Podcasts about Camille Pissarro

5/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 SIEGE OF PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

6/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 SIEGE OF PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

7/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1871 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

8/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS  https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

1/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

2/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

3/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

4/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionis

For the 34th episode of "Reading the Art World," host Megan Fox Kelly speaks with Sebastian Smee, Pulitzer Prize-winning art critic for The Washington Post and author of "Paris in Ruins: Love, War, and the Birth of Impressionism,” published by W. W. Norton.This fascinating conversation explores the violent political upheavals of 1870-71 Paris — the Siege of Paris and the Paris Commune — and how they influenced the Impressionist movement. Smee shares insights into the lives of the artists who survived these dramatic days, including Edgar Degas, Édouard Manet and Berthe Morisot, who were trapped in Paris; Pierre-Auguste Renoir and Frédéric Bazille, who joined regiments outside of the capital; and Claude Monet and Camille Pissarro, who fled the country just in time.Through rigorous research into personal letters and historical documents, Smee illuminates the human context behind familiar masterpieces of light created during this dark period. He offers a fresh perspective on why the Impressionists, with their newfound sense of the fragility of life, turned toward transient subjects of modern life, leisure, fleeting moments and the impermanence of all things in the aftermath of such devastating events.ABOUT THE AUTHOR Sebastian Smee is an art critic for The Washington Post and winner of the 2011 Pulitzer Prize for Criticism. His previous works include "The Art of Rivalry" and books on Mark Bradford and Lucian Freud. He was awarded the Rabkin Prize for art journalism in 2018 and was a MacDowell Fellow in 2021.PURCHASE THE BOOK https://wwnorton.com/books/9781324006954SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

Episode No. 672 features curators Kimberly A. Jones and Mary Morton; and curators Sant Khalsa and Juniper Harrower. Along with Sylvie Patry and Anne Robbins, Jones and Morton are the curators of "1874: The Impressionist Moment" at the National Gallery of Art. The exhibition examines the condition of Parisian art in 1874, both official standards exhibited at and effectively promoted via the official salon, and the renegade works exhibited at the first impressionist exhibition. Included are impressionist stalwarts such as Claude Monet and Camille Pissarro, and also salon lions such as William Bouguereau and Jean-Léon Gérôme. The smart, delightful catalogue was published by the Musee d'Orsay and the NGA. Amazon and Bookshop offer it for about $46-60. "1874" is on view through January 19, 2025. Khalsa and Harrower are the curators of "Desert Forest: Life with Joshua Trees" at the Lancaster (Calif.) Museum of Art and History. Part of this year's sprawling Getty PST ART initiative, it's on view through December 29. "Desert Forest" examines how artists from Carleton Watkins to Cara Romero to Nancy Baker Cahill have presented Joshua trees and the fragile Mojave Desert ecosystem in their work. A fine catalogue was published by Inlandia Institute. It's available from MOAH. Instagram: Mary Morton, Kimberly Jones, Sant Khalsa, Juniper Harrower, Tyler Green.

 Il y a tout juste 150 ans, le 15 avril 1874, ouvre à Paris au 35 boulevard des Capucines, à deux pas de l'Opéra Garnier, la première exposition impressionniste réunissant 31 artistes dont Edgar Degas, Berthe Morisot, Claude Monet, Alfred Sisley, Auguste Renoir, Camille Pissarro. Des artistes qui révolutionneront l'Histoire de l'art. Le musée d'Orsay leur rend hommage.  L'impressionnisme. C'est l'un des mouvements les plus célèbres de la peinture. Des tableaux dans lesquels règne l'impression de l'instant mobile. Et de la lumière. À travers les effets qu'elle produit, sur les personnes, la nature ou les villes.Un courant qui apparaît en 1874, lorsque ses inventeurs, un groupe de 31 artistes, audacieux et révoltés contre le monde de l'art, créent leur première exposition collective. Certains peintres comme Claude Monet, Berthe Morisot, ou encore Paul Cézanne deviendront mondialement connus. Au cœur de Paris, le musée d'Orsay célèbre cet anniversaire à travers une nouvelle exposition.Près de 200 œuvres, dont des sculptures et même une expérience en réalité virtuelle, nous immergent, de façon lumineuse, au cœur de ces avant-garde. Sylvie Patry, commissaire de cette exposition et ancienne directrice des collections du musée d'Orsay, est l'invitée de VMDN.L'exposition « Paris 1874, inventer l'impressionnisme » fait effleurer aux visiteurs jusqu'au 14 juillet 2024 au musée d'Orsay le passé pour découvrir combien il est présent. Rediffusion de l'émission du mardi 26 mars 2024.

 Il y a tout juste 150 ans, le 15 avril 1874, ouvre à Paris au 35 boulevard des Capucines, à deux pas de l'Opéra Garnier, la première exposition impressionniste réunissant 31 artistes dont Edgar Degas, Berthe Morisot, Claude Monet, Alfred Sisley, Auguste Renoir, Camille Pissarro. Des artistes qui révolutionneront l'Histoire de l'art. Le musée d'Orsay leur rend hommage.  L'impressionnisme. C'est l'un des mouvements les plus célèbres de la peinture. Des tableaux dans lesquels règne l'impression de l'instant mobile. Et de la lumière. À travers les effets qu'elle produit, sur les personnes, la nature ou les villes.Un courant qui apparaît en 1874, lorsque ses inventeurs, un groupe de 31 artistes, audacieux et révoltés contre le monde de l'art, créent leur première exposition collective. Certains peintres comme Claude Monet, Berthe Morisot, ou encore Paul Cézanne deviendront mondialement connus. Au cœur de Paris, le musée d'Orsay célèbre cet anniversaire à travers une nouvelle exposition.Près de 200 œuvres, dont des sculptures et même une expérience en réalité virtuelle, nous immergent, de façon lumineuse, au cœur de ces avant-garde. Sylvie Patry, commissaire de cette exposition et ancienne directrice des collections du musée d'Orsay, est l'invitée de VMDN.L'exposition « Paris 1874, inventer l'impressionnisme » fait effleurer aux visiteurs jusqu'au 14 juillet 2024 au musée d'Orsay le passé pour découvrir combien il est présent. Rediffusion de l'émission du mardi 26 mars 2024.

Jantschek, Thorsten www.deutschlandfunkkultur.de, Lesart

Jantschek, Thorsten www.deutschlandfunkkultur.de, Lesart

Jantschek, Thorsten www.deutschlandfunkkultur.de, Lesart

The winning-most trainer in Royal Ascot history, Aidan O'Brien, joins Emmet Kennedy to preview all of his leading contenders for the showpiece meeting of the summer. Beginning with exciting two-year-olds Camille Pissarro, Tunbridge Wells, Whistlejacket, Treasure Isle, Truly Enchanting, Heavens Gate, and Fairy Godmother. Then onto three-year-olds Henry Longfellow, Diego Velazquez, Grosvenor Square, Illinois, Agenda, London City, Jan Brueghel, Highbury, River Tiber, Unquestionable, Mountain Bear, Content, Buttons, and Opera Singer. Finally, the older horses Auguste Rodin, Kyprios, and Continuous. This episode is brought to you by BetterHelp. If you're thinking of starting therapy, give BetterHelp a try. It's entirely online, designed to be convenient, flexible, and suited to your schedule. Our listeners get 10% off their first month, so give online therapy a try at betterhelp.com/FURLONG. The Final Furlong Podcast is proudly brought to you by Geoff Banks Bet. Join the excitement and Sign up to Geoff Banks Online now with promo code FFP500 and get 10% of any net losses returned as cash after your first month of betting, up to £500 at geoffbanks.bet.  Its tradition redefined with modern tech and unbeatable odds. Apple: https://apps.apple.com/gb/app/geoff-banks-online/id881898186 Android: https://play.google.com/store/apps/details?id=com.geoff_banks.geoffbanks Venatour Racing Social: If your planning a racing trip to Europe or further afield, check out Venatour Racing Social for a large range of bespoke racing holidays at Venatour.co.uk Form Tools: Proform is the essential tool for punters looking to make money from betting on Horse Racing. Our form book covers Jumps and Flat racing in the UK and Ireland. https://www.proformracing.com/ Twitter: @FinalFurlongPod Email: radioemmet@gmail.com In association with Adelicious Podcast Network. Hosted on Megaphone.  Follow us for free on Spotify Podcasts https://open.spotify.com/show/3e6NnBkr7MBstVx5U7lpld Learn more about your ad choices. Visit podcastchoices.com/adchoices

