Podcasts about blue rider

本集邀請 Bluerider ART藍騎士藝術空間負責人王薇薇（Elsa Wang），分享她如何從科技業轉向藝術世界，並成功打造國際級畫廊版圖。Elsa曾在科技業打拼20年，累積了豐富的經營與管理經驗，並從攝影愛好者起步，最終自認在藝術創作上無法達到巔峰，轉而結合經營管理專長與對藝術的美感直覺，開啟畫廊經營之路。 Blue Rider畫廊自成立以來，專注於代理風格成熟、超過50歲的西方當代藝術家，藉由深厚的審美眼光與經營模式，成功推動國際藝術市場在台灣的交流。在分享中，Elsa談到畫廊發展的三大階段：首先是尋找優秀的國際藝術家、建立藝術家群與經營基礎；接著，將展覽推向更多國際市場，並於上海外灘開設分館；最後，她選擇進軍倫敦Mayfair——全球畫廊與拍賣行聚集的藝術聖地。她以勇敢與堅持，突破中東資金壟斷的困難，成功找到古蹟級畫廊空間，並以細膩的裝修還原300年歷史空間的本真風貌。 Elsa強調，跨國布局對畫廊而言，不只是經營，更是讓藝術家有更好的展現平台與觀眾互動機會。此外，Elsa還分享了在英國經營的挑戰與新收穫——透過她的畫廊，為英國藝術圈帶來「小而美、深度獨特」的亞洲觀點，獲得當地觀眾肯定。她亦透露，位於美國洛杉磯 Manhattan Beach的新空間年底即將開幕，這一全球布局的策略，展現了她對藝術推廣與國際對話的高度熱情與使命感。最後，節目也提到 Bluerider ART在台北的全新空間，整合原有空間，並將以台灣知名藝術團體「悍圖社」的展覽作為開幕首展，呼應台灣當代藝術的重要時刻。 Elsa表示，這是她對藝術經營的下一步，也代表著她持續以國際視野與台灣在地力量，推動藝術市場的多元與深度。

As far as 20th Century German art is concerned, the German capital of Berlin tends to overshadow all others, especially In regards to the Weimar Republic of the late 1910s through the early 1930s. But at the beginning of the 20th Century, Munich was the undisputed art capital of Germany when many avant-garde artists converged there and formed a group known as Der Blaue Reiter ("the Blue Rider"). Tune in this week for a comprehensive look at this highly influential artistic movement. Jawohl!

‘Expressionists - Kandinsky, Münter And The Blue Rider' is a major exhibition at Tate Modern that tells the story of the international circle of friends who came together in the early 20th century to transform modern art. From celebrated artists like Wassily Kandinsky, Gabriele Münter, Franz Marc and Paul Klee, to previously overlooked figures like Wladimir Burliuk and Maria Franck-Marc. On Tuesday 23 April 2024 at the Press View of ‘Expressionists - Kandinsky, Münter And The Blue Rider' at Tate Modern, RNIB Connect Radio's Toby Davey caught up with Genevieve Barton, Assistant Curator of the exhibition, to find out more about the background to the Blue Rider and how this exhibition reveals the multicultural and transnational nature of such a key moment in early modernist art. About the exhibition ‘Expressionists - Kandinsky, Münter And The Blue Rider' - This major exhibition will tell the story of the international circle of friends who came together in the early 20th century to transform modern art. From celebrated artists like Wassily Kandinsky, Gabriele Münter, Franz Marc and Paul Klee, to previously overlooked figures like Wladimir Burliuk and Maria Franck-Marc. The exhibition will reveal the multicultural and transnational nature of this key moment in early modernist art. Drawing on the world's richest collection of expressionist masterpieces at the Lenbachhaus in Munich alongside rare loans from public and private collections, including some never seen before in the UK, it will celebrate their radical experimentation with form, colour, sound and performance. Experience a collection of masterpieces from paintings, sculpture, and photography to performance and sound.  The exhibition ‘Expressionists - Kandinsky, Münter And The Blue Rider' continues at Tate Modern until 20 October 2024.  Description tours are available for blind and partially sighted people but need to be booked in advance via hello@tate.org.uk or on 020 7887 8888. More details about ‘Expressionists - Kandinsky, Münter And The Blue Rider' at Tate Modern can be found by visiting the following pages of the Tate website- https://www.tate.org.uk/whats-on/tate-modern/expressionists (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

The Pet Shop Boys are the most successful duo in UK music history. Forty years after their first hit West End Girls they are about to release their new album Nonetheless. Chris Lowe and Neil Tennant join Samira Ahmed to talk about making sense of life through culture, their music being used in hit films like Saltburn and All of Us Strangers and their gay icon status. Also joining Samira in the studio are art critic Catherine McCormack and writer Jenny McCartney to review the new tennis film Challengers - which stars Zendaya and Josh O'Connor and Tate Modern's new exhibition Expressionists: Kandinsky, Münter and The Blue Rider.Presenter: Samira Ahmed Producer: Paula McGrath

Richard Serra, one of the greatest artists of the past 50 years, a linchpin of the post-minimalist scene in late 1960s and early 1970s New York and later the creator of vast steel ellipses and spirals, died on Tuesday 26 March. We mark the passing of this titan of sculpture with Donna De Salvo, the senior adjunct curator of special projects at the Dia Foundation, whose Dia Beacon space has several major works by Serra on permanent view. There are a host of exhibitions focusing on expressionist art in the US and Europe in 2024 and in this episode we focus on two of them. The first ever Käthe Kollwitz retrospective in New York is taking place at the Museum of Modern Art or MoMA, while other shows dedicated to her are taking place in Frankfurt and Stockholm. We speak to Starr Figura, the curator of MoMA's show, which opens this weekend, about Kollwitz's extraordinary work and life. Then, we talk to Natalia Sidlina, the curator of Expressionists: Kandinsky, Münter and the Blue Rider, a major survey opening at Tate Modern next month of the German Expressionist group, which looks anew at the deep friendships that formed the basis of the group, their international outlook and their multidisciplinary output.Richard Serra's work is on long-term view across five galleries at Dia Beacon, New York, US.Käthe Kollwitz, Museum of Modern Art, New York, 31 March-20 July; Städel Museum, Frankfurt, until 9 June; SMK – National Gallery of Denmark, Copenhagen, 7 November-25 February 2025.Expressionists: Kandinsky, Münter and the Blue Rider, Tate Modern, London, 25 April-20 October 2024; Gabriele Münter: the Great Expressionist Woman Painter, Thyssen Bornemisza, Madrid, 12 November-9 February 2025.Further expressionist exhibitions in 2024: The Anxious Eye: German Expressionism and Its Legacy, National Gallery of Art, Washington DC, until 27 May; Munch to Kirchner: The Heins Collection of Modern and Expressionist Art, Dallas Museum of Art, Texas, US, until 5 January 2025; Munch and Kirchner: Anxiety and Expression, Yale University Art Gallery, New Haven, Connecticut, US, until 23 June; Erich Heckel, Museum of Fine Arts Ghent, Belgium, 12 October-25 January 2025. Hosted on Acast. See acast.com/privacy for more information.

