry that you love but you don't really know how old it is, that's a little more difficult. How do you know it doesn't match the type of manufacturing techniques that were done when, say, an Art Nouveau piece of jewelry was made, versus something that is made today in the Art Nouveau style? That is something that's a little harder. That's why you need to rely on an appraiser, someone to help you with that. But when I personally look at a piece of jewelry, how I select a piece of jewelry for our store, style is really important. Good design is always good design. Bad design is obvious, and it just doesn't make a great piece of jewelry. The techniques of manufacture have to be right. It has to be in excellent condition. There's a lot of things that I look at that go in the background, that not everybody sees when they look at a piece. They see a beautiful piece of jewelry when they're shopping, but the backstory is it has to be in excellent condition. It has to be correct. Lang is very careful about letting people know when, for example, cufflinks have been out of style for quite some time, and a lot of the cufflinks that were made circa 1900 to 1930 are small. They're very small. They're really too small for men to wear. Men don't wear them, and they're very delicate. What we do is convert them to earrings. We make the most beautiful earrings out of these cufflinks that otherwise would lose their livelihood, and we've been very successful with doing that. But we tell people these were converted from a pair of earrings, whether it's Art Nouveau or an Art Deco cuff link. Those are the kinds of things that if we make a change, we tell people about it. Sharon: If somebody wants to sell jewelry to you or to another place, let's say they take their family collection and show it to you, or they take it out of the safe deposit box and decide they want the jewelry to be out in the world, what do you say? Have you ever turned people away? Suzanne: Absolutely. What if something was made in the last 25 years and its value is gold? It's something that is mass produced and there's lots and lots of them made and it's not in style anymore. It deserves to be recycled into something more beautiful again. In all pieces, it's back to that design, quality, authenticity and condition. Those are the things that I look for. I wish I could say I could buy every single piece that comes through my door, but realistically we have a large collection. Let's say right now I have 30 hardstone cameos. If someone brought me a hardstone cameo today, I would have to make sure that it exceeded my current collection to add it to my collection, or it has to be something that I feel customers are buying right now. The market goes up and down. Retro is a little soft right now. I like it. It's beautiful. The designs are gorgeous, but I'm not adding to our retro collection because we have a pretty extensive retro collection right now. Those are the kinds of things where sometimes I will say no. But usually individual, one-of-a-kind pieces of jewelry, that's what we're looking for. Sharon: Can you recognize if something is one of a kind when it's presented to you? I know you think about things and what you have, but do you research the piece? Do you look at it under the microscope? Suzanne: Some pieces definitely need to be researched, but most pieces are jewelry where maybe more than one of them has been made. In our diamond ring collection, for example, during the 1920s and 1930s, a lot of those rings were die struck. They were made in a die and many of them were made, but very few survive. In all my years of buying and selling vintage engagement rings and antique engagement rings, maybe I've seen a handful that were the same as one I had already seen. That's because the piece may be struck on a die, but then its hand pierced, its hand finished. There may be a garland or small milgrain, or it may have small diamonds added to it and this one doesn't have diamonds added to it. Each one has a handprint of a person on it, the work master or the person that does the engraving or the setter. Each one has its own imprint, so they still tend to look one of a kind. But knowing the underlying structure of something is still one of the ways we determine when it was made. You know when you see a die struck ring, that's the period of time within which it was made. Sharon: Do people bring lab-grown diamonds in? I know they're not vintage, but do you ever see lab-grown diamonds? Suzanne: I think the secondary market for lab grown diamonds hasn't really hit yet because they've only been super popular in the marketplace for three years. That's about it. And their prices have already plummeted on the retail marketplace. It's not something we would ever buy because they're not old, but it is something that we have to be careful of, and I think people have to be careful of. I have heard of jewelers that are buying low quality synthetic diamonds. They're buying a round brilliant and they're recutting it to European standard because they have inclusions and might have some off color, then they're putting them in an old mounting. People that buy scrap end up with lots and lots of mountings, and sometimes they just resell them on the secondary market through dealers. So, here you have the possibility of someone setting a synthetic diamond recut as an antique diamond into an old mounting, so buyer beware. That's one of my dilemmas, too, that I have to be very careful about. I would never want to buy that. That's when the microscope comes in handy, and that's when we use outside laboratories like the Gemological Institute of America to check the stones before we buy them, just to make sure they are correct. In our laboratory, we don't have all the equipment necessary to confirm that it is 100% synthetic or not. We have separation techniques, but a larger laboratory is able to do a lot more than we can. Sharon: A lot of these lab-grown diamonds have inscriptions and numbers or something that identifies it. Do you look for anything like that? Suzanne: If the GIA has looked at that diamond, they always inscribe them. But a diamond cutter can polish that off in a matter of 10 minutes. If you do see it, great, but it's not something that we've even seen. We don't buy round brilliant-cut diamonds. We've never bought round brilliant-cut diamonds. That's not what we buy and sell. Because we specialize in the older ones, like I said, I'm very careful about what I buy and I'm on the lookout for these supposed recuts. We know they're out there for smaller diamonds because we see them in reproductions, the European cuts and single cuts. Primarily the European cuts are cut with what we call an open culet. Instead of coming to a point on the bottom, they have a facet there, and the facets in the contemporary cuts for small diamonds have a really big open facet. That's a generalization, but it's one of those things. If you see all the other characteristics that make you think it's not an old ring and you see those stones and they're perfectly calibrated, you can kind of say, “Yes, that's a reproduction, and this is why.” Sharon: Do you or people who work at the store go out to trade shows or antique jewelry shows and look for merchandise to resell? Suzanne: That's one of the things I do. Most of the jewelry that we buy and sell comes right in our door. People send me a picture of it and we strike up a conversation, and they mail it to us or send it FedEx or however we decide they're going to ship it for our consideration so we can see it in person. I do not buy anything unless I see it in person. Another really good reason to go to trade shows is to do price research. I go to Tucson Gem and Mineral Show every year because the prices and availability of different gems change. It changes from year to year, and if you're buying a beautiful old sapphire, you want to make sure you're paying the right price for it, especially today as prices have gone up significantly, especially in emeralds, rubies and sapphires. We will have photos posted on the website. Please head to TheJewelryJourney.com to check them out. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.