Just in time for your Memorial Day travels, here's an extended episode celebrating the anniversary of Impressionism! We take another look at three of the originals: Claude Monet, Camille Pissarro, and Berthe Morisot. Her painting “The Mother and Sister of the Artist” is featured in the upcoming blockbuster “Paris 1874: The Impressionist Moment” opening Sept. 8 at the National Gallery of Art in Washington DC. Find out more on their site. SHOW NOTES Opening theme: "Easy" by Ron Gelinas https://youtu.be/2QGe6skVzSs Episode Music: OFFENBACH CAN-CAN by Light Symphony Orchestra; Offenbach https://archive.org/details/78_offenbach-can-can_light-symphony-orchestra-offenbach_gbia0309744b EPISODES  Monet--Grainstack Show notes and transcript https://alonglookpodcast.com/grainstack/ Pissarro--Place du Carrousel Show notes and transcript https://alonglookpodcast.com/place-du-carrousel-by-camille-pissarro/ Morisot--Mother and Sister of the Artist Show notes and transcript https://alonglookpodcast.com/the-mother-and-sister-of-the-artist-by-berthe-morisot/ EXHIBITIONS “Paris 1874: The Impressionist Moment” National Gallery of Art (Sept 8-Jan. 19) https://www.nga.gov/exhibitions/2024/paris-1874-impressionist-moment.html “Mary Cassatt at Work” Philadelphia Museum of Art (May 18-Sept. 8) https://press.philamuseum.org/mary-cassatt-at-work/ “The Impressionist Revolution from Monet to Matisse” Dallas Museum of Art (thru Nov. 3) https://impressionistrevolution.dma.org/p/1 SUGGESTED READING “Luncheon of the Boating Party” by Susan Vreeland https://bookshop.org/p/books/luncheon-of-the-boating-party-susan-vreeland/11716075?ean=9780143113522 Transcript is available at https://alonglookpodcast.com/impressionism

Il y a tout juste 150 ans, le 15 avril 1874, ouvre à Paris au 35 boulevard des Capucines, à deux pas de l'Opéra Garnier, la première exposition impressionniste réunissant 31 artistes dont Edgar Degas, Berthe Morisot, Claude Monet, Alfred Sisley, Auguste Renoir, Camille Pissarro. Des artistes qui révolutionneront l'Histoire de l'art. Le musée d'Orsay leur rend hommage. L'impressionnisme. C'est l'un des mouvements les plus célèbres de la peinture. Des tableaux dans lesquels règne l'impression de l'instant mobile. Et de la lumière. À travers les effets qu'elle produit, sur les personnes, la nature ou les villes.Un courant qui apparaît en 1874, lorsque ses inventeurs, un groupe de 31 artistes, audacieux et révoltés contre le monde de l'art, créent leur première exposition collective. Certains peintres comme Claude Monet, Berthe Morisot, ou encore Paul Cézanne deviendront mondialement connus. Au cœur de Paris, le musée d'Orsay célèbre cet anniversaire à travers une nouvelle exposition.Près de 200 œuvres, dont des sculptures et même une expérience en réalité virtuelle, nous immergent, de façon lumineuse, au cœur de ces avant-garde. Sylvie Patry, commissaire de cette exposition et ancienne directrice des collections du musée d'Orsay, est l'invitée de VMDN.L'exposition « Paris 1874, inventer l'impressionnisme » fait effleurer aux visiteurs jusqu'au 14 juillet au musée d'Orsay le passé pour découvrir combien il est présent. 

Il y a tout juste 150 ans, le 15 avril 1874, ouvre à Paris au 35 boulevard des Capucines, à deux pas de l'Opéra Garnier, la première exposition impressionniste réunissant 31 artistes dont Edgar Degas, Berthe Morisot, Claude Monet, Alfred Sisley, Auguste Renoir, Camille Pissarro. Des artistes qui révolutionneront l'Histoire de l'art. Le musée d'Orsay leur rend hommage. L'impressionnisme. C'est l'un des mouvements les plus célèbres de la peinture. Des tableaux dans lesquels règne l'impression de l'instant mobile. Et de la lumière. À travers les effets qu'elle produit, sur les personnes, la nature ou les villes.Un courant qui apparaît en 1874, lorsque ses inventeurs, un groupe de 31 artistes, audacieux et révoltés contre le monde de l'art, créent leur première exposition collective. Certains peintres comme Claude Monet, Berthe Morisot, ou encore Paul Cézanne deviendront mondialement connus. Au cœur de Paris, le musée d'Orsay célèbre cet anniversaire à travers une nouvelle exposition.Près de 200 œuvres, dont des sculptures et même une expérience en réalité virtuelle, nous immergent, de façon lumineuse, au cœur de ces avant-garde. Sylvie Patry, commissaire de cette exposition et ancienne directrice des collections du musée d'Orsay, est l'invitée de VMDN.L'exposition « Paris 1874, inventer l'impressionnisme » fait effleurer aux visiteurs jusqu'au 14 juillet au musée d'Orsay le passé pour découvrir combien il est présent. 

A Morning News Update That Takes Into Account The News Stories You Deem 'Highly Conversational' Today's Sponsor: Resume Solutionhttp://thisistheconversationproject.com/resumesolution Today's Rundown: Toy Story 5, Frozen 3 & Zootopia 2 Get Release Date Windowshttps://www.comingsoon.net/movies/news/1531226-toy-story-5-frozen-3-zootopia-2-get-release-date-windows Vegas mayor says A's should stay in Oakland, then walks it backhttps://sports.yahoo.com/vegas-mayor-says-stay-oakland-001442815.html Coke hopes to excite younger drinkers with new raspberry-flavored Coca-Cola Spicedhttps://www.yahoo.com/lifestyle/coke-hopes-excite-younger-drinkers-021238568.html Disney to invest $1.5 billion in ‘Fortnite' maker Epic Games to create games, entertainmenthttps://apnews.com/article/disney-epic-games-fortnite-deal-investment-2416beb86a5306476b5a11a4cfc9cab6 Savannah Chrisley Alleges Her Parents Have Not Spoken In A Year|https://okmagazine.com/p/todd-julie-chrisley-havent-spoken-phone-one-year-prison/ Jesus Commercials Return to Super Bowl: He Gets Us and Hallow to Air Adshttps://www.christianheadlines.com/contributors/michael-foust/jesus-commercials-return-super-bowl-he-gets-us-hallow-air-ads.html#google_vignette Yellowstone's Kelly Reilly, Cole Hauser and Luke Grimes Want Major Raises for New Spinoffhttps://www.yahoo.com/entertainment/yellowstone-kelly-reilly-cole-hauser-134421996.html Bill Maher Calls Kanye West a 'Charming Antisemite,' Won't Air Interviewhttps://www.thewrap.com/bill-maher-kanye-west-antisemite-tmz-investigates/ Website: http://thisistheconversationproject.com Facebook: http://facebook.com/thisistheconversationproject Twitter: http://twitter.com/th_conversation TikTok: http://tiktok.com/@theconversationproject YouTube: http://thisistheconversationproject.com/youtube Podcast: http://thisistheconversationproject.com/podcasts #yournewssidepiece #coffeechat #morningnews ONE DAY OLDER ON FEBRUARY 8:Ted Koppel (84)Seth Green (50)Cecily Strong (40) WHAT HAPPENED TODAY:2007: Model-actress Anna Nicole Smith was found unresponsive at the Seminole Hard Rock Hotel and Casino in Hollywood, Florida. She was pronounced dead at a local hospital a short time later. Her death was ruled an accidental drug overdose of a sedative.2012: Elizabeth Taylor's collection of artworks by Vincent Van Gogh, Camille Pissarro and Edgar Degas sold for over $17 million at Christie's in London.2016: Mexico's president announced the recapture of drug lord Joaquín “El Chapo” Guzmán. PLUS, TODAY WE CELEBRATE: Laugh and Get Rich Dayhttps://nationaltoday.com/laugh-and-get-rich-day/

Un resumen de los acontecimientos ocurridos un día como hoy: 13 de noviembre 1903: Fallece a los 73 años el pintor francés Camille Pissarro. El artista es considerado uno de los padres del impresionismo 1985: La erupción del volcán Nevado del Ruiz, en los Andes colombianos sepulta la ciudad de Armero, cobrando la vida de aproximadamente 23.000 personas 1994: En un referéndum, los suecos votan a favor de la entrada del país en la Unión Europea. El 52.2% de los electores votó por el ‘sí', mientras que el 46.9% optó por el ‘no' 2015: Ataques terroristas coordinados en París dejan 130 muertos y 368 heridos. La acción más mortal tuvo lugar en la sala de conciertos Bataclan donde los criminales tomaron de rehenes al público y fusilaron a 89 de los secuestrados. El Estado Islámico se atribuyó la autoría de los ataques.