See a video version of the interview with curator Jackie Dunn here See a video version of the interview with artist Desmond Lazaro here The largest exhibition of Kandinsky's work ever to be seen in Australia has just opened at the Art Gallery of NSW! The exhibition, titled simply 'Kandinsky', brings together over 50 works of one of the 20th century's most innovative and ground breaking painters - Vasily Kandinsky - with 47 paintings from the Solomon R Guggenheim Museum in New York. Curated by the Guggenheim's curator of modern art and provenance Megan Fontanella together with the AGNSW's senior curator Jackie Dunn, these works touch on the most important periods of Kandinsky's artistic career, from the early 'Blue Rider' period, to his time in Germany when teaching at the Bauhaus school right through to his final years in Paris. In this podcast episode (which you can also see on YouTube) I talk with Jackie Dunn about this extraordinary exhibition. She tells me about Kandinsky's life and work, including what the catalysts were for him to become a painter, his use of colour, line and form and his interests in spirituality and music. I also talk with Desmond Lazaro who was commissioned to design a family-friendly space where visitors are invited to follow the path of a colourful labyrinth and create drawings using the shapes that inspired Kandinsky. Lazaro is a British-Indian-Australian artist whose primary ingredient is colour. His practice explores map-making, planetary systems and the concept of the journey. Also, alongside the Kandinsky show is an exhibition of 'spirit drawings' created by British medium Georgiana Houghton in the 1860s and 70s. The exhibition, 'Invisible Friends', brings together a collection of rarely seen swirling, evocative watercolours.  They highlight how significant spiritualism was in early modernism. 'Kandinsky' is a must-see exhibition.  It runs from November 4th to March 10th, 2024.  More details here. To hear the podcast episode press 'play' beneath the above photo. To watch the video versions of the interviews click on the links at the top of this page or see below. Links 'Kandinsky' at the Art Gallery of NSW Desmond Lazaro Tickets for my conversation with Julia Gutman on 15 November 2023 in the Artists in Conversation series Talking with Painters on Instagram Talking with Painters on Facebook Connect with me on LinkedIn https://youtu.be/Pgm4112joG8 https://youtu.be/D3b3WLlsakc 'Composition 8' July 1923, oil on canvas, 140.3 x 200.7 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, by gift, photo courtesy Solomon R. Guggenheim Foundation 'Blue mountain' 1908-09, oil on canvas, 107.3 x 97.6 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, by gift, photo courtesy Solomon R. Guggenheim Foundation Vasily Kandinsky 'In the black square' June 1923, oil on canvas, 97.5 x 93.3 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, by gift, photo courtesy Solomon R. Guggenheim Foundation 'Landscape with rain' January 1913, oil on canvas, 70.5 x 78.4 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, photo courtesy Solomon R. Guggenheim Foundation 'Yellow painting' July 1938, oil and enamel on canvas, 116.4 x 88.9 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, photo courtesy Solomon R. Guggenheim Foundation 'Around the circle' May–August 1940, oil and enamel on canvas, 97.2 x 146.4 cm, Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, photo courtesy Solomon R. Guggenheim Foundation    