Unlike the fleeting trends of the modern day, antique jewellery comes from times of defined eras and movements that inspired many artists and makers. We've covered jewellery eras in a past series but we never got to dive into this incredible movement that shaped art, design, architecture and of course jewellery. Although sometimes considered an acquired taste, art nouveau can be appreciated for its unique, beautiful style and the talent it took to create. Matthew and Alyce look back at the evolution of the movement and how it was influenced by worldly events, along with why the style was considered progressive or even risqué. They also share their favourite icons of the era and offer trade tips on how to add some pieces to your own collection. THINGS WE SPOKE ABOUT Art movements compared to fleeting modern trends The worldly influences on the Art Nouveau evolution Defining the style with free flowing lines and nature inspiration Trade tips for adding Art Nouveau pieces to your collection Icons of the era: Fouquet and Lalique MORE INFORMATION French Art Nouveau ring featuring Colombian emerald cabochon https://www.instagram.com/p/CwubyTLo2Jl/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== Art Nouveau coin ring featuring a whimsical woman adorning a diamond necklace https://www.instagram.com/reel/C1uMGd-suae/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA== Social Media IG - @CourtvilleAntiquesFB - @CourtvilleantiquesTik Tok - @matthew.weldon YouTube - @courtvilleantiquePinterest - @courtville Gem Pursuit is produced for Courtville by Dustpod.io. QUOTES When I think about movements from the past, it's a lot like something going viral on Instagram or something going viral on social media today. - Alyce Ketcher When I think of Art Nouveau, you've really got to set the scene in terms of what's going on in the world that actually led to this movement. - Matthew Weldon The free flowing lines, the female body, the insects, the imagination, and the almost fantasy style. You can really appreciate it and Art Nouveau as an art form, - Matthew Weldon You cannot talk about Art Nouveau without talking about my icon, it's impossible. And what's really interesting about my icon is that he kind of never set out to be a jeweller. - Alyce Kethcer KEYWORDS #artnouveau #jewellery #design #jewel #enamel #art
Bonjour mes chers amis et bienvenue dans un nouvel épisode. Comme vous le savez, chaque semaine je vais à la découverte de personnalités toutes plus inspirantes, toutes plus remarquables les unes que les autres. Toute l'idée est de passer une heure avec elles pour apprendre de leurs succès, de leurs échecs, de leurs parcours de vie et nous aider à devenir la meilleure version de nous-mêmes.Cette semaine j'ai l'honneur (et je dois vous dire que j'ai patienté très longtemps) d'avoir avec moi, Jean-Michel Wilmotte.Vous connaissez certainement son nom, c'est tout simplement l'un des architectes les plus connus au monde.Jean-Michel Wilmotte, figurez-vous, venait en réalité du monde du design et de l'architecture d'intérieur, et a fini, avec les années à faire de cet “inconvénient” une vraie force, un avantage qu'il a su tourner à son profit.Pour ceux qui ne connaissent pas assez, voici quelques projets phares de Jean-Michel Wilmotte (vous allez voir ça donne le vertige !) : D'abord le Musée du Louvre avec le département des arts premiers, qui est un endroit absolument magnifiqueLe centre spirituel et culturel orthodoxe à Parisle Grand Palais éphémère à ParisOu encore l'hôtel Lutetia Bref, un nombre incalculable de lieux tous différents et pourtant avec cet invariant commun : la patte Wilmotte.Dans cet épisode, nous avons parlé de la différence entre un bon architecte et un grand architecte mais aussi de la passion de Jean-Michel pour l'art, la lumière, ou encore de sujets plus business : comment savoir saisir sa chance, comment constituer une équipe et non pas uniquement chercher à recruter des personnes individuelles mais les mettre dans un tout pour les faire interagir le mieux possible. Du business à l'art et à l'architecture en passant par des expériences de vie personnelle, j'ai tout bonnement adoré cet épisode.J'espère qu'il vous plaira aussi !N'hésitez pas à envoyer un petit mot Jean-Michel sur LinkedIn, il est présent et c'est lui-même qui répond à ses messages. Je ne vous en dis pas plus et laisse place à cette conversation avec Jean-Michel Wilmotte.Notes et références de l'épisode : Pour retrouver Jean-Michel : -sur LinkedInPour retrouver Wilmotte & Associés Architectes : -sur Instagram-sur LinkedIn-sur leur site internetLivres recommandés par Jean-Michel : - The Age of Art Nouveau de Maurice RheimsLivres de Jean Michel : - Jean-Michel Wilmotte - Architectures à l'oeuvre(lien affilié Fnac)1. Faites vous coacher par moi !DEMIAN, un concentré de 10 ans d'expérience d'entrepreneur. Les formations DEMIAN vous apportent des outils et méthodes concrètes pour développer votre projet professionnel. Il s'agit d'un concentré maximal de valeur et d'expérience pour qu'en quelques heures vous gagniez l'équivalent d'années de travail. Découvrez DEMIAN !2. La NewsLa News du vendredi est une mini newsletter pour vous nourrir en plus du podcast. C'est une newsletter très courte, à lire en 5mn top chrono de ce qui m'a marqué dans les dernières semaines : livres à lire, réflexions, applis à télécharger, citations, films ou documentaires à voir etc. Pour la recevoir, il n'y a qu'à s'abonner à la newsletter sur mon site !3. Des conseils concrets sur ma chaîne YouTubeEnvie de lancer votre propre podcast ? De bénéficier de conseils sur quel matériel utiliser ? Ma nouvelle chaîne YouTube est faite pour vous !4.Contactez-moi ! Si le podcast vous plaît, le meilleur moyen de me le dire, ou de me faire vos feed-backs (et ce qui m'aide le plus à le faire connaître) c'est simplement de laisser un avis 5 étoiles ou un commentaire sur l'application iTunes. Ça m'aide vraiment, alors n'hésitez pas :)Pour me poser des questions ou suivre mes tribulations c'est par ici :Sur Instagram @paulinelaigneauSur LinkedIn @pauline laigneauSur YouTube Pauline LaigneauVous pouvez consulter notre politique de confidentialité sur https://art19.com/privacy ainsi que la notice de confidentialité de la Californie sur https://art19.com/privacy#do-not-sell-my-info.