La obra temprana del reconocido pintor impresionista Camille Pissarro se desarrolló precisamente en Venezuela. Procedente de Charlotte Amalie, capital de Saint Thomas, colonia danesa perteneciente a una de las Islas Vírgenes, Pissarro llegó al país junto con el artista danés Fritz Melbye en noviembre de 1852. La experiencia en Caracas fue de estímulo e intercambio recíprocos que dio lugar a una labor artística muy prolífica para ambos. A diferencia de otros visitantes extranjeros, Pissarro no recorrió el país. En Caracas, La Guaira y alrededores, obtenía todos los motivos que le interesaba registrar. La escena de género y los temas costumbristas le permitieron analizar tanto a las personas como al paisaje rural y urbano. De allí la importancia de los apuntes o bosquejos con los que tomaba el dato inmediato. Cualquier detalle, por banal o cotidiano que fuera, era interesante registrarlo. Solía dibujar el reverso y el anverso de la hoja de papel. Algunos son estudios con los que Pissarro analizaba personajes y animales para luego insertarlos en el paisaje. Gustaba reproducir bajo un concepto realista detalles locales, aparentemente triviales, que tienen, en el fondo, enorme valor documental para conocer a la Venezuela de entonces. Sin embargo, pese a esta cualidad, su factura no era detallista. Por el contrario, trabajaba las atmósferas por medio de manchas y variaciones tonales buscando sugerir más que describir. Mediante la valorización de la línea -trazada en grafito o en plumilla- creaba efectos de luces y de sombras. Podía hacerla más expresiva e intensa como dar con ella sensación de ligereza a sus paisajes y a las escenas de costumbres. El resultado son dibujos luminosos e intimistas que muestran su mirada sensible ante lo que lo rodeaba. La etapa de Caracas, considerada por los historiadores como formativa, denota la amplitud temática que el artista poseía. Además de paisajes, vegetaciones y personajes, registró las diversas vistas de la ciudad, entonces desolada y precaria pues aún era patente, por un lado, la devastación del terremoto de 1812, y por el otro, los estragos de la guerra civil entre liberales y conservadores en 1848. A ello se agregan las largas revueltas armadas que existieron durante casi todo el siglo XIX. Pissarro mostró el aspecto pueblerino de la capital con sus templos, caminos y obras de ingeniería a medio hacer. Una devastación que no escapó de su percepción sobre el país. Afortunadamente, gran parte de los dibujos de la etapa caraqueña de Pissarro se encuentran en varias colecciones de museos nacionales e instituciones públicas y privadas del país. No se destruyeron como una buena cantidad de obras que se quemaron años después, en 1870, cuando tropas prusianas invadieron a Francia e incendiaron la casa del pintor. Estos dibujos quedaron en el país, un legado que, según los historiadores, tuvo gran importancia en su obra impresionista posterior. La luz y su manera de interpretar la realidad parecen confirmarlo. Camille Pissarro regresó a Saint Thomas y luego vivió en París, donde falleció en 1903. Escrito y narrado por Susana Benko Foto: Camille Pissarro La Pastora, 1853Tinta y sepia sobre papel Colección Galería de Arte Nacional, Caracas 1854

Un Día Como Hoy 10 de Julio: Nace: 1830: Camille Pissarro, pintor y anarquista francés (f. 1903). 1856: Nikola Tesla, ingeniero e inventor croata (f. 1943). 1871: Marcel Proust, escritor francés (f. 1922). 1895: Carl Orff, compositor alemán (f. 1982). 1931: Alice Munro, premio Nobel de literatura en 2013, escritora canadiense. Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

“Degas en noir et blanc”Dessins, estampes, photographiesà la BnF I Richelieu, Parisdu 31 mai au 3 septembre 2023Interview de Flora Triebel, conservatrice responsable de la photographie du XIXe siècle, département des Estampes et de la photographie, BnF et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 30 mai 2023, durée 23'17,© FranceFineArt.https://francefineart.com/2023/06/01/3447_degas-noiretblanc_bnf-richelieu/Communiqué de presseCommissariat :Henri Loyrette, président-directeur honoraire du musée du Louvre, commissaire généralNSylvie Aubenas, directrice du département des Estampes et de la photographie, BnFValérie Sueur-Hermel, conservatrice responsable des estampes du XIXe siècle, département des Estampes et de la photographie, BnFFlora Triebel, conservatrice responsable de la photographie du XIXe siècle, département des Estampes et de la photographie, BnFCette exposition propose une approche inédite de l'oeuvre d'Edgar Degas à travers son intérêt constant pour le noir et blanc, qu'il exprime par l'estampe et la photographie mais aussi par le dessin et la peinture. Animé par une insatiable curiosité technique, l'artiste a construit un oeuvre en noir et blanc qui n'a pas d'équivalent en son temps et lui assure une place singulière parmi les artistes impressionnistes. Grâce à la réunion de cent soixante pièces, issues de la riche collection de la BnF et de prêts prestigieux, le visiteur suit l'évolution d'une passion qui fit affirmer à Degas : « Si j'avais à refaire ma vie, je ne ferais que du noir et blanc.»Un parcours à la fois chronologique et thématique dévoile les expérimentations de Degas, de son apprentissage du noir et blanc aux années de passion dévorante pour l'estampe, à travers les motifs récurrents qui nourrissent ses recherches. Ses premiers essais d'aquafortiste remontent aux années 1850 mais c'est vingt ans plus tard que naissent, à la faveur de recherches techniques d'une rare inventivité, les planches qui comptent parmi les chefs-d'oeuvre de l'estampe impressionniste : du instantanés de la vie moderne saisis à l'Opéra ou dans les cafés-concerts, dans l'intimité des intérieurs bourgeois ou des maisons closes. Le goût de l'épreuve unique conduit Degas au monotype, qu'il considère comme un « dessin imprimé » et dont il devient un maître inégalé. Les femmes à leur toilette constituent le conservatrice responsable des sujet récurrent des lithographies tardives tandis que l'expérimentation photographique du XIXesiècle, dernière passion à laquelle il s'adonne en 1895, lui permet de retrouver « l'atmosphère de lampes » et le clair-obscur abordé dans l'estampe.Cent soixante oeuvres (estampes, dessins, photographies ainsi qu'une peinture et une sculpture), issues des collections de la BnF et de prêts français (musée d'Orsay, musée national Picasso, Institut national d'histoire de l'art…) et étrangers (Metropolitan Museum of Art), restituent la richesse de cet oeuvre aux supports et aux techniques variés. Ces pièces exceptionnelles sont mises en relation avec les travaux de ses amis Mary Cassatt et Camille Pissarro. #Catalogue de l'exposition – DEGAS EN NOIR ET BLANC par Henri Loyrette Sylvie Aubenas, Valérie Sueur-Hermel et Flora Triebel – BnF I Éditions. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Sefarad es la etimología de Sefardí, término bíblico con el que las fuentes hebreas designan la península ibérica, y se emplea para designar todo aquello perteneciente o relativo a Sefarad. El uso tanto de Sefarad como de Sefardí es sumamente frecuente ya desde fines del siglo XX. Se emplean para referirse, respectivamente, a la península ibérica y los judíos nacidos, o provenientes, o descendientes de dicha región. Los sefardíes han desarrollado una cultura y una tradición distintas a lo largo de los siglos, basadas en la mezcla de las culturas judía, española y portuguesa. La lengua tradicional de los sefardíes es el ladino, que es una variante del español antiguo con elementos hebreos y árabes. En 1492, los Reyes Católicos expulsaron a los judíos de España y muchos sefardíes huyeron a Portugal y otros países de Europa, África del Norte y Oriente Medio. A lo largo de los siglos, los sefardíes se han asentado en diferentes partes del mundo, como los Balcanes, Turquía, América Latina y los Estados Unidos. Los sefardíes han hecho importantes contribuciones a la cultura, la literatura, la música y la ciencia. Algunos sefardíes famosos incluyen al filósofo Baruch Spinoza, el pintor Camille Pissarro, el compositor Isaac Albéniz y el empresario Levi Strauss, entre otros. Otros temas en el programa: 29:53 Sneferu, el gran constructor 43:25 Las tumbas de los grandes del Siglo de Oro 53:54 El exquisito terror de la realidad La pirámide inmortal - Capítulos 8 y 9 Publicado en luisbermejo.com en el enlace directo: https://luisbermejo.com/sefarad-con-nombre-de-podcast-04x38/ Puedes encontrarme y comentar o enviar tu mensaje o preguntar en: WhatsApp: +34 613031122 Paypal: https://paypal.me/Bermejo Bizum: +34613031122 Web: https://www.luisbermejo.com. Facebook: https://www.facebook.com/ConNombredePodcast/ Twitter: https://twitter.com/LuisBermejo Instagram: https://www.instagram.com/luisbermejo/ Canal Telegram: https://t.me/ConNombredePodcast Grupo Signal: https://signal.group/#CjQKIA_PNdKc3-SAGWKoJZjqR3RwMQ7uzo0bW2eBB4QDtJVZEhBc504fpeK4tyETyuwFVAUI Grupo Whatsapp: https://chat.whatsapp.com/FQadHkgRn00BzSbZzhNviT