This is my experiment with Ukulele and my own songs and this is my first

Did Wassily Kandinsky really invent abstract art? Randall takes Chris on a journey with many twists and turns.  *** Download slides: https://mega.nz/file/J9tGTQAC#5Oa99t7-pxmdxowHcq0pe5i5nSpKYg-Gns1MXlJtovc *** Topics discussed include:  the first abstract painting Wassily Kandinsky Hilma af Klint Helena Blavatsky automatic drawing Rudolf Steiner The Ten Largest Theosophy Sigmund Freud Adolf Hitler and the Nazis Bauhaus school Georgiana Houghton Albert Einstein the birth of the modern world *** Timeline: 1859 -- Georgiana Houghton starts making "spirit" drawings at seances 1862 -- Hilma af Klint born 1863 -- Salon des Refusés  1871 -- Houghton pays for a show in London 1874 -- Impression, Sunrise by Monet 1875 -- Helena Blavatsky cofounds the Theosophical Society, as "the synthesis of science, religion and philosophy", proclaiming that it was reviving an "Ancient Wisdom" which underlay all the world's religions.  1880 -- Hilma's 10-year-old sister dies, spurring her interest in the occult 1882 -- Hilma af Klint enrolled in Sweden' s Royal Academy of Fine Arts.  1884 -- Georgiana Houghton dies 1887 -- Hilma af Klint graduates with honors, awarded use of shared studio until 1909. Here she paints first 100 or so Paintings For the Temple.  1888 -- The Five is founded 1895 -- X-rays discovered 1895 -- Sigmund Freud publishes one of his first books, Studies on Hysteria 1896 -- Radio waves discovered, first radios 1900 1896 -- radioactivity discovered 1896 -- Hilma experiments with automatic drawing. was participating in weekly seances with The Five. * Through her work with The Five, Hilma af Klint created experimental automatic drawing as early as 1896, leading her toward an inventive geometric visual language capable of conceptualizing invisible forces both of the inner and outer worlds.[citation needed] She explored world religions, atoms, and the plant world and wrote extensively about her discoveries.[5] As she became more familiar with this form of expression, Hilma af Klint was assigned by the High Masters to create the paintings for the "Temple" – however she never understood what this "Temple" referred to.  Hilma af Klint felt she was being directed by a force that would literally guide her hand. She wrote in her notebook:  The pictures were painted directly through me, without any preliminary drawings, and with great force. I had no idea what the paintings were supposed to depict; nevertheless I worked swiftly and surely, without changing a single brush stroke.[14] * 1903 -- Kandinsky paints the Blue Rider 1904 -- Hilma af Klint joins Theosophical society 1904 -- Hilma af Klint was informed by spirit guides a great temple should be built and filled with paintings.  1905 -- Albert Einstein publishes his 4 seminal papers: photoelectric effect, Brownian motion, special relativity, and the equivalence of mass and energy. 1906 -- Klint begins automatic painting https://www.nytimes.com/2019/10/21/travel/stockholm-hilma-af-klint.html * led by a spiritual guide named Amaliel who contacted af Klint during séances and not only “commissioned” the paintings but, at least at the outset, had, she claimed, directed her hand as she painted. “The pictures were painted directly through me, without any preliminary drawings and with great force,” af Klint wrote in one of her journals of the 193 mostly abstract works known as “The Paintings for the Temple,” meditations on human life and relationships in the most elemental terms. “I had no idea what the paintings were supposed to depict, nevertheless I worked swiftly and surely without changing a single brush stroke.”  * https://www.bbc.com/culture/article/20181012-hilma-af-klint-the-enigmatic-vision-of-a-mystic Absorbing a wide array of cultural influences old and new – from Goethe's colour theories to Darwin's discoveries concerning evolution, from Car Linnaeus's botanical taxonomies to cutting-edge ideas about atomic matter and radioactivity – Af Klint set about composing for posterity an alluring eye-music that echoed back the complex psyche of her age.  * 1907 -- De Fem finishes The Ten Largest 1908 -- Hilma meets Rudolf Steiner * In 1908 af Klint met Rudolf Steiner for the first time. In one of the few remaining letters, she was asking Steiner to visit her in Stockholm and see the finished part of the Paintings for the Temple series, 111 paintings in total. Steiner did see the paintings but mostly left unimpressed, stating that her way of working was inappropriate for a theosophist. According to H.P. Blavatsky, mediumship was a faulty practice, leading its adepts on the wrong path of occultism and black magic.[18] However, during their meeting, Steiner stated that af Klint's contemporaries would not be able to accept and understand their paintings, and it would take another 50 years to decipher them. Of all the paintings shown to him, Steiner paid special attention only to the Primordial Chaos Group, noting them as "the best symbolically".[19] After meeting Steiner, af Klint was devastated by his response and, apparently, stopped painting for 4 years. Interestingly enough, Steiner kept photographs of some of af Klint's artworks, some of them even hand-coloured. Later the same year he met Wassily Kandinsky, who had not yet come to abstract painting. Some art historians assume that Kandinsky could have seen the photographs and perhaps was influenced by them while developing his own abstract path.[20] Later in her life, she made a decision to destroy all her correspondence. She left a collection of more than 1200 paintings and 125 diaries to her nephew, Erik af Klint. Among her last paintings made in 1930s, there are two watercolours predicting the events of World War II, titled The Blitz and The Fight in the Mediterranean.[21]  * https://www.theguardian.com/artanddesign/2016/feb/21/hilma-af-klint-occult-spiritualism-abstract-serpentine-gallery In 1908, after making 111 paintings, she collapsed: “She had completed a painting every third day – including the 10 huge ones. She was exhausted.” And there was further reason for despond. That same year, Steiner was lecturing in Stockholm. She invited this charismatic man to see her paintings (Mondrian petitioned Steiner too, but always in vain). She had hoped he would interpret the work. Instead he advised: “No one must see this for 50 years.” For four years after this verdict she gave up painting and looked after her sightless mother. Johan shows me a photograph of Hilma at Hanmora, looking down with tenderness, a hand on her mother's shoulder – the more sympathetic of clues to her character.  * 1910 -- first abstract by Kandinsky 1919 -- Bauhaus school founded 1923 -- Hilma writes Steiner asking him what she should do, "burn them?" She never hears back. 1925 -- Rudolf Steiner dies 1928 -- Theosophy reaches peak membership 1930s -- While studies, sketches, and improvisations exist (particularly of Composition II), a Nazi raid on the Bauhaus in the 1930s resulted in the confiscation of Kandinsky's first three Compositions. They were displayed in the State-sponsored exhibit "Degenerate Art", and then destroyed (along with works by Paul Klee, Franz Marc and other modern artists)  1932 -- Hilma af Klint's last will. In  will, Hilma keaves 1200 paintings, 26,000 pages of notes (125 notebooks), not to be shown until 20 years after her death. 1933 -- Hitler appointed chancellor of Germany 1944 -- Hilma dies of car accident. She was 82. Also Kandinsky (77), Mondrian (pneumonia, 71) 1970s -- Johan af Kilnt offers works to the Moderna Museet, they refuse. The then-director turned them down. “When he heard that she was a medium, there was no discussion. He didn't even look at the pictures.” Only in 2013 did the museum redeem itself with a retrospective. https://www.theguardian.com/artanddesign/2020/oct/06/hilma-af-klint-abstract-art-beyond-the-visible-film-documentary 1985 -- Hilma's work discovered. Distant relative of Klint finds paintings just hanging on walls of theosophical society.  1986 -- Hilma af Klint show: The Spiritual in Art, Abstract Painting 1890-1985  2013 -- Hilma af Klint Moderna Museet Stockholm show: perhaps their most popular in history 2019 -- Hilma af Klint Guggenheim show: may have been it's most popular 2020 -- Beyond the Visible: Hilma af Klint documentary *** recorded April 21, 2022 *** Visit us at https://chrisandrandall.com/

Randall and Chris discuss the moment the "modern" world was born, with the first abstract painting in 1910. Another slide episode. Watch the video on Youtube or Facebook or download slides here: https://mega.nz/file/ExlWgJiC#1o5JkcH5qSFZ28Fu06JIxrsEibX5sSV_mK4t9QoJ-co Topics discussed include:  Salon des Refusés Impressionism Expressionism Lord of the Rings Star Wars Arnold Schoenberg influence of photography Fauvism The Blue Rider Cubism Composition V Nude Descending a Staircase, No. 2 A Princess of Mars, 1912 H. G. Wells Bauhaus https://en.wikipedia.org/wiki/From_Bauhaus_to_Our_House https://en.wikipedia.org/wiki/Movement_(New_Order_album) Timeline  1863 -- Salon des Refusés 1903 -- The Blue Rider painted 1905 -- Fauvism coined 1906 -- Post-Impressionist coined 1910 -- Cubism coined 1910 -- FIRST ABSTRACT PAINTING 1912 -- 'A Princess of Mars' released in All-Story magazine 1913 -- Armory Show 1914 -- WWI 1919 -- Bauhaus (building house) founded  by Walter Gropius 1929 -- Buck Rodgers comic strip published 1933 -- Famous Funnies, first modern comic book published 1937 -- 'The Hobbit' published recorded March 29, 2022 Visit us at https://chrisandrandall.com/