The cornerstone of the Sagrada Familia was laid on March 19, 1882, kicking off a construction project so ambitious that it is still going to this day. Perhaps unexpectedly, however, on the day it began, the cathedral that is now regarded as Antoni Gaudí's Art Nouveau magnus opus was being overseen by another architect entirely, and had a fairly traditional design. In this episode, Arion, Rebecca and Olly discuss how Gaudí planned to incorporate the entire heavens and earth into a single structure; reveal which are the world's longest ever construction projects; and explain why Gaudí should have followed that classic parental advice to always wear clean underwear in case you are in an accident… Further Reading: ‘Barcelona's Sagrada Família: Gaudí's 'cathedral for the poor'' (The Guardian, 2015): https://www.theguardian.com/cities/2015/jun/03/barcelona-sagrada-familia-gaudi-history-cities-cathedral-poor-church-religion ‘133 Years Later, Gaudí's Cathedral Nears Completion' (National Geographic, 2015): https://www.nationalgeographic.com/history/article/151105-gaudi-sagrada-familia-barcelona-final-stage-construction ‘The World's Oldest Construction Project | Sagrada Familia' (Real Engineering, 2020): https://www.youtube.com/watch?v=kkNGdzo_3EA #1800s #Architecture #Religion #Spain This episode first premiered in 2022, for members of
We continue our wander through the 4CD Intrigue compilation. This installment features 15 UK bands, several which we'd never heard of before (Art Nouveau, New Musik, Section 25). We hope this episode helps prove curator Steven Wilson's note that Intrigue operates on the “idea that conceptual thinking and ambition didn't suddenly evaporate after '77…ambitious, weird and thrilling music was all around you in the ‘80s – if you looked in the right places.” Amen. Note I: Please consider donating if you listen to Radical Research often: https://www.paypal.me/rrpodcast We also have a webstore where you can find shirts, CDs, and books, many of them recently restocked: http://radicalresearch.org/shop/ Music cited in order of appearance: Intro: Brian Eno, “Third Uncle” (Taking Tiger Mountain (By Strategy), 1974) [all snippets below are taken directly from the Intrigue compilation; the following indicates where the songs originally appeared] The Sound, “I Can't Escape Myself” (Jeopardy, 1980) Joy Division, “The Eternal” (Closer, 1980) Swell Maps, “Big Empty Field” (…In “Jane from Occupied Europe”, 1980) Art Nouveau, “Enemies” (unreleased, 1980) Gary Numan, “The Joy Circuit” (Telekon, 1980) 23 Skidoo, “The Gospel Comes to New Guinea” (single, 1980) Echo and the Bunnymen, “All My Colours” (Heaven Up Here, 1981) The Specials, “Ghost Town” (single, 1981) New Musik, “They All Run After the Carving Knife” (Anywhere, 1981) New Order, “The Him” (Movement, 1981) The Associates, “White Car in Germany” (single, 1981) Section 25, “Hit” (Always Now, 1981) Orchestral Manoeuvres in the Dark, “Sealand” (Architecture & Morality, 1981) Japan, “Talking Drum” (Tin Drum, 1981) The Cure, “Faith” (Faith, 1981) Radical Research is a conversation about the inner- and outer-reaches of rock and metal music. This podcast is conceived and conducted by Jeff Wagner and Hunter Ginn. Though we consume music in a variety of ways, we give particular privilege to the immersive, full-album listening experience. Likewise, we believe that tangible music formats help provide the richest, most rewarding immersions and that music, artwork, and song titles cooperate to produce a singular effect on the listener. Great music is worth more than we ever pay for it.