Behind some great men, there is a big brother. Leon Monet, Claude Monet's older brother, is central to a new public art show, or exhibition, in Paris. The exhibition explores the part Leon Monet played in the famous impressionist painter's life and art. Leon was a color chemist who was four years older than Claude. Historians now understand that Leon helped Claude succeed. He helped in the development of the famous color palette that Claude used to create artworks like the “Water Lilies” series.一些伟人的背后，都有一个大哥。克劳德·莫奈 (Claude Monet) 的哥哥莱昂·莫奈 (Leon Monet) 是巴黎一场新的公共艺术展或展览的中心人物。展览探讨了莱昂·莫奈在这位著名印象派画家的生活和艺术中所扮演的角色。莱昂是一位比克劳德大四岁的色彩化学家。历史学家现在明白，里昂帮助克劳德成功了。他帮助开发了克劳德用来创作“睡莲”系列等艺术作品的著名调色板。Geraldine Lefebvre is in charge of the exhibition at the Musee du Luxembourg. “It's never been known before, but without Leon there would not have been a Monet — the artist the world knows today,” Lefebvre said. She explained, “His rich big brother supported him in the first period of his life when he had no money or clients and was starving.” Lefebvre said that the colors Claude was famous for “came from the synthetic textile dye colors Leon created” in the town of Rouen. Rouen was the subject of some of Claude's best-known paintings.Geraldine Lefebvre 负责卢森堡博物馆的展览。 “以前从未为人所知，但如果没有莱昂，就不会有莫奈——当今世界都知道的艺术家，”勒斐伏尔说。她解释说，“他有钱的哥哥在他生命的最初阶段支持他，当时他没有钱，没有客户，还在挨饿。” Lefebvre 说，Claude 著名的颜色“来自 Leon 在鲁昂镇创造的合成纺织染料颜色”。鲁昂是克劳德一些最著名的画作的主题。The exhibition represents years of investigation by Lefebvre. She visited Monet's great-grandchildren, studied family records and brought to light a painting of Leon by Claude. Leon hid the painting in a private collection. The 1874 artwork has never before been seen by the public. It shows Leon with a black suit, serious expression and red face. The exhibit shows that the long-held belief that the Monet brothers did not communicate is incorrect. “Historians always thought the two brothers had nothing to do with each other," she said.该展览代表了 Lefebvre 多年的调查。她拜访了莫奈的曾孙，研究了家庭记录，并发现了克劳德 (Claude) 的一幅莱昂 (Leon) 画作。莱昂将这幅画藏在私人收藏中。这件 1874 年的艺术品以前从未被公众看到过。照片中的莱昂身穿黑色西装，表情严肃，脸色通红。该展览表明，长期以来认为莫奈兄弟没有交流的观点是不正确的。 “历史学家一直认为这两兄弟彼此无关，”她说。“In reality, they were incredibly close throughout their life,” Lefebvre said. The brothers had an argument in the early 1900s and that may explain why no direct signs of the relationship exist. What is now known is that Leon helped his younger brother. He introduced Claude to other artists, gave Claude money, and purchased Claude's art — buying it at high prices to improve the painter's public image. “This exhibit is important as it throws light on Leon Monet, who up until now has been an invisible figure,” said Frances Fowle of the National Galleries of Scotland.“实际上，他们一生都非常亲密，”勒斐伏尔说。兄弟俩在 1900 年代初期发生争执，这或许可以解释为什么没有直接的关系迹象存在。现在知道的是，莱昂帮助了他的弟弟。他把克劳德介绍给其他艺术家，给克劳德钱，买下克劳德的画——高价买下，以提升这位画家的公众形象。苏格兰国家美术馆的弗朗西斯福尔说：“这次展览很重要，因为它揭示了莱昂莫奈，直到现在他一直是一个隐形人物。”Leon's influence went beyond his brother: He financially supported other artists such as Camille Pissarro, Auguste Renoir and Alfred Sisley.Claude Monet also worked for his older brother as a color assistant. Leon would dissolve carbon to create a chemical called aniline, which created synthetic colors that natural colors could not compete with. One of the earlier examples of Leon's colorful influence on Claude's art is in the exhibition. It is an 1860s picture Monet drew of his future wife Camille. She appears in a dress of a green color that had never been seen before. “The French press coined the term ‘Monet green,'” Lefebvre said, adding that reporters made fun of it at first. “At the time, they said he would make a good dye artist.” However, both Monets had the last laugh.莱昂的影响力超越了他的兄弟：他在经济上支持卡米尔·毕沙罗、奥古斯特·雷诺阿和阿尔弗雷德·西斯莱等其他艺术家。克劳德·莫奈还为他的哥哥担任色彩助理。莱昂会溶解碳来制造一种叫做苯胺的化学物质，这种化学物质可以制造出天然色素无法与之抗衡的合成色素。展览中展示了莱昂对克劳德艺术影响的早期例子之一。这是一张 1860 年代莫奈为他未来的妻子卡米尔画的画。她穿着一件以前从未见过的绿色连衣裙出现。 “法国媒体创造了‘莫奈绿'这个词，”Lefebvre 说，并补充说一开始记者们取笑它。 “当时，他们说他会成为一名优秀的染料艺术家。”然而，两位莫奈都笑到了最后。Claude Monet founded impressionism — a term that comes from his 1872 painting “Impression, Sunrise” — to become one of the most famous painters of the last two hundred years. And by the height of the artistic movement at the end of the 19th century, “80 percent of all impressionists' work” used the synthetic colors borrowed from Leon, Lefebvre says Leon Monet. Brother of the Artist and Collector runs at the Musee du Luxembourg in Paris from March 15 until July 16.克劳德·莫奈 (Claude Monet) 创立了印象派——这个词来自他 1872 年的画作《印象，日出》——成为过去 200 年来最著名的画家之一。列斐伏尔 (Lefebvre) 说，到了 19 世纪末艺术运动的鼎盛时期，“80% 的印象派作品”都使用了从莱昂那里借来的合成色。艺术家和收藏家的兄弟将于 3 月 15 日至 7 月 16 日在巴黎的卢森堡博物馆展出。

Steve and Katie speak with appellate litigator David Barrett about the story animating a recent Supreme Court case between the heirs of Lilly Cassirer, who fled Germany in 1939 after surrendering the painting Rue Saint-Honoré Après-midi, Effet de Pluie (Rue Saint-Honoré in the Afternoon, Effect of Rain) by Camille Pissarro to the Nazis, and the Spanish Museum known as the Thyssen-Bornemisza Collection. They discuss the journey of the painting in and out of the United States over a 60-plus-year period before it found its way into the collection of a Spanish museum, the Cassirer family's efforts to find and reclaim the painting, and the decades-long litigation in California that led to the recent Supreme Court decision overturning a decision of the 9th Circuit applying the Spanish law of adverse possession in favor of the Spanish Museum.