What you'll learn in this episode: Why much of Cynthia's jewelry has an old-world, Renaissance feel Cynthia's advice for aspiring jewelry designers How Cynthia designs her pieces around her customers' style Why creativity is the driving force behind change How understanding jewelry history can help designers find new forms of expression About Cynthia Bach Cynthia Bach has been a jewelry designer for more than four decades. After studying art in Munich, Germany, Cynthia received her BFA degree in art and jewelry making from McMurry University in Abilene, Texas, where she met and apprenticed bench jewelry making with master jeweler Jim Matthews. In 1989 Jim and Cynthia were recruited by Van Cleef & Arpels in Beverly Hills to run design and fabrication of the jewelry department. In 1991 Cynthia launched her own collection with Neiman Marcus nationwide.  She has been the recipient of numerous awards from the jewelry industry including the coveted International Platinum Guild Award, the Spectrum Award, and the Couture Award. Her designs have been recognized and awarded by the American Gem Trade Association. She is internationally known and respected and in 2014 was invited to Idar-Oberstein, Germany to judge the New Designer Contest. In 2015 her work was part of the international traveling exhibition “The Nature of Diamonds” organized by the American Museum of Natural History and sponsored by DeBeers. An important piece of her work resides in the permanent collection of the Smithsonian Institution in Washington, D.C. In 2019 Cynthia's jewelry was featured in Juliet de la Rochefoucauld's “Women Jewellery Designers”, a magnum opus book of women jewelry designers throughout history. Additional Resources: Website  Instagram Twitter Facebook Pintrest Photos: 18 karat yellow gold Crown Collection maltese cross crown ring with rubies, emeralds, sapphires, and diamonds 18 karat yellow gold Flower Bouquet Collection flower hoop earrings with multi-colored gemstones 18 karat yellow gold Gitan Collection, filigree paisley's with diamonds and rubies 18 karat yellow gold Royal Charm Bracelet  Transcript: Cynthia Bach has loved jewelry for as long as she can remember. That enthusiasm is what helped her land an apprenticeship with master jeweler (and later, her husband) Jim Matthews, scored her a 25-year partnership with Nieman Marcus, and continues to fuel her desire to create timeless yet innovative designs today. She joined the Jewelry Journey Podcast to talk about the old-world techniques that inspire her designs; her experience working with Van Cleef & Arpels, Neiman Marcus, and red-carpet stylists; and her advice for budding jewelry designers. Read the episode transcript here.  Sharon: That's interesting. I'm thinking about a few things. First of all, that Fabergé and Schlumberger had an eye, whether it was for a shape or they were just extremely creative. What do you feel you have an eye for? Cynthia: I have an eye for shapes. My jewelry designing is classical and lyrical. I'm not doing post-modern shapes like the wearable art exhibit we saw. I think of my designs as more refined. I love to design jewelry for women. When I'm designing for them, I see what their style is and I want to design around their style, which is not necessarily the normal thing to do. When I design a piece of jewelry, I usually design something I want to wear. Having worked with Nieman Marcus for 25 years, after starting my collection with them, there was always fashion. Every season, I would follow the fashions that so that even though my designs are very classical, they would also be very now. What are the girls wearing now? What are the trends now? But I still wanted it to be timeless and able to be worn a hundred years from today.  Sharon: Have you ever found yourself altering your designs or pieces because you've sketched something out and you say, “Oh, that's too small or too large for what people want today. That's not what people want”?  Cynthia: I kind of design what I want to design, but because I've worked so hands-on doing trunk shows across the country and working with women, I know everyone has a different size earlobe and a different shape face. I will take a design and I'll make a smaller version and a medium and a bigger to go with the woman's style. Not every woman can wear a big earring. In that sense, I just take my design and make it more adaptable for different people. I usually design what I want to design because I figure if I want to wear it, other women want to wear it, too. Sharon: It sounds like that's been successful for you for decades. You said that you design around a woman's style. I guess what I want to know is if you saw a woman wearing jewelry that's very different from yours. Let's say modernist, angular, large. What do you mean you design around that? Cynthia: To clarify that a little bit more, I would say the last 25 years where I've really been a designer, I've worked with a lot of stylists for red carpet dressing. We would work with clothing designers, like when I did Cate Blanchett in the beautiful Gautier. I made the body jewelry—they're Indian-inspired—and she did the big chain down her back. I remember a lot of beautiful gowns coming in, and even though I would use my jewelry, I always wanted the jewelry to make a statement. To me, it wasn't all about the dress, but also to make a statement for the wearer. So, when I say I like to design around a woman's style, a lot of that came from working with stylists and doing red carpet things. It also comes from working hands-on with women at the Nieman Marcus stores. They would come in and have a dress they were wearing to the ball, and they needed jewelry to go with it. You can't just throw anything on them. It's got to go with the dress; it's got to go with them. I find the way I wear jewelry is I like very big jewelry. I like big rings, big earrings, lots of chains. I layer everything. There are women out there that are much more—they love an exquisite piece of jewelry, but they'll wear one exquisite earring and one necklace.  Sharon: What's wrong with them? Cynthia: You're another person who's very theatrical in your jewelry.  Sharon: I understand what you're saying, but I'm surprised to hear you say that because your jewelry seems very feminine and dainty. I can see how you can stack the rings and everything, but I'm surprised to hear you say you like larger jewelry. That's all. Cynthia: I mean when I'm dressing for myself. This is where I'm making pieces for other people. My collection I'm working on now is a lot of flowers with beautiful fall colors, orange and yellow, sapphires and reds and purples, all these colors together. I will take all those chains and wear like seven of them together, whereas if I were selling them in a store, maybe a woman would buy one chain. Ultimately, we have to make a living, but for me, selling my jewelry is my living. To some extent, you have to keep in mind who your audience is as well. Again, I can't always dictate the way I want them to look. Sharon: I was just thinking how impressive it is that you've been selling to Nieman Marcus for so long. That's a long run, and hopefully it continues for another 20 years. There are so many people who sell for one season and never see it there again. Cynthia: Like I told you, Sharon, I made up my mind at the age of 12 that this is what I wanted to do. My determination came from—it was very difficult being a woman. When I sold my collection to Nieman Marcus in 1991, we were brought out to Beverly Hills with Van Cleef & Arpels. The family-owned business went off to sell their company, so we were basically without a job. That was my window for, “O.K., you have nothing to lose. You're out of a job. If you want to be a jewelry designer, you're going to do it now.” Well, that was on Monday. On Friday, I called Nieman Marcus in Dallas and flew out there.  I had been making a little crown collection, because I had made a crown for a client for an anniversary present back in 1982. It was a design of a Trifari crown pin that he gave to his wife. He said, “I bought this for my bride in 1955, and now I can afford it in emeralds, rubies and diamonds.” It was a little Trifari crown pin, and I made her this little crown and she wore it every day on a chain. I just thought it was the neatest thing. This was in 1982, and I said, “This is what I'm going to do. I'm going to make crowns.” So, I started researching them at the library, all the different heraldic imagery and all the crowns throughout the world that kings and queens wore, and I brought them to everyone, to the masses. I had presented them to Van Cleef & Arpels, and they were like, “We would never do a crown,” but I made them anyway.  