Good Sunday morning to you,I am putting back my promised piece on gold miners until mid-week, so keep a look out for that. Meanwhile, Life After the State - Why We Don't Need Government (2013), my first book, and many readers' favourite, which fell out of print last year, is now, thanks to the invaluable help of my new buddy Chris P, back in print (Amazon, Apple Books), with the audiobook here (Audible, Apple Books). I'm very proud of the some of the reviews it had - “A brilliant book,” Steve Baker; “A must read,” Merryn Somerset Webb; “Something extraordinary,” James Harding; “Incredibly readable", Al Murray and so on.But, as is often the way, my favourite review came from a “random on the internet”, an Amazon reviewer: “The most important book I have read in a long time. I've just bought five extra copies, and plan to force it on all I meet, in the manner of a Jehovah's Witness.” :)Today, for your Sunday morning thought piece, I thought I'd publish a short extract. I hope you enjoy it.(First edition paper backs are now trading hands, by the way, for over £200. No hardbacks for sale - so all those who helped fund it back in the day, if you've still got your copy it's worth something).In the 1990s, when I was in my twenties, I was mad about Latin America. I loved the people, the tropical weather, the forests, the mountains, the beaches, the language, the ancient history – and I was nuts about the music. All I wanted to do was go there and have adventures. Every year I would catch a cheap Boxing Day flight and come back at the beginning of February. I went to all sorts of wonderful places: Colombia, Bolivia, Brazil, Chile, Guatemala, Peru, Honduras and, in 1996, Cuba.This wasn't at the height of Cuban repression. Fidel Castro was still president and the very worst of the poverty that followed the collapse of the Soviet Union was now behind it. But the country was still desperately poor.Havana was an amazing place, full of contrasts. The only cars were either huge American classics – symbols of booming 1950s USA that looked like something off the set of Back to the Future – or dour and bleak Ladas that had been imported from the Soviet Union in the 1970s and 80s, symbolic of the Cold War and communism. There were magnificent Art Deco or Art Nouveau buildings, yet there'd be a hole in the roof, or part of it had fallen down. There were pro-Castro symbols and slogans everywhere you looked, but the walls on which they were painted would be crumbling. The entire city looked like it needed re-rendering.After one obligatory, over-priced night in a government hotel, I found a room in a Havana apartment belonging to a well-educated Cuban family. Luis was a political economist and a professor, no less; Celia was a doctor. They had three young children: two girls and a boy.I had gone to Cuba with preconceived notions about what an amazing place it was. Any problems it had were entirely due to sanctions and other American punishments, I thought. It had the best health service in the world, the best education in the world and was a shining example to the greedy West on how things could be run. I don't know where I got those ideas from – conversations at university, probably – but Luis quickly put me right.‘What is the point of a great hospital, if there is no medicine?' he would whisper to me. ‘What is the point of great schools when you have no paper?' I didn't have an answer.I say whisper. Criticism, even indoors, was always whispered. Many Cubans would loudly declare how wonderful the regime was, surreptitiously look about to check no potential informant was in earshot, then come up close and whisper, ‘I hate Castro' – or something along those lines. So oppressive was the regime that paranoia, secrets, denial and deception permeated every area of life. People didn't dare to be honest. They were too scared of what the repercussions might be.Some Cuban friends of mine in London had told me before I left, ‘You need dollars. You can't buy anything with pesos.' I was a pretty intrepid explorer in those days and dismissed this advice. I thought I'd be able to get off the beaten track into the real Cuba, where I could use pesos like real Cubans. But my friends were right. You couldn't. There was, simply, nothing available to buy with pesos. There were no shops or businesses that accepted pesos, except the odd street stall that sold ice cream or bits of cooked dough, loosely described as pizza. Cubans got their bread and other essentials with ration books and a lot of queuing.Western goods did exist. Clothing, electrical and hardware goods, and food and drink – Havana Club rum, beer, cheese and cured meats, for example – were sold in grey, colourless supermarkets. The supermarkets were not at all cheap and, despite the fact that they were state-run, would only accept US dollars – one of the many hypocrisies I would encounter.So the only way anyone could buy anything was with US dollars at a state-run store. However, most people were employed by the government in some way or other, and paid in Cuban pesos. So how did they get dollars?The answer was: from tourists.Luis and Celia got their dollars renting out a room to people like me. Most Cubans didn't have the option of an apartment with three bedrooms. (Luis's parents had somehow managed to avoid it being expropriated.) Some were lucky enough to have the use of a car and could be taxi drivers. But this was another option that was only available to a tiny few – there was no manufacture of cars and no import trade. You, or more likely your parents, would have somehow had to have acquired a car way back when, and kept hold of it. There were a few restaurants and bars scattered about, and a tiny, well-connected elite could become waiters. Where did that leave everyone else?As an economist and a doctor, you'd expect Luis and Celia to be a fairly wealthy couple. And by Cuban standards they earned good salaries – about 500 pesos a month each. The official exchange rate was one peso to the dollar, thus they earned the equivalent of $500. The unofficial rate, however – the real market rate – was 20:1, so Luis and Celia's 500 pesos amounted to about $25. A pair of jeans in the supermarket cost twice that. But, remember, you couldn't actually buy anything with pesos.One night's rent from me was more money than Luis, with a PhD, would earn in an entire month. A taxi driver might land that figure in two or three fares. On a good night, a waiter might earn that in tips. But the big money was in selling sex. If she found a generous boyfriend, a prostitute – a ‘jinetera', as they were called – could earn many times that in one night.More than any of the other European nations, it was Italy that seemed to have caught the Cuba bug. My flight out was full of Italians. All over Havana there were Italians. They loved Cuba. I naively thought it might have to do with the historical links between Italy and