You'll love this episode as Joe Samo talks about impressionist painter Camille Pissarro and the journey of the masterpiece Rue Saint-Honore he painted in 1897. In 1939, the Nazis coerced a German art collector to sell the painting as she tried to flee Berlin. After 60 years in the underground art world, the painting resurfaced in 1999 in a Madrid museum. Since then, the heirs of the German art collector have been fighting the country of Spain for the art piece. The United States Supreme Court just intervened in the fight over this long-lost treasure. You'll love the story of this masterpiece and its journey since 1897. Oh, and of course, you'll learn about international law as the painting's story keeps you entertained. #Nazis #Pissarro #Lawsuit Website: linktr.ee/slamo Email: joe@SamoLaw.com Instagram: @runitbymylawyer Support the Podcast: Venmo: @Joe-Samo-1

John the Baptist's disciples come to meet with Jesus and ask him about his messiahship and Jesus simply points to his words and actions instead of giving a direct answer. Why does he do this? What does he mean when he goes on to say that the violent are laying hold of the kingdom? All of this goes together as we consider the. nature of repentance and who is repentant in most cases during Jesus' ministry.Image: Peasants Carrying Sticks, by Camille Pissarro, National Gallery of Art, CC0, via Wikimedia Commons

“Walter Sickert“Peindre et transgresserau Petit Palais, Parisdu 14 octobre 2022 au 29 janvier 2023Interview de Clara Roca, conservatrice en charge des collections d'arts graphiques des XIXe et XXe siècles, et de la photographie, et co-commisaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 13 octobre 2022, durée 21'17.© FranceFineArt.https://francefineart.com/2022/10/14/3323_walter-sickert_petit-palais/Communiqué de presseCommissariat du Petit Palais :Annick Lemoine, commissaire générale, directrice du Petit PalaisDelphine Lévy, directrice générale de Paris Musées (2013-2020)Clara Roca, conservatrice en charge des collections d'arts graphiques des XIXe et XXe siècles, et de la photographieCommissariat de la Tate Britain :Alex Farquharson, commissaire général, directeur de la Tate BritainEmma Chambers, conservatrice au département Modern British Art, Tate BritainCaroline Corbeau-Parsons, conservatrice des Arts graphiques au musée d'Orsay, ancienne conservatrice au département British Art 1850-1915, de la Tate BritainThomas Kennedy, assistant conservateur au département Modern British Art, Tate Britain Le Petit Palais présente, pour la première fois en France, une grande rétrospective dédiée au peintre anglais Walter Sickert (1860-1942) conçue en partenariat avec la Tate Britain.Cet artiste résolument moderne, aux sujets énigmatiques, est peu présent dans les collections françaises. Pourtant, Sickert tissa des liens artistiques et amicaux avec de nombreux artistes français et importa en Angleterre une manière de peindre très influencée par ses séjours parisiens. Cette exposition est l'occasion de (re)découvrir cet artiste si singulier qui eut un impact décisif sur la peinture figurative anglaise, notamment sur Lucian Freud.Le parcours de l'exposition suit un fil chronologique tout en proposant des focus thématiques sur les grands sujets traversés par son oeuvre.La première section, à travers une sélection d'autoportraits peints tout au long de sa vie, permet d'appréhender sa personnalité à la fois énigmatique, complexe et séduisante. Très provocateur, dans le contexte d'un art académique anglais relativement corseté, Walter Sickert peint des sujets alors jugés trop audacieux comme des scènes de music-hall ou, plus tard, des nus dés-érotisés, présentés de manière prosaïque dans des intérieurs pauvres de Camden Town. Ses choix de couleurs aussi virtuoses qu'étranges, hérités de son apprentissage auprès de Whistler, ainsi que ses cadrages déroutants frappent ses contemporains. À partir de 1890, il voyage de plus en plus régulièrement à Paris et à Dieppe jusqu'à s'installer de 1898 à 1905 dans la station balnéaire dont il peint de nombreuses vues. Il est alors influencé par la scène artistique française et devient un proche d'Edgar Degas, Jacques-Émile Blanche, Pierre Bonnard, Claude Monet ou encore Camille Pissarro. De retour à Londres en 1905, il diffuse sa fine connaissance de la peinture française en Angleterre par ses critiques, son influence sur certaines expositions ou par son enseignement. Il débute à ce moment-là sa série des « modern conversation pieces » qui détourne les scènes de genre classique et traditionnel de la peinture anglaise en des tableaux ambigüs, menaçants voire sordides dont le plus célèbre exemple est celui de la série des « meurtres de Camden Town ». [...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

“Face au Soleil“ Un astre dans les artsau musée Marmottan Monet, Parisdu 21 septembre 2022 au 29 janvier 2023Interview de Marianne Mathieu, directrice scientifique du musée Marmottan Monet et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 20 septembre 2022, durée 8'41.© FranceFineArt.Communiqué de presseCommissariat :Marianne Mathieu, directrice scientifique du musée Marmottan Monet, ParisDr. Michael Philipp, conservateur en chef au musée Barberini, PotsdamUne exposition du musée Marmottan Monet, à Paris et du Museum Barberini, à Potsdam.Le 13 novembre 1872, Claude Monet peignait depuis la fenêtre de son hôtel au Havre, une vue du port par la brume. Exposée deux ans plus tard sous le titre Impression, soleil levant (1872, Paris, musée Marmottan Monet) l'oeuvre inspire au critique Louis Leroy le terme d'Impressionnistes et donne son nom au groupe formé par Monet et ses amis.En 2022, le musée Marmottan Monet célèbre les 150 ans du fleuron de ses collections, Impression, soleil levant et lui rend hommage à travers l'exposition « Face au Soleil, un astre dans les arts » du 21 septembre 2022 au 29 janvier 2023.Albrecht Dürer, Luca Giordano, Pierre-Paul Rubens, Claude Gellée dit « Le Lorrain », Joseph Vernet, Mallord William Turner, Gaspar David Friedrich, Gustave Courbet, Eugène Boudin, Camille Pissarro, Paul Signac, André Derain, Maurice Denis, Félix Vallotton, Laurits Tuxen, Edvard Munch, Otto Dix, Otto Freundlich, Sonia Delaunay, Vladimir Baranov-Rossiné, Joan Miró, Alexandre Calder, Otto Piene, Gérard Fromanger et Vicky Colombet sont quelques-uns des maîtres réunis pour célébrer le plus illustre lever de soleil de l'histoire de l'art.53 prêteurs, près d'une centaine d'oeuvres retracent l'histoire de la représentation du soleil dans les arts depuis l'Antiquité jusqu'à nos jours. Un rare ensemble de dessins, peintures, photographies et instruments de mesure provenant de l'Observatoire de Paris illustre les développements de l'astronomie à travers les siècles et sont mises en résonance avec l'évolution de la peinture de paysage et d'atmosphère.Orbe rouge chez les Égyptiens, figure masculine dénommée Hélios, Apollon, Phébus en Grèce puis à Rome, le soleil-dieu de l'antiquité, incarnation d'un indispensable élan vital ouvre le parcours de l'exposition. Plaque d'ivoire, précieuses enluminures, exceptionnels tarots, peintures du Moyen Âge et de la Renaissance suivent et rendent compte d'un autre soleil. Lorsqu'un seul Dieu suffit à régner sur l'occident chrétien, l'astre perd de son importance. Le soleil n'est plus créateur, mais création du Dieu fait homme (Bible sacrée, La création du Ciel et de la Lune). Sa représentation, ramenée à un cercle à visage humain, se fait rare et, avec son complément la lune, cantonne par exemple les illustrations de la crucifixion (Anonyme, Maître de Valence, Crucifixion, 1450/1460, musée Thyssen Bornemisza, Madrid).Les chutes d'Icare ou de Phaéton décrites au XVIIe par l'Italien Saraceni (Musée Capodimonte, Naples) et le néerlandais Goltzius (BNF, Paris), au XVIIIe par le français Henri-Antoine de Favanne (musée des beaux-arts, Tours) témoignent de la pérennité des thèmes mythologiques devenus l'apanage des grands souverains au premier rang desquels le Roi Soleil, Louis XIV. [...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Rast unter Bäumen bei Pontoise“ von Camille Pissarro aus dem Jahr 1878 und die Frage, ob Erwachsene die Natur so lieben, weil sie von der Zivilisation so verdorben worden sind.