After we lost our job at Van Cleef & Arpels, five days later, I flew to Nieman Marcus. I had 13 crown brooches. Some were fantasies; some were actual miniature crowns from Saudi Arabia or Persia, the English crown. I talked to the buyer, who was actually the president of the jewelry department at that time. In 1991, they did not have a developed jewelry department. There were jewelry designers; there were fashion designers, but jewelry was very generic, so they didn't have creatives in jewelry that stood out. I said to them, “You need a stable of jewelry designers like you have in fashion.” The same thing I did with my husband, “I want to make jewelry. Here are my crowns.” I was all enthusiastic about it, and he was like, “I'll give you $6,000,” and I said, “I'll take it.” That launched my career, but it was in 1991 when, like I said, there weren't really any established jewelry designers at the time. I think Nieman's had Jean Mahie and Henry Dunay was there, but that was it. So, they grandfathered me at that time, and it just took off. The 90s and the 2000s was a wonderful time to be in the jewelry business. It was a wonderful time to be in business in anything in 2000, before 2006. So, that is how I got into it. I don't know that I could do something like that in 2021. It's always timing. Sharon: That's true. Do you think you couldn't do that because it's not possible to call Nieman Marcus today and say, “I want an appointment with the buyer”? Cynthia: With 13 pieces? No, I think because the competition now is steep. Women are more independent now. In 1991, it was still hard as a woman to head a company and to be taken seriously as being able to run a company. Even though I worked with my husband, I called the collection Cynthia Bach because it was a time for women when if they did not stick up for themselves and be a little more aggressive and persistent, they would disappear. I guess I'm a feminist, I don't know. But at that time, I had to fight really hard. I worked with a lot of men and good old boys. The jewelry industry was made up of men. It was a whole different time, and Nieman Marcus, at that time, was still family-owned as well. It was small. Now, it's become much bigger, more investors, owners, more corporate, so I don't think you can start with 13 pieces. I think you have to have a pretty big collection to move forward, and a business plan. Sharon: Right, it sounds you started the seeds of— Cynthia: A revolution, a jewelry revolution!  Sharon: Really. Because when you think about Nieman's today, the jewelry department is so well-developed in terms of all the different designers. Cynthia: Yes. Sharon: I was just going to ask you. We both attended a panel at Bonhams on wearable art jewelry. I was asking what attracted you, because your jewelry is so different. Cynthia: I am very much interested in jewelry history, jewelers throughout history, and the whole evolution of jewelry in any form. I love the silver jewelry that came out of Mexico. I love the period of the 30s and 40s. Like I said before, that is when casting was developed, and that is when jewelry was in a more industrial period, the shapes and the forms, the industrial revolution. Jewelry parallels music and history and art and fashion, so all of that interests me, and it doesn't just have to be my type of jewelry. I was very fascinated with the jewelry of the particular artists that I learned about through the Bonhams exhibit, the wearable art, the Crawford Collection. I learned about these artists I really didn't know about, and that was exciting. Sharon: Was there something in particular that called out to you, a designer or something a panelist said? Cynthia: I really loved the work of Art Smith. I think he worked in New York, and it was sculpture. His jewelry was sculpture, body sculpture. There were also some Native American Indian jewelers from the 30s and 40s that did lapidary work, the interesting turquoise with wood and the bracelets that were so colorful and beautiful. Some of the lapidary work they did was very now, like that guy that did the space travel bangle. There was one necklace I just fell in love with, and it's from William Spratling. It was a big necklace with little beads, and I thought to myself, “What a fabulous design! That design would look so good with my filigree beads that I do.” I've always loved bib-style necklaces. A lot of times when I look at jewelry, I'll see my piece of jewelry incorporated in some of the shapes or designs. It's all very visual to me, the bibs. Sharon: Those are fabulous pieces, and a broad spectrum too. Go on. Cynthia: I was just going to say relatively unknown artists. It was so refreshing to have Bonhams bring these out to the public awareness. Sharon: Yes, I hope we see a lot of more of it. It was nice. Cynthia: Me, too.  Sharon: Since you've been designing for so long, what do you think motivates you today that's different than what motivated you decades ago, when you first started? Cynthia: Right now, I'm working with more color. I love colors mixed together. Like I told you, I'm working a lot with flowers. I think because history and fashion play such an important part in my designing, I look at the kids, what they wear now, harkening back to the 1980s. I feel myself very influenced right now by 80s jewelry. I feel like it's also intertwined, like I said, with music and art and fashion and jewelry. They work together. During the Blue Rider period, the abstract expressionism with Kandinsky and Klee, you had music of that time that reflected it.  Creativity is what makes changes in the world, even though we repeat a lot of fashion. Some of what the kids are wearing is very unique. They wear a lot of body jewelry with tattoos and earrings that climb all the way up their ears. That is really new and fresh. Every generation is evolving into a new creative style. I think the depth of a designer is to keep coming out with new designs and to keep being creative. It's paramount and important to me to constantly be coming out with new designs, and I get that influence from what's going on in the world around me. Sharon: You sound very open to seeing new things as opposed to, “Oh my God, look at that person with all those tattoos.” Cynthia: It's basically body art. Yeah, it fascinates me; purple hair, green hair. Sharon: You can be very creative with hair and body art and all that. Cynthia: Absolutely. It's the time of personal style and expression now. Sharon: Do you think it's different now? People think of the 60s as being a time of personal art and expression. Do you think the 70s had less of that or the 80s had less of that? Cynthia: I think every decade, every era has that. Even if you look at the Rococo and Baroque periods in France, where they had their powdered wigs and their beautiful couture, they were out of the box. The music was out of the box, and that's how change happens in the world. Sharon: I like that change happens through creativity. You can look at different ways of saying that. Is it through creativity in tech or is it creativity in fashion? I guess it's everything.  Cynthia: Yeah. Sharon: You mentioned that enjoy studying jewelry history. Do you think it's important for jewelers and jewelry designers to be steeped in that, to know the history of jewelry, to see the trends through the ages? How important do you think that is? Cynthia: I think it helps. It certainly helps me to visually look at a lot of different styles and see what's been around for hundreds of years, but I don't think it's necessary for everyone. Some people are just creative, and they come out with their own unique style. I don't know if you've looked at what Boucheron is doing now with this kind of glasswork. It's like nothing I've ever seen before. It really is wearable art. They're pushing the envelope as to jewelry and wearable art.  A lot of the young designers coming up now are especially working with the fashion houses, and the fashion houses are saying, “Hey, we need to incorporate some important jewelry with our fashion.” It's unique. So, the answer to your question is I don't know if it's important to know jewelry history. I think the most important thing is to be forward and to come up with something creative that is unique and your own. Sharon: What do you when you find your creativity has stalled? If you have writer's block in terms of jewelry, what do you do? Cynthia: In the past, I can say that when someone commissions me to do a piece of a jewelry or I have a new collection I want to come out with and I just don't know what to do, sometimes I just put it in the back of my head and go around my business. It is haunting me in my head, and then all of a sudden, I'll be sitting there and I'll look at a chair or something. I'll see a shape and a light goes off in my head, and that's it; that's the concept. It's almost a subconscious process. This has happened with me time and time again. I'll be sleeping and somehow something will hit me, “This is it.” Sometimes it takes a week or two. I don't think it's taken over once I make my mind up that I need something new over two weeks. It usually goes into my subconscious brain, and I guess my conscious brain is looking for ideas. Sharon: That is the way it works. You're meditating and something comes, or you're in the shower. Exactly, it's when you're not looking. Cynthia, thank you so much for taking the time today to talk with us. This has been really enjoyable and fascinating. It's great to talk with somebody who's been through decades of jewelry design. Cynthia: Does that make me old? Sharon: No, it doesn't. Cynthia: The creative mind is never old. Creativity is always young.  Sharon: Yes, that's definitely it. Thank you so much. Cynthia: Thank you for having me. I enjoyed this very much, and I look forward to next time.  We will have images posted on the website. You can find us wherever you download your podcasts, and please rate us. Please join us next time, when our guest will be another jewelry industry professional who will share their experience and expertise. Thank you so much for listening. Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