communism, but wandering around Havana I soon saw another reason. The Italian men loved the black Cuban women – and vice versa, it seemed. Everywhere you looked you'd see stylish Italian men arm in arm with young Cuban black girls, their paid girlfriends for the two weeks they spent there.Cuban men were selling their bodies too. A rather plump Greek- English woman I knew in her late forties married a beautiful (yes, beautiful) man – a ‘jinetero' – at least 25 years her junior. I had to deliver some money to him for her. I was amazed when I met him. He looked like a young Sidney Poitier. She looked like a chubby, middle- aged Bette Midler. A most unlikely couple.In some cases, I've no doubt, couples fell in love. Marriages and families may have resulted. Cuba is a famously sexual country. I expect that many of the jineteras derived some occasional pleasure from their work. But, in most cases, the reality was rather more dark and sinister. Their economic circumstances meant that these people felt they had no other option but prostitution, if they wanted to improve their lot.It's hard to believe just how widespread ‘jineterismo' was, and probably still is. There has been no formal study, but anecdotally it appears that more than 50% of Cuban women below 50 have practised prostitution at some stage – if not with a tourist, then with another Cuban.‘Everyone is jinetera,' said Luis. ‘Look around. Everyone. Jinetero, jinetera. Look what Fidel has done to our country. Look what he has done to our people'.We were sitting on the Malecón – the wall which runs along the Havana sea front – watching good-looking jineteros and jineteras attempting to snare a tourist. Of all the Latin American countries I visited, I found I had the most intense conversations in Cuba. This was one of them. I transcribed it into my diary later that night. ‘I don't want my children to be a doctor like their mother, or a political economist like me. What is the point? MD, PhD, a month's work and I cannot buy a pair of shoes.' Luis continued: ‘Useless life. A much better life for my son is if he is a taxi driver or a waiter. Then he can get dollars. Maybe he can get a tourist to fall in love with him. And my daughters? I tell you a secret. I pray my daughters will be beautiful. Every father does. So they can have tourist boyfriends, have money, maybe marry a tourist, and get out of here. That is why every Cuban father wants his daughter to be a jinetera. Jinetera – that is the best life you can have here, that is how you survive, that is how you escape. Thank you, Fidel!'I don't know what the motivation behind Castro's great revolution was or why he and his cohorts made the economic and political choices they did – lust for power, political idealism, or, maybe, just to get rid of Batista. It seems his decision to ally himself with the Soviet Union was, at least initially, more of a reaction to US aggression and sanctions than any deep Marxist sentiment. I very much doubt their intention was the eventual consequence: a society so imbalanced and distorted that taxi drivers and uneducated young people could earn, in one night, many times more than a professor, a doctor, a lawyer or an engineer might earn in a month; where the large majority of young girls in Havana were selling their bodies for dollars, and where every Cuban father wanted his daughter to be a jinetera.Cuba was probably my first lesson in the Law of Unintended Consequences. And my story illustrates many of the themes of this book: the power of the state; how the state interferes in people's lives; how political decisions, often made out of expediency, even if benevolent, can have such grave and unexpected repercussions; why the freedom to trade and exchange is so important; and how, if you limit that freedom, you limit people's possibilities.The useless peso, moreover, was my first experience of how essential a properly functioning system of money is to a society, and what can happen when politicians start to use money as a political tool.Life After the State is available at Amazon, Apple Books and all good bookshops, with the audiobook at Audible, Apple Books and all good audiobookshops.Until next time,DominicPS If you missed my report into buying gold, it is here:(Any issues downloading the PDF, please reply to this email or try this link). This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe
Nous sommes le 7 juin 1926, à Barcelone. Antoni Gaudí, principal représentant du modernisme catalan, l'Art nouveau en Espagne, se rend, comme chaque jour, à l'église San Felipe Neri, pour prier. Mais ce 7 juin, en réalité, n'est pas un jour comme les autres, en chemin il est renversé par un tramway qui le laisse sans connaissance. L'architecte est gravement touché à la tête et à l'abdomen. Il est sorti sans papiers, ses vêtements sont usés, il a l'air négligé : on le prend pour un mendiant, les secours tardent. Des taxis passent, quelques badauds leur font bien signe de s'arrêter, mais les chauffeurs refusent d'embarquer le blessé. Il faut qu'un garde civil s'en mêle et oblige l'un des taximen à conduire Gaudi à l'hôpital. Trois jours plus tard, s'éteint le créateur de « La Sagrada Familia », ce poème mystique, aujourd'hui l'un des plus fameux monuments au monde. Ses funérailles sont célébrées en présence d'une foule immense. Sa dépouille est déposée dans la chapelle Notre-Dame-du-Carmel de la crypte de la basilique commencée quarante-quatre ans plus tôt mais toujours pas terminée. L'inscription sur sa pierre tombale rend hommage, si l'on traduit en français, à « un homme à la vie exemplaire, auteur de l'œuvre admirable qu'est ce temple, mort pieusement à Barcelone le 10 juin 1926, ici les cendres d'un si grand homme attendent la résurrection des morts. Qu'il repose en paix ». Bien des années plus tôt, le directeur de l'École d'architecture de Barcelone aurait déclaré, à la fin du cursus du jeune catalan : « Nous avons accordé le diplôme à un fou ou à un génie. Le temps nous le dira ». Interrogeons le temps … Invitée : Anne Hustache, historienne de l'art. Sujets traités : Antoni Gaudí, Barcolone, Art nouveau, Sagrada Familia , monument, fou, génie Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.
Journey through time and space, exploring the historic battleground of Waterloo and the stunning Art Nouveau architecture of Brussels, Belgium. Delve into the intricacies of the Napoleonic Wars with a military historian, standing atop the iconic Lion's Mound, where the fate of nations was decided. Discover the significance of preserving such sites and immersing oneself in the rich history they hold. Then, join Darley Newman and a local guide to pedal through the streets of Brussels on a captivating cycling tour to marvel at the architectural wonders of Art Nouveau. Learn how Brussels has become a haven for preserving and restoring these architectural gems, offering visitors a glimpse into a bygone era.