Ecco il terzo episodio della mini serie "Il Giardino Impressionista" ideata e realizzata insieme a Clara Stevanato. Parliamo di "Donne in giardino" ossia di tutte quelle opere impressioniste in cui vengono ritratte figure femminili che in alcuni casi sono parte attiva del quadro in altri restano "sullo sfondo". Andremo ad analizzare opere come "Dans la serre" di Albert Bartholomè, "Dans le Jardin" di Henri Martin, "Julie Pissarro au Jardin" di Camille Pissarro, "Le Grand Jardin " di Pierre Bonnard e molte altre ancora. Infine parleremo brevemente di due donne pittrici impressioniste, Marie Bracquemond e Berthe Morisot. Buon ascolto a tutti! Per qualsiasi commento scrivete su Instagram a @enricodella23.

Randall goes on a deep dive of modern art in an attempt to describe what leads to abstraction.  (You may download slideshow here: https://traffic.libsyn.com/secure/chrisandrandall/ep89_slideshow.zip) Topics discussed include:  figurative art religious art fantasy art landscape painting Alexander Cozens John Robert Cozens Thomas Monroe J. M. W. Turner Theory of Colours by Goethe Pierre-Henri de Valenciennes En plein air (open-air painting) painting technology Eugène Delacroix photography technology Paris Salon Impressionism Claude Monet Timeline discussed:  1785 -- Alexander Cozens published a pamphlet on this manner of drawing landscapes from blots, called A New Method of Assisting the Invention in Drawing Original Compositions of Landscape 1776 -- Cozen's son, John Robert Cozens displays A Landscape with Hannibal in His March Over the Alps, Showing to His Army Fertile Plains of Italy, now lost 1777 -- John Robert Cozens paints watercolor Lake of Albano and Castel Gandolfo at Sunset which auctions for 2.4 million pounds in 2010 1794 -- John Robert Cozens has nervous breakdown. Committed to Bethlem Royal Hospital. Famous doctor/art collector Thomas Monro buys his collection. Dies 1797, 3 year later. Painter JMW Turner is in his circle 1800 -- The theory of 'En plein air' painting is credited to Pierre-Henri de Valenciennes (1750–1819) first expounded in a treatise entitled Reflections and Advice to a Student on Painting, Particularly on Landscape 1810 -- Goethe's Theory of Colours 1812 -- J.M.W. Turner paints Snow Storm: Hannibal and his Army Crossing the Alps, slide 004. Inspired by  A Landscape with Hannibal in His March Over the Alps, Showing to His Army Fertile Plains of Italy 1824 -- Massacre at Chios by Eugène Delacroix 1824 -- Delacroix Horse Frightened by a Storm 1830 -- Delacroix Liberty Leading the People 1831 -- The Great Wave at Kanagawa 1839 -- France pays Daguerre a pension in exchange to publish his photographic process. France considers this a gift to the world. By 1853, an estimated three million daguerreotypes per year were being produced in the United States alone 1841 -- Delacroix Christ on the Sea of Galilee 1841 -- American John Goffe Rand, a portrait painter and inventor, invents the tin paint tube. The tin tube allowed unused oil paint to be stored and used later without drying out. Renoir said “Without tubes of paint, there would have been no Impressionism.” 1850s -- Field easel invented 1862 -- Delacroix Shipwreck on the Coast 1863 -- Camille Pissarro, Claude Monet, Armand Guillaumin, Paul Cézanne, and others' works are all rejected by the Salon. Emperor Napoleon III founds the Salon des Refusés "exhibition of rejects" to display their works. 1872 -- Claude Monet paints Impression, Sunrise 1888 -- Monet starts painting Haystacks series recorded March 1, 2022   Visit us at https://chrisandrandall.com/

“St. Thomas" Sonny Rollins: Saxophone Colossus (Prestige, 1957) Sonny Rollins, Tommy Flanagan, Doug Watkins, Max Roach. La composición es obra de Sonny Rollins. Tomajazz: © Pachi Tapiz, 2022 ¿Sabías que? "St. Thomas" es el tema que abría el disco Saxophone Colossus, posiblemente la grabación más conocida de Sonny Rollins.  El tema es un calipso y toma su nombre de St. Thomas, que es la isla principal de las Islas Vírgenes Estadounidenses. El pintor impresionista Camille Pissarro nació en esta isla.  Este tema tradicional ya lo había grabado en 1955 Randy Weston con el título "Fire Down There", en el disco Get Happy. En esa grabación el tema aparece como tradicional, pero en las grabaciones de Rollins aparece como una creación del saxofonista. En el libreto de la caja The Complete Prestige Recordings Rollins aclaraba que fue la compañía discográfica la que insistió en que se acreditara como el autor de esta melodía. Saxophone Colossus se grabó en una única sesión el 22 de junio de 1956 en los estudios de Rudy Van Gelder en Hackensack, New Jersey. Tres temas fueron acreditados a nombre de Rollins; también incluyó sendas versiones del estándar "You Don't Know What Love Is" y "Moritat" de Kurt Weill y Bertold Bretch.  Aunque alejado de los escenarios, Sonny Rollins es un nonagenario que esperemos que el próximo 7 de septiembre de 2022 cumpla 92 años.  En anteriores episodios de JazzX5/HDO/LODLMA/Maltidos Jazztardos… https://www.tomajazz.com/web/?p=50196 Más información sobre Sonny Rollins https://sonnyrollins.com/ https://www.tomajazz.com/web/?s=sonny+rollins&submit=Search Más información sobre JazzX5 JazzX5 es un minipodcast de HDO de la Factoría Tomajazz presentado, editado y producido por Pachi Tapiz. JazzX5 comenzó su andadura el 24 de junio de 2019. Todas las entregas de JazzX5 están disponibles en https://www.tomajazz.com/web/?cat=23120 / https://www.ivoox.com/jazzx5_bk_list_642835_1.html. JazzX5 y los podcast de Tomajazz en Telegram En Tomajazz hemos abierto un canal de Telegram para que estés al tanto, al instante, de los nuevos podcast. Puedes suscribirte en https://t.me/TomajazzPodcast. Pachi Tapiz en Tomajazz https://www.tomajazz.com/web/?cat=17847

Jamie and Jorge begin their mini-series on the Paris Commune. They start by recapping the events leading up to the Franco-Prussian War and explain what life was like during the Second French Empire. Tune in to to this mini-series to understand this history and why Lenin thought it was so important to address in Chapter Three of The State and Revolution. The content of the episode draws from Massacre: The Life and Death of the Paris Commune by John Merriman. New Yorker Review of the book: https://www.newyorker.com/magazine/2014/12/22/fires-paris Produced and Edited by Paul (@aufhebenkultur) Intro: Everybody Hates Chris theme song. Image: The Boulevard Montmartre on a Winter Morning by Camille Pissarro Sign up as a Comrade to support the show!

durée : 00:17:55 - L'invité du week-end - par : Carine BECARD, Eric Delvaux - Rachid Benzine est islamologue, chercheur associé au fonds Paul Ricoeur, romancier et dramaturge ; Christine Guimonnet est professeure d'histoire et géographie au lycée Camille-Pissarro de Pontoise et secrétaire générale de l'Association des professeurs d'histoire-géographie. - invités : Rachid BENZINE, Christine Guimonnet - Rachid Benzine : Islamologue, chercheur associé à l'IEP d'Aix en Provence, Christine Guimonnet : Professeure d'histoire et géographie au lycée Camille-Pissarro de Pontoise (Val-d'Oise) et secrétaire générale de l'Association des professeurs d'histoire-géographie