Oklahoma's first woman elected to state office. Sources: Red Flag Press, The American Magazine, okhistory.org, Oklahoma Today, wikipedia. Theme by William Bohannon. Follow us on Instagram and/or Facebook. Email us suggestions and strange stories OklahomaStrange@gmail.com. Donate as little as $1 and become a producer like The Blue Rider, Chealsea Meares, Jay England, Taylor Kelley, Eli Cook, Hollie Yarbrough, Charles Barwick, Diane Barwick, Connie Rutz. Become an Executive producer by financially subscribing through your fav podcast app like Stephanie Cordray and Andrew Welmers. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/emily-sanders7/support

Thursday, October 29, 2020 - In the final story from Ashley’s visit to Minot, she stops by the iconic Blue Rider Bar to meet the new owner. ~~~ Chuck Lura shares a Natural North Dakota essay on Red-Bellied Snakes and Harris’s Sparrows. ~~~ A preview of Sunday’s Great American Folk Show with Tom Brosseau.. ~~~ Sue Balcom discusses Halloween in this week’s installment of Main Street Eats.

Torsten und Mark widmen sich dieses Mal zwei Neuauflagen etwas älterer Spiele mit Saints Row the Third und Sniper Elite V2 aber auch einer relativ jungen Indieperle. Mit Blue Rider wagt sich Torsten in das Shoot em up Genre. Viel Vergnügen!!! www.spielebissen.blogspot.de

Jim and Tom welcome VICE REINE to the stage at the Phoenix Theater for an interview and performance on 1/15/19. We talk about the influence of the Blue Rider art movement, polarity, contradictions, escapism, dystopia, their new album and much more. Setlist Sweet Dream Blue Rider Water Palace Break the News Recorded at at the Phoenix Theater in Petaluma, CA.

Munich Episode 10 Art A brief history of art in Munich and information on its main art galleries and what to look out for there. Find out about works by Albrecht Dürer, Hams Holbein, the German Romantics like Caspar David Friedrich and the Blue Rider artists such as Wassily Kandinsy and Paul Klee. Hear too about propaganda art and the so-called 'degenerate art' of the Nazi period, which saw Hitler refer to the artists he thought subversive as 'cliques of chatterers, dilettantes and art-frauds.' Finally, hear the story of the Munich Art Hoard, culminating in the discovery in 2012 of Cornelius Gurlitt in his Munich apartment with huge quantities of art which had gone astray during the 1930's and 40's and which had been thought lost forever. http://www.citybreakspodcast.co.uk