On this episode I have the pleasure of speaking with Hiroki Morinoue, an artist who resides and creates on the Big Island in Hawai'i. Together, we delve into his personal journey with mokuhanga, reflecting on his experiences at MI Lab, exploring his unique color palette, and gaining insights into his meticulous process in crafting mokuhanga prints. Additionally, we uncover Hiroki's life in Hawai'i, his ventures, and his relationships with prominent galleries such as Studio 7 Fine Arts, print studio's like Shark's Ink, and the arts center at Anderson Ranch. Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Hiroki Morinoue - Pure Water (2001) 18.5"x38.5" High Tide (2012) 22"x30" Earth Cycle (2007) 37.5"x37" MI Lab - is a mokuhanga artists residency located in Kawaguchi-ko, near Mount Fuji. More info can be found, here. Keiko Hara - is an artist and Professor of Art Emerita at Whitman College in Walla Walla, Washington. She is a painter, and printmaker in various relief mediums, such as mokuhanga. Verse R - black and white (2017) 13"x11" Jaqueline Gribbin - is a printmaker who focuses on mokuhanga and intaglio printing techniques. She lives and works in Humpty Doo, New Territory, Australia. Kisaragi (2012) 18.9" x 25" pochoir - is a stencilling technique used in printmaking and decorative arts. The term "pochoir" is French for "stencil." In this method, a design is created by cutting or punching holes in a sheet of paper or other material, and then paint or ink is applied through the openings onto a surface below. Pochoir allows for precise and intricate patterns, making it particularly popular in the creation of fine art prints, illustrations, and decorative designs. It has been historically employed in various art movements, including Art Nouveau and Art Deco. More info, here. Helen Frankenthaler (1928–2011) was a prominent American abstract expressionist painter known for her role in the Color Field painting movement. Her innovative technique involved staining unprimed canvas with thinned oil paint, creating a distinctive luminous effect. "Mountains and Sea" (1952) is a notable example of her influential work. Frankenthaler's contributions have left a lasting impact on postwar American art. Frankenthaler began to make woodcut prints in 1973 and was influenced by Utagawa Hiroshige (1797–1858). More info about her prints can be found at the Frankenthaler Foundation, here. Tale of Genji V (1998) 42"x47" Donkey Mill Art Center - is a community art center located in Holualoa, Hawaii. It serves as a hub for various artistic activities, workshops, and events, fostering creative expression and engagement with the arts. The center often offers classes and programs in a variety of artistic disciplines, including painting, ceramics, printmaking, and more. More info, here. Mauna Kea - is the highest peak in the Hawaiian Islands, located on the Big Island. A dormant volcano, it stands at 13,796 feet (4,205 meters) above sea level. The mountain holds cultural significance for Native Hawaiians and is home to unique ecosystems. Mauna Loa - is an active shield volcano on the Big Island of Hawaii, standing at 13,678 feet (4,169 meters) above sea level. It is the Earth's most massive subaerial volcano, known for frequent non-explosive eruptions and its broad, gently sloping shape. The volcano holds scientific and cultural significance and is closely monitored due to its potential impact on nearby communities. Deepwater Horizon Oil Spill - occurred in 2010 in the Gulf of Mexico. It was one of the largest environmental disasters in history. The spill resulted from the explosion of the Deepwater Horizon offshore drilling rig, releasing millions of barrels of oil into the Gulf. The incident had severe ecological and economic consequences, impacting marine life, coastal ecosystems, and local economies along the Gulf Coast. Thai mulberry paper - also known as "saa paper" or "kozo paper," is a traditional handmade paper originating from Thailand. It is crafted from the bark of the mulberry tree, specifically the Broussonetia papyrifera tree. Shark's Ink - established in 1976 as Shark's Lithography Ltd, the studio has partnered with over 160 distinguished artists from the United States and Europe. These artists, known for their strong personal visions, engage in ongoing collaborations, often returning for multiple projects. The resulting prints, marked by inventive techniques, encompass a wide range of artistic approaches. The studio employs various processes, including lithography, monotype, metal leaf, chine collé, embossing, collage, and innovative methods for woodblocks and relief prints, including three-dimensional lithographs. More info, here. nori - is a type of paste made from starch. It is used when making mokuhanga. You can make nori from any type of material made from starch. For instance, paste can be made with tapioca, rice, corn, even potato. You can purchase nori pretty much anywhere but making it is more environmentally friendly. Laura Boswell has a great recipe, here. embossing - refers to a technique where the paper is pressed into the carved woodblocks, creating a raised or textured effect on the printed surface. This technique adds a three-dimensional quality to the print by making certain areas of the paper slightly elevated. Gotō Hidehiko (b.1953) - is a mokuhanga printmaker and tool maker based in Japan. He makes and teaches seminars about the construction of the mokuhanga tool, the baren. Window (2011) 15"x12" gomazuri - is a mokuhanga technique where slight pressure is used with pigments too make a “spotty” image, what look like sesame seeds. It can add depth to your prints. Saitō Kiyoshi (1907-1997) - was a Japanese woodblock printmaker and artist who worked in the sōsaku hanga style of mokuhanga. HIs fame outside of Japan was fairly comprehensive with his peak fame being in the 1950's and 1960's. For a comprehensive book on his life and times, Saitō Kiyoshi: Graphic Awakening published by The John & Mable Ringling Museum is an excellent source. Can be found, here. Lecture by Dr. Paget about Saitō can be found, here. My interview with Professor Paget can be found, here. Winter in Aizu (1969) 18"x23.5" Richard Notkin - is an American ceramic artist known for his pottery and distinctive style that often incorporates political and social commentary. Notkin has gained recognition for his work in the field of ceramics, particularly his teapots. Meltdown of Reason: Helena MT. (1987) stoneware and porcelain. 10.5"x5.5"x4.5" Mayumi Oda - is a Buddhist teacher and artist based in Hawai'i. Her artwork has gained international recognition, having traveled worldwide. In addition to her artistic pursuits, Mayumi is an environmental activist and resides and works at Ginger Hill Farm, an eco-retreat on the Big Island of Hawai'i. Explore more about Mayumi Oda's work, here. Hands of Compassion (1986) screen print 37"x25" Andrew Wyeth (1917-2009) - was a renowned American realist painter, known for his detailed and emotive depictions of the rural American landscape. Born in Pennsylvania, he spent much of his life capturing the subtleties of nature, particularly in the Brandywine Valley and coastal Maine. Christina's World (1948) 32 1/4 x 47 3/4" © Popular Wheat Productions opening and closing musical credit - The September Of My Years (1965) from the album The September Of My Years released on Reprise Records. logo designed and produced by Douglas Batchelor and André Zadorozny Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***
Carol is back for season six! To kick things off, she has a wide-ranging conversation about René Lalique and the art nouveau movement. This coincides with a new exhibition of Lalique's drawings at the A La Vielle Russie gallery in New York. Carol is joined by the gallery's managing director Adam Patrick, and one of the world's foremost Lalique experts, Mark Waller.You can find information about the exhibition here... https://www.alvr.com/9762/rene-lalique-drawings-exhibition/This episode is brought to you by @fuligemstones https://fuligemstones.com Follow Carol Woolton: @carolwooltonProduced by Natasha Cowan @tashonfashMusic & editing by Tim Thornton @timwthorntonCreative direction by Scott Bentley @bentleycreativeIllustrations Jordi Labanda @jordilabandaRead Carol Woolton in Vogue magazine – vogue.co.uk/fashion/jewellery and carolwoolton.com Hosted on Acast. See acast.com/privacy for more information.