“Signac collectionneur“au Musée d'Orsay, Parisdu 12 octobre 2021 au 13 février 2022Interview de Charlotte Hellman, responsable des archives Signac et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 11 octobre 2021, durée 11'59.© FranceFineArt.Communiqué de presse Commissaire générale :Laurence des Cars, présidente-directrice du musée du Louvre.Commissariat :Marina Ferretti Bocquillon, directrice scientifique émérite du musée des Impressionnismes, Giverny, spécialiste de l'oeuvre de Paul Signac.Charlotte Hellman, responsable des archives Signac.Depuis une quinzaine d'années, le collectionnisme suscite un regain d'intérêt, et est à l'origine de nombreuses études, expositions et publications. Dans ce cadre, la collection Signac est un véritable cas d'école car elle reflète le regard et les partis pris d'un artiste particulièrement actif sur la scène artistique de son temps.La collaboration avec les archives Signac, qui conservent, outre la correspondance et le journal de l'artiste, un carnet où il a consigné ses achats, permet d'établir un recensement des peintures, dessins et estampes qui lui ont appartenu.Autodidacte, Signac apprend son métier en regardant les oeuvres des impressionnistes, en particulier celles de Claude Monet, d'Edgar Degas, de Gustave Caillebotte ou d'Armand Guillaumin qui pour la plupart figurent dans sa collection. Sa première acquisition est un paysage de Paul Cézanne.Issu d'une famille aisée sans être riche, Signac peut envisager de réunir des oeuvres importantes, mais se doit d'être réfléchi dans ses choix. D'emblée, le rôle qu'il joue dans la fondation puis l'organisation du Salon des Artistes Indépendants, dont il devient président en 1908, le place au carrefour des différentes tendances de l'avant-garde. S'il privilégie souvent les oeuvres de ses amis néo-impressionnistes, celles de Georges Seurat, de Camille Pissarro, de Maximilien Luce ou d'Henri-Edmond Cross en particulier, il s'intéresse aussi à celles des Nabis, Pierre Bonnard, Édouard Vuillard, Ker-Xavier Roussel, Maurice Denis et Félix Vallotton.Parmi la génération suivante, sa passion de la couleur le conduit à aimer les fauves, en particulier Kees Van Dongen, Henri Matisse, Charles Camoin et Louis Valtat. Car l'auteur du traité D'Eugène Delacroix au néoimpressionnisme indique d'emblée la filiation qui du néo-impressionnisme mène au fauvisme.La collection réserve aussi quelques surprises dont des oeuvres moins attendues chez le chantre de la couleur, comme un beau fusain d'Odilon Redon.Pour accompagner l'exposition, Signac collectionneur, catalogue de l'exposition, sous la direction de Marina Ferretti Bocquillon et Charlotte Hellman coédition musée d'Orsay / Gallimard. Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

A new exhibit at the Jewish Museum focuses on art stolen during World War II, and the process of recovery. The exhibit features looted works by artists such as Pierre Bonnard, Marc Chagall, Paul Cézanne, Gustave Courbet, Paul Klee, Franz Marc, Henri Matisse, Pablo Picasso, and Camille Pissarro, alongside new commissions. Curators Darsie Alexander and Sam Sackeroff join us to discuss the exhibit, "Afterlives: Recovering the Lost Stories of Looted Art."  The exhibit runs at the Jewish Museum through January 9, 2022.

Maler, Bauer, Netzwerker und Anarchist - Camille Pissarro (1830-1903) war einer der wichtigsten Vertreter des Impressionismus und auch über seine Kunst hinaus ein faszinierender Mensch. Das Kunstmuseum Basel hat ihm und der Entwicklung des Impressionismus die Ausstellung "Camille Pissarro: Das Atelier der Moderne" gewidmet. von Paul von Rosen

Un Día Como Hoy 10 de Julio: Nace: 1830: Camille Pissarro, pintor y anarquista francés (f. 1903). 1856: Nikola Tesla, ingeniero e inventor croata (f. 1943). 1871: Marcel Proust, escritor francés (f. 1922). 1895: Carl Orff, compositor alemán (f. 1982). 1931: Alice Munro, premio Nobel de literatura en 2013, escritora canadiense. Una producción de Sala Prisma Podcast. 2021

 Francis-Marie Martinez de Picabia le 22 janvier 1879 à Paris (2e arrondissement) et mort le 30 novembre 1953 dans la même ville, est un peintre, dessinateur et écrivain français, proche du mouvement dada, puis surréaliste.Francis Picabia est le petit-fils de Juan Martinez Picabia, né à Cuba, puis émigré à New York et Madrid et, côté maternel, d'Alphonse Davanne (1824-1912), chimiste et photographe, et président de la Société française de photographie. Son oncle, Maurice Davanne, est conservateur à la bibliothèque Sainte-Geneviève à Paris.Sa mère, Marie Davanne, meurt en 1886. Il fait ses études chez les maristes au collège Stanislas, puis au lycée Monge, à Paris. En 1894, voulant éprouver la vocation tôt manifestée de son fils, « Pancho » Picabia envoie, au Salon des artistes français, la toile de Francis intitulée Vue des Martigues. Le tableau ayant été non seulement accepté, mais primé, Picabia entre, après une scolarité compliquée, à l'École des arts décoratifs l'année suivante, où il sera l'élève de Wallet, Humbert et Cormon; mais il fréquente plus volontiers l'École du Louvre et l'Académie Humbert, où il travaille aux côtés de Georges Braque et de Marie Laurencin. L'année 1897 marque un tournant dans sa carrière : la découverte d'Alfred Sisley lui révèle l'impressionnisme, pour lequel son enthousiasme se renforce avec la rencontre de la famille Pissarro, en 1898. Il commence à exposer régulièrement au Salon des artistes français. C'est pour lui le début d'une période extrêmement féconde, qui durera dix ans ; les centaines de toiles qu'il peint alors, où l'influence impressionniste reste toujours plus ou moins sensible, sont propres à séduire le public : sa première exposition personnelle de 1905, à la galerie Haussmann à Paris, est un triomphe. Les tableaux exposés, étrangers aux nouvelles recherches plastiques, relèvent de l'imitation du « pur luminisme impressionniste »[réf. nécessaire] (Bords du Loing, 1905, Philadelphie, Museum of Art). Cependant, Picabia remet peu à peu en cause les valeurs plastiques qui lui valent son succès grandissant et, en 1908, sa rencontre avec Gabrièle Buffet — qui l'encourage à poursuivre de récentes recherches —, détermine la rupture avec l'impressionnisme comme avec ses marchands, rupture permise aussi par sa fortune personnelle. De 1903 à 1908, influencé par les peintres de Barbizon, il côtoie Alfred Sisley, Camille Pissarro et Marius Borgeaud. Son aquarelle Caoutchouc de 1909 (Musée national d'Art moderne, Paris), qui serait antidatée de 1907 et pourrait représenter des balles de caoutchouc, comme dans La Petite fille au ballon de 1908 de František Kupka, fut considérée plusieurs années plus tard, comme une des œuvres pionnières et fondatrices de l'art abstrait. À sa majorité, il prend possession de l'héritage maternel qui lui assure de confortables revenus. Sa première exposition personnelle (61 tableaux) est organisée en 1905 à Paris à la galerie Haussmann, chez Danthon, la suivante à Berlin à la Kaspar Kunstsalon. Il montrera ensuite ses œuvres à nouveau chez Danthon en 1907, puis à Londres, Munich, Barcelone. De 1905 à 1908, Picabia séjourne deux fois à Martigues et réalise de nombreux paysages de style impressionniste de la ville et de ses canaux. En 1909, il épouse Gabrièle Buffet, peut-être petite-nièce d'Alphonse de Lamartine[réf. nécessaire], petite-fille de l'amiral de Challié et descendante d'un frère de Jussieu, « l'homme qui rapporta le cèdre du Liban dans son chapeau », dixit Picabia[réf. nécessaire]. Une fille, Laure Marie Catalina, naît en 1910 ; un garçon, Pancho Gabriel François, en 1911. Ils auront encore une fille, Gabrielle Cécile, dite « Jeannine », en 1913, et un garçon, Vincente, né en 1919. À cette époque, il peint de manière très colorée à la manière des Fauves et fait ses premières incursions dans le domaine de l'abstraction. En 1911, il rejoint le groupe de Puteaux qui se réunissait dans le studio du peintre Jacques Villon, frère de Marcel Duchamp, qu'il a rencontré en 1910. Il devient aussi orphiste et crée en 1912, à Puteaux, le Salon de la Section d'Or, avant de connaître un premier succès international à l'exposition de l'Armory Show de New York, en 1913. Marqué par la Broyeuse de chocolat et le concept de ready-made de Marcel Duchamp, il confectionne, dès 1913, une série d'œuvres où il reprend l'esthétique du dessin industriel, recopiant ou simplifiant des images qu'il trouvait dans le magazine scientifique La Science et la Vie.