Hello les coquinous, Il y a des jours, dans la vie, où on se sent un peu vieux, ou vieille… Et aujourd’hui, ce moment est arrivé pile poile au moment où j’ai lu le titre de cette émission !! Mais pourquoi-donc, me direz-vous ? Si je vous dis que ça a un rapport avec une chanson, est-ce que cela vous met sur la “voix” (joli jeu de mots, hein ;p) ? Non ? Début des années 80 ? Et BAM ! Oui, c’est ça ! “Tout pour la musique”. Je vois d’ici certains d’entre-vous dire : “quoiiiii ?” à ceux-ci je répondrai que oui, c’est une chanson de 1981, chantée par France Gall (et google est votre ami si vous souhaitez en savoir plus ;) ) ; concernant les autres, je dirais : bonne chance pour vous débarrasser de cette chanson maintenant que je vous l’ai mise dans la tête !!!!! Bref tout ça pour vous dire que le premier épisode de 2019, AKA GITP 180 est enfin là !!! Je vous souhaite une bonne écoute ! Bonne année et plein de bisous les coquinous !!! News: La fin du jeu Westworld (site)L’OST du jeu Candies’N Curses est disponible (Bandcamp) code de réduction : ost43buxAnother Eden enfin en anglais (Site)Shieldwall Chronicles BetaLangrisser est disponible sur mobileLa vidéo dans Tipeee Jared est notre invité et il vient nous parler du jeu Island the game (Site) Avis: Julie: Looney Tunes iOS Android VidéoJared: Aegis Defender Switch Vidéo Son test écrit (Site)Cédric: Blue Rider Switch Vidéo Et en dehors du jeu mobile vous faites quoi ? Poison Ivy par Sho Murase Où nous retrouver : la page fan Facebook : gamesinthepocketla page G+Twitter : @gamespocketContact : contact@gamesinthepocket.frTapewriteNotre Tipeeeitunes La musique du générique est The Dark Abode of Power: dark, gloomy, aggressive, raw, diabolic par Kranto studijos découvert sur Jamendo.

In this episode of Pocketoid:Sickness and holiday craziness couldn't keep us away, but sorry for the late episode.Addison says goodbye to Red Dead Redemption 2.Addison has been playing some Persona Dancing.We talk about how dumb the VGA's are.Addison reviews Cattails!Addison reviews Katamari Damacy REROLL!Addison reviews Gris!Addison and Jordan review Desert Child!Jordan reviews the Flip Grip!Jordan reviews the Blue Rider!Jordan and Addison review the Super Smash Bros. Ultimate!While this episode is releasing at a weird time, our next one will be back on schedule! Thanks for understanding!Which of your mains is NASTY? Let us know on Twitter or Facebook!Intro: Time Trials - Hyper Potions - GameChopsOutro: One For Kapp'n - Grimecraft x Maxo - GameChops

Last August, Vanity Plate and the Juniper Drive came on the podcast after their summer tour. This year, we're doing it again. Jazmine, Zach, Blake, Connor and Robert give me the rundown on their tour to the east coast. We talk about stopping to piss in Indiana, playing to like ten people in Brooklyn, and how no one pays attention to acoustic musicians. Also, food. We talk a bunch about food. We talk about a boatload of junk on this episode, including previous travels to the east coast, the solo Jaz tour, playing shows for no one, Free Truman, Tigernite, the Moog factory, fanny packs, Reverb, a group apology to Indiana, tractors, Popeye's, Outdoor Velour, Brooklyn, the Statue of Liberty, Dani Raccoon and Anna, driving in New York, passive aggressive midwest motorists, NYC apartments, guarantors, Idaho Green, free jazz, Ocarina of Time, Donny Jensen, Gold Sounds, Red Raven Coffeehouse, Blue Rider bar, the Aquarium, audience sizes, Kenny the cab driver, Kevin Lopez, Grampfather, Hilip the sound guy, what's the point?, no one cares, tour theory, local food, pizza, bagels, water taxis, Brooklyn Bridge, Broadway, Book of Mormon, Ample Hills Creamery, unsolicited advice, Thai food, the Liberty Bell, John Barry (Father of the Navy, Son of a Bitch), Niagara Falls, Good Shade, Puberty Wounds, Pleasure Wounds, hand pans, Saraz, Echo's Answer, Josh and Marie Rivera, synth face, tour crud, modular synths, Fairlight CMI, Tears for Fears, Gizmo Genius, Chris Brown, tour health, acetominophen, Roy aka the Very Nice Interesting Singer Man, existential crises, migraines, fiber, Steve Roggenbuck [2018 update: Steve is horrible], the vegan train, bug salads, baby grill, mansions, lakes, waterfalls, Gold Beach, Taste of Galesburg, the Apple store, Dunkirk, woof, Morris, Minnesota, the Platform playing acoustic shows, Bop It, why doesn't anybody listen to me?, furniture music, Nameless Cave, the Darning Hearts, Rapid City, Evan, puppets, bad actors, Bismarck, Rhythm Records, Side B, Al Gore, Algorillathym, Why Not Fest, the future, Blake's moving and quitting bands, Josh Thornton sold his drums and is going to school, Parlor Voice, fuck Trump, fuck Confederate flags, Mountain Goats, Rory Donovan, Witch Watch, the Terror Pigeon Surround Sound Lay Down, Many Months Left, Mineral Rights, Mr. Dad.

  In episode 8 of our weekly podcast. We are going to talk about the top down shooter Blue Rider, PC/PS4 adventure game Vertical Drop Heroes HD and a 4 player co-op dungeon game that is Iron Crypticle. Be sure to subscribe to our weekly podcast and hear about our latest reviews and thoughts on games for your digital library.

Something old (the retro vibe of Wonder Woman '77 Meets the Bionic Woman #1), something new (the youthful protagonists of Nova #1 and Supergirl: Being Super #1), something borrowed (Murd's copy of Scooby-Doo Team-Up #23), and something blue (Blue Rider, the Led Zeppelin wannabes seen in Rockstars #1): a perfect marriage of elements for a great Off the Racks episode! And join us afterwards at the reception for some TV talk on Iron Fist and Legion. (1:16:37)

Something old (the retro vibe of Wonder Woman '77 Meets the Bionic Woman #1), something new (the youthful protagonists of Nova #1 and Supergirl: Being Super #1), something borrowed (Murd's copy of Scooby-Doo Team-Up #23), and something blue (Blue Rider, the Led Zeppelin wannabes seen in Rockstars #1): a perfect marriage of elements for a great Off the Racks episode! And join us afterwards at the reception for some TV talk on Iron Fist and Legion. (1:16:37)

Bad Licks is a new Denver band that includes members of Nathaniel Rateliff & The Night Sweats, Rootbeer & Mermentau and The Blue Rider. They've released just two songs but have gained attention through live shows in Denver and beyond -- including a stop at this weekend's Treefort Music Festival in Boise, Idaho. The garage rockers stopped into our CPR Performance Studio before heading up to Boise. They played some new music and spoke with Alicia Bruce Mitchell about the origin of Bad Licks, plans for a forthcoming EP and previous experiences at Treefort with their other bands.