It's the Peacock Room Full episode on our PATREON: https://www.patreon.com/posts/art-but-its-new-96686653
durée : 00:52:33 - Le Cours de l'histoire - par : Xavier Mauduit - Des tableaux floraux impressionnistes aux courbes architecturales de l'Art nouveau, le monde végétal inspire l'art de la Belle Époque. Comment une fascination renouvelée pour la "nature" modèle-t-elle les villes et les intérieurs au tournant du XIXe et XXe siècle ? - invités : Marine Kisiel Conservatrice au musée d'Orsay; Valérie Hannin Directrice de la rédaction du magazine L'Histoire
Fluent Fiction - Hungarian: The Laughing Baths: A Tale of Warmth and Redemption Find the full episode transcript, vocabulary words, and more:fluentfiction.org/the-laughing-baths-a-tale-of-warmth-and-redemption Story Transcript:Hu: Budapesten sopánkodik a hideg.En: In Budapest, the cold is grumbling.Hu: Szaggatott, szürke felhők fojtják meg az eget, a Lánchíd alatt pedig lelketlenül merednek a Duna jégtáblái.En: Jagged, gray clouds suffocate the sky, and under the Chain Bridge, the lifeless ice floes of the Danube stare blankly.Hu: Mintha az élet leállt volna kívül, csak a Széchenyi Fürdő szökőkútja ellenáll hősiesen a tél diadalmenetének.En: It's as if life has stopped outside, only the fountain of the Széchenyi Baths bravely resisting the winter's march.Hu: Belül, azonban, a szecessziós gyönyörűségű épületben, más a kép.En: However, inside the Art Nouveau building, the picture is different.Hu: Az épület ropogós, felmelegített belsejében élénk lárma fogadja csak a leghűségesebb látogatóit.En: Within the building's crispy, heated interior, only the most loyal visitors are greeted with lively noise.Hu: Így esett meg, hogy a kopó körömcipőjében halkan tapsoló Ádám is felkereste a fürdőt, alig várva a meleget edzett izmain.En: This is how it happened that Adam, quietly applauding in his houndstooth shoes, also visited the baths, eagerly anticipating the warmth for his trained muscles.Hu: Bár Ádám Pest belvárosának sűrű lüktetésében él, mégis ottjártakor mindig kisvárosban érzi magát.En: Although Adam lives in the bustling heartbeat of downtown Pest, he always feels like he's in a small town when he visits the baths.Hu: Szomjazva a csendre, a béke kínálta ajándékokra, nem sokkal később már hanyatt feküdt a forró, enyhén szúrós termálvízben.En: Thirsting for silence, for the gifts offered by peace, not long after he found himself lying flat on his back in the hot, mildly prickly thermal water.Hu: Ruhástól.En: Fully clothed.Hu: Hirtelen némi szégyent érezve vette tudomásul, hogy az utcai ruhájában merült alá.En: Suddenly feeling a bit embarrassed, he realized that he had submerged himself in his street clothes.Hu: Zsófia, az állandó szubjektív valóságvevő, a folyosó végén fogadta a látványt.En: At the end of the corridor, Zsofia, the constant subjective reality receiver, witnessed the scene.Hu: Az egykor vívóbajnok, ám mára már csak melodramatikus dráma túlélő színésznő kacagása elutasítóan, ám titokzatosan csillant a kancsóban lévő citromos víz tükrén.En: The former fencing champion, now just a survivor of melodramatic dramas, her laughter reflected in the jug of lemon water with a rejecting yet mysterious sparkle.Hu: Ádám, a szeretői integetésre meglepő védekezéssel, széles gesztusával jelezte, hogy tudatában van a helyzetnek.En: Adam, defensively surprised by the gesture of affection, made a wide gesture, signaling that he was aware of the situation.Hu: A fürdő személyzete, felszabadultan mosolyogva, indította a felmelegített szekrényekben található fürdőköntösök felé Ádámnak.En: The bath staff, smiling liberally, directed Adam towards the heated lockers where bathrobes were kept.Hu: Az esetből mindenki tanult valamit.En: Everyone learned something from the incident.Hu: Ádám óvatosabban érkezik meg a fürdőház falai közé.En: Adam now arrives more cautiously within the walls of the bathhouse.Hu: Zsófia pedig boldog, hogy vidámságot tudott hozni emberek arcára.En: Zsofia, on the other hand, is happy that she was able to bring happiness to people's faces.Hu: És Budapest, ez a gyönyörű dózsa, folyamatosan melegítés alatt tartva, csak röhögött a történeten, mialatt hűvösen olvasta magának a saját történetét.En: And Budapest, this beautiful douceur, kept laughing at the story, as it remained warm while coolly reading its own tale.Hu: Másnap csillogó napsütésre ébredt, mintha a hideg sosem érintette volna meg.En: The next day, it awoke to a brilliant sunshine as if the cold had never touched it.Hu: A hiba édes, így a történet vége, és így lesznek a hősök hősökké.En: Mistakes are sweet, hence the end of the story, and thus the heroes become heroes.Hu: A Termálfürdő azóta hírnevet szerzett a mosolygó utcazenészről, akit Ádámnak hívnak, és aki általában a belépés felét adja a vadidegeneknek, akik kilépnek az átmelegített kabinból - ruhástól vagy anélkül.En: The Thermal Baths have since gained reputation because of the smiling street musician named Adam, who usually gives half-price admission to strangers who step out of the heated cabins, whether clothed or not.Hu: Ajándékkal hagyják el a fürdőt, a nevetéssel pedig együtt elűzik a hideget.En: They leave the baths with a gift and, along with laughter, chase away the cold. Vocabulary Words:Budapest: Budapestencold: hidegclouds: felhőksky: égChain Bridge: LánchídDanube: Dunaice floes: jégtábláilife: életfountain: szökőkútSzéchenyi Baths: Széchenyi FürdőArt Nouveau building: szecessziós gyönyörűségű épületinterior: belsejébenloyal: leghűségesebbvisitors: látogatóitlively noise: élénk lármaAdam: Ádámhoundstooth shoes: kopó körömcipőjébenbaths: fürdőtwarmth: melegettrained muscles: edzett izmaindowntown Pest: Pest belvárosánakthirsting for silence: szomjazva a csendregifts: ajándékokrahot: forróthermal water: termálvízfully clothed: Ruhástólembarrassed: szégyentsubmerged: merültcorridor: folyosóZsofia: Zsófia