PODCAST RECOPILADO, EMITIDO ORIGINALMENTE POR: La Manija podcast EN: https://lamanijapodcast.wordpress.com/2016/04/20/invita-la-manija/Así como hay multiverso en los cómics, también lo hay en el amplio mundo de los podcast. Y esta semana, gracias al Interpodcast, viajamos a otras tierras y les traemos esta edición especial de LaManija Podcast, en la que imitamos el formato de los amigos madrileños, Invita La Casa. Esta semana no hablamos de cine, ni de series, tampoco de cómics. No, esta semana hicimos un magazine en el que tocamos temas como cocina, la industria argentina y latinoamericana del gaming y Uber.Asi es, este programa nos aguantamos y salimos de nuestra zona de confort para hacerle honor al formato de Invita La Casa, gran podcast al que recomendamos fervientemente. Arrancamos hablando de como hacer un buen mate, todos los secretos y las cosas que NO se deben hacer, y para completar la sección de Gastrocosas te contamos como se hacen las torta fritas en diferentes lugares.En El Chupito nos dimos el gusto de hablar con Matias Saia desde Rosario, periodista conductor de Puro Games y autor de Central mutante, acerca de la industria nacional y latinoamericana del gaiming, y porque hay que prestarle atención. También recomendamos juegos como Doc Mendoca and Pizza Boy, Blue Rider y My Tower My Home. Y cerramos en Nubes y Drones con un tema que está causando revuelo en Argentina y principalmente en Buenos Aires: la llegada de Uber.La semana que viene volveremos a lo nuestro, y hablando de eso, los amigos de La Tortulia Podcast van a estar imitándonos así que estén atentos. Igual escuchen todo lo que hacen que es genial.Sin mucho más que decir, les mandamos un beso manijero y nos escuchamos luego.La Manija Podcast son: Juli Cáceres, Joaco Capurro y Javi Masicoff.Acordate que si te gusta lo que hacemos, la mejor manera de ayudarnos a seguir y a mejorar es compartir el podcast con tus amigos, en tu laburo, con tu pareja… etc.Pero además nos podes seguir en Twitter, dar MG en nuestra página de Facebook, revisar nuestro canal de Audioboom donde se encuentra nuestroRSS para tu gestor de podcast, y además nos podes buscar en iTunes como“La Manija Podcast”.Escucha La manija podcast en: https://lamanijapodcast.wordpress.com/Escucha Invita la casa en: http://invitalacasapodcast.blogspot.mx/

Among the excellent new Israeli books to have appeared in English translation in 2015, is Else Lasker-Schüler’s collected poems, My Blue Piano. Host Marcela Sulak reads several poems from the collection, including the title poem: "At home I have a blue piano,I, who cannot play a note. It stands in the gloom of the cellar door,now that the whole world has grown coarse..." Born in Germany in 1869, Lasker-Schüler became a leader of Berlin's Expressionist movement, coining the name "Blue Rider" for her friend Franz Marc's famous school of painting. A few months after receiving one of Germany's highest literary honors, she was assaulted in the streets by the Nazis at the age of 63. After fleeing to Switzerland and Alexandria, she settled in Jerusalem. She died of heart failure before the final defeat of the Nazi regime. Text:My Blue Piano by Else Lasker-Schüler. Translated by Brooks Haxton. Syracuse University Press, 2015. Music (all lyrics by Else Lasker-Schüler):Maya Amir - Mein Blaues KlavierGalia Shargal - ImiElinoar Moav - Bo Elai BaLeil

August Macke was one of the renowned expressonist artists. In the year our picture was painted, he was living in Bonn, joined the "Blue Rider" group of artists in Munich and visited the painter Robert Delaunay in Paris with Franz Marc. From the podcast series featuring highlights of the Kunstmuseum Bern’s collection.

Last episode, we played songs catchy and infectious enough to earn a spot on our Indie Song of Summer playlist. This week though, we're playing songs with structures and sounds a little too unique for summer pop, but just challenging enough to enjoy, from the appealing dissonance of Suuns to the curious and intense noises of Oneohtrix Point Never.  Track list:  1. "Byegone" -- Volcano Choir, Repave 2. "Birds" -- Death Grips, single 3. "Empty City" -- Dan Casey, Empty City   4. "A Lizard State" -- King Krule, 6 Feet Beneath The Moon 5.  "Golden Arrow" -- Darkside, Psychic 6.  "2020" -- Suuns, Images Du Futur  7. "Wayward Son" -- Zachary Cale, Blue Rider  8. "Problem Areas" -- Oneohtrix Point Never, R Plus Seven 9. "What Death Leaves Behind" -- Los Campesinos, No Blues 10."Anytime Soon" -- Andy Stott, Adult Swim Singles Program 

In December 1911 The Blue Rider was a global project that included references as diverse as Japanese art, Russian folk art, children’s drawings, Bavarian glass painting and artworks by contemporary European artists, musicians and writers

In December 1911 The Blue Rider was a global project that included references as diverse as Japanese art, Russian folk art, children’s drawings, Bavarian glass painting and artworks by contemporary European artists, musicians and writers

In December 1911 The Blue Rider was a global project that included references as diverse as Japanese art, Russian folk art, children’s drawings, Bavarian glass painting and artworks by contemporary European artists, musicians and writers

In December 1911 The Blue Rider was a global project that included references as diverse as Japanese art, Russian folk art, children’s drawings, Bavarian glass painting and artworks by contemporary European artists, musicians and writers

In December 1911 The Blue Rider was a global project that included references as diverse as Japanese art, Russian folk art, children’s drawings, Bavarian glass painting and artworks by contemporary European artists, musicians and writers

In December 1911 The Blue Rider was a global project that included references as diverse as Japanese art, Russian folk art, children’s drawings, Bavarian glass painting and artworks by contemporary European artists, musicians and writers

In December 1911 The Blue Rider was a global project that included references as diverse as Japanese art, Russian folk art, children’s drawings, Bavarian glass painting and artworks by contemporary European artists, musicians and writers

The proto-Modernist movement, the Blaue Reiter group was interested in Cubism and Abstraction. It included Wassily Kandinsky and August Macke, Franz Marc, Alexej Jawlensky and Paul Klee.