Episode Summary:In today's episode, we had the pleasure of interviewing the talented Brandi York from Brandi York Fine Art & Random Geekery. Brandi shared her fascinating journey into the art world, beginning with how she honed her artistic skills while working at Trader Joe's. We delved into her passion for Art Nouveau, a style that has significantly influenced many of her stunning pieces. Beyond her art, Brandi also opened up about her love for video games and other aspects of geek culture, offering listeners a well-rounded glimpse into her creative and personal interests. This episode is a must-listen for art enthusiasts and gamers alike, as Brandi's story is as inspiring as it is entertaining.Links to Things Mentioned in this Episode:Website: https://brandiyorkart.com/IG: @BrandiyorkartFB: https://www.facebook.com/brandiyorkart/Etsy: https://www.etsy.com/shop/BrandiYorkArtPatreon: https://www.patreon.com/brandiyorkart Twitter: https://twitter.com/BrandiYorkArtCheck out the Camano Voice Link Tree (https://linktr.ee/camanovoice)
Episode: 1060 Remembering the smell of gasoline. Today, we remember gasoline.
Hear about travel to Finland as the Amateur Traveler talks to travel writer Jayne Dear about a one-week itinerary to visit the best of Finland by train. https://amateurtraveler.com/touring-finland-by-train/ Why should you visit Finland? Jayne says, "Many reasons. One of the most notable is that it's the happiest country in the world. For the last six years, it's been declared the happiest country in the world on the World Happiness Report. It's a beautiful country. You probably will have seen more trees than you will have seen in your life." Jayne starts us in the capital of Helsinki. She recommends visiting: Helsinki Central Station: A stunning Art Nouveau train station with a 48-meter-high clock tower. National Museum of Finland: This museum offers insights into Finland's history, including Viking relics, artifacts, and a Russian czar's throne. Market Square: Located by the harbor in Helsinki, it's a vibrant place to witness the local food scene, buy fresh produce, and try unique dishes like moose burgers and reindeer soup. Helsinki Cathedrals: There are two cathedrals to explore in Helsinki—the plain yet dramatic Lutheran Cathedral and the opulent Uspenski Orthodox Cathedral, offering a contrasting religious experience. Suomenlinna Fortress: A UNESCO World Heritage Site, this historic fortress on an island near Helsinki was built to deny the Russians access to the Baltic Sea. It's a fascinating place to explore, with military museums, a submarine, and a lighthouse church. While you are in Helsinki Jayne recommends a side trip to Porvoo which is located an hour from Helsinki by bus, Porvoo is known for its traditional wooden buildings. It has an open-air museum, showcasing historic buildings, churches, schools, and farms, providing a glimpse into Finland's rural past. Take the train then to Tampere which Jayne calls the "Manchester of Finland" due to its industrial history. Visitors can explore old warehouses, textile factories turned into museums and unique architecture like the Art Nouveau Fire Station. The city is situated between two lakes, offering picturesque views. For the best views, hike the nearby esker, a gravel hill left by the last Ice Age. While in Tampere, Jayne and her husband also did a homestay where they were able to learn more about life in Finland. Located in Parola, south of Tampere, is the Parola Tank Museum which showcases a variety of tanks and military vehicles, offering insights into military history. Our next stop is Turku which was Finland's old capital. Turku boasts a medieval cathedral and a historic castle. The city's riverside features historic boats, making it an attractive destination for exploring maritime history. If you have extra time, head north to Rovaniemi which is located on the Arctic Circle, Rovaniemi is famous for being the "home" of Santa Claus. Visitors can partake in activities like dog sledding and witness the Northern Lights during the winter months. Whether you want to explore the coffee culture, the Finnish love of board games, the extensive forests, or the Wife Carrying World Championships, Finland is worth a visit.
G is for Guimard - Hector Guimard that is. He is the architect behind the iconic Paris Metro entrances, several Art Nouveau buildings in Paris, and some very beautiful furniture and decorations in museum displays around the world. But what is Art Nouveau? Who was Guimard, really, and why was his work so important? Where can you find it in Paris? And what's his legacy? All those questions are answered in this episode, with help from tour guide Boris Petrovic from Paris in Person (find his Art Nouveau tour here), from Paris head auctioneer Chrisophe Lucien, and from Julie Treumann of the Driehaus Museum in Chicago. Do you like this podcast? Become a Patreon member of The Earful Tower here to support this show and get extras. The music in this episode is from Pres Maxson. Lastly, book a walking tour of Paris, or indeed the Louvre, via our official website The Earful Tower.
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