La última vez que el mundo vio el retrato que Van Gogh pintó de su médico el doctor Paul Gachet fue el 15 de mayo de 1990.  La obra se vendió esa noche por 82.5 millones de dólares, el precio más alto alcanzado por una obra de arte en subasta hasta ese momento.  Después se perdió su rastro para siempre. Quién la compró? Cuál es su historia?  Dónde esta hoy? En este episodio les contamos todo, o más bien: todo lo que se sabe, acerca del “Dr. Gachet”.Vincent Van Gogh vivió las ultimas semanas de su vida en el poblado de  Auvers-sur-Oise en Francia.  Se mudó ahí en Mayo de 1890, después de haber sido dado de alta de la clínica para enfermos mentales de Saint-Remy en la que estuvo interno por un año. Auvers era la residencia del doctor Paul Gachet, neurólogo y psiquiatra que se especializaba en pacientes melancólicos (así llamaban entonces a los trastornos causados por la depresión). Gachet fue pintor y grabador amateur, ademas de médico de varios artistas incluyendo a Paul Cezanne y Camille Pissarro. Se hicieron amigos y el doctor posó para un retrato. Aquí comienza la historia de una de las obras de arte más buscadas de la  historia.BibliografíaBailey, Martin (2019). The Art Newspaper. Adventures in Van Gogh (blog). "Where is the portrait of Dr Gachet? The mysterious disappearance of Van Gogh's most expensive painting.” https://www.theartnewspaper.com/blog/where-is-van-gogh-s-portrait-of-dr-gachet Mayo, 2021.(2019). The Art Newspaper. Adventures in Van Gogh (blog). “Van Gogh and Germany: Frankfurt mounts best show on the artist in recent years.”  https://www.theartnewspaper.com/blog/van-gogh-and-germany-frankfurt-mounts-best-show-on-the-artist-in-recent-years 10 de mayo, 2021.Blot, Gérard. Musee d’Orsay. Le docteur Paul Gachet [Dr Paul Gachet]. [Internet] Accesible en https://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/dr-paul-gachet-2988.html?no_cache=1&S=&print=1&no_cache=1& 14 de mayo, 2021.Rosenbaum, Lee. (2007). Arts Journal. “Dr. Gachet” Sighting: It WAS Flöttl! [Internet] Accesible en https://www.artsjournal.com/culturegrrl/2007/01/dr_gachet_sighting_it_was_flot.html Mayo, 2021Kleiner, Carolyn (2000). U.S. News online. Mysteries of History. “Van Gogh's vanishing act: A high-cost, low-profile canvas.” https://web.archive.org/web/20110514004014/http://www.usnews.com/usnews/doubleissue/mysteries/portrait.htm  Mayo, 2021.Städel Museum (2019). Making Van Gogh: A German Love Story (exhibition). [Internet] Accesible en https://www.staedelmuseum.de/en/vangogh 10 de mayo, 2021.(2019). Podcast Finding Van Gogh: In search of the legendary “Portrait of Dr Gachet” [Internet] Accesible en https://www.staedelmuseum.de/en/podcast-finding-van-gogh Mayo, 2021.Boll, Dirk. (2015) Christie’s. Art Works News. “Auctions that made art history: Part 2.”  https://www.christies.com/features Auctions_That_Made_History_2-5580-1.aspx Mayo, 2021.

Grab your Starry Night coffee cup and get ready to learn about Jo van Gogh-Bonger and how she played a vital role in promoting Vincent van Gogh's artwork and legacy. You'll also get to hear Klaire Lockheart explain Pointillism, talk about advertising for the Moulin Rouge, and go on a justified rant about Paul Gauguin. Artists and Artwork: Georges Seurat (A Sunday Afternoon on the Island of La Grande Jatte), Paul Signac, Paul Cézanne, Henri de Toulouse-Lautrec (Moulin Rouge: La Goulue), Eugene Delacroix, Camille Pissarro, Vincent van Gogh (Starry Night), and Paul Gauguin Additional Topics: Neo-Impressionism, Pointillism, Divisionism, Sam Phillips (…Isms: Understanding Modern Art), Salon des Indépendants, Color Theory, Optical Mixing, Jo van Gogh-Bonger, Theo van Gogh, Roland Barthes (“Death of the Author”), Hannah Gadsby, Avant-Garde, Lithography, and Louise Weber klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

Impressionism may seem like nothing but inoffensive blurry paintings of cute subjects that are perfect to hang over the sofa, but this Modernist art style was full of rebellion and scandal. Join Klaire Lockheart as she explores the context and history of Impressionism, including the Salon, the male gaze, and artists who refused to conform. Artists and Artwork: Alexandre Cabanel (The Birth of Venus), Édouard Manet (Luncheon on the Grass), Felix Nadar, Katsushika Hokusai (The Great Wave), Claude Monet (Impression, Sunrise), Pierre-August Renoir (Dance at Le moulin de la Galette), Edgar Degas, Alfred Sisley, Camille Pissarro, Berte Morisot (After Lunch, The Artist's Daughter, Julie, with Her Nanny), and Mary Cassatt (At the Theater) Additional Topics: Salon des Refusés, Hierarchy of Painting, Venus, Male Gaze, the Louvre, John Berger (Ways of Seeing), Émil Zola, Japanese Prints, Plein Air Painting, Louis Leroy, and Linda Nochlin (“Why are There no Great Women Artists”), and Ugly Renaissance Babies klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

Dal 4 giugno la mostra Melbourne Winter Masterpieces porterà alla National Gallery of Victoria (NGV) opere di Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Camille Pissarro, Mary Cassatt e altri. 79 di questi dipinti non sono mai stati esibiti prima in Australia.

Un día como hoy, 13 de noviembre: 354, nace San Agustín. 1850, nace Robert Louis Stevenson. 1868, fallece Gioachino Rossini. 1903, fallece Camille Pissarro. Una producción de Sala Prisma Podcast. 2020

Montmartre, including the Basilica of the Sacré-Cœur (Roman Catholic - 1914) Montmartre is primarily known for its artistic history, the white-domed Basilica of the Sacré-Cœur on its summit, and as a nightclub district. The other church on the hill, Saint Pierre de Montmartre, built in 1147, was the church of the prestigious Montmartre Abbey. Montmartre (French pronunciation: [mɔ̃.maʁtʁ]) is a large hill in Paris's 18th arrondissement. It is 130 m (430 ft) high and gives its name to the surrounding district, part of the Right Bank in the northern section of the city. Near the end of the 19th century and at the beginning of the twentieth, during the Belle Époque, many artists lived in, had studios, or worked in or around Montmartre, including: Vincent van Gogh, Henri de Toulouse-Lautrec, Pierre-Auguste Renoir, Pablo Picasso, Claude Monet, Amedeo Modigliani, Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Henri de Toulouse-Lautrec, Suzanne Valadon, Piet Mondrian, Pablo Picasso, Camille Pissarro and more. Montmartre is also the setting for several hit movies. Visit the World Without Traveling™ This is part of a continuing series of Videos and Blogs. Episodes visit such notable cities as: London, Paris, Las Vegas, San Francisco, Israel, Napa Valley, Nashville, Monterey and including interesting locations such as: Stonehenge, Eiffel Tower, Changing the Guard, Tower of London - Crown Jewels, Windsor Castle, the Roman baths, the Senine River cruise, Champs-Élysées, Arc de Triomphe, Notre Dame Cathedral, France’s oldest perfume houses, The Louvre Paris Museum, Royal Estate of Versailles, Moulin Rouge, Claude Monet and more. If you are planning on traveling these podcasts are a good primer with useful travel information Listen and Watch Anytime, Anywhere http://www.morganrees.com/podcasts#Montmartre http://www.morganrees.com/videos#Montmartre http://www.morganrees.com/podcasts#Paris http://www.morganrees.com/videos#Paris www.morganrees.com/videos www.morganrees.com/podcasts www.morganrees.com

Camille Pissarro gehörte zu den Impressionisten der ersten Stunde.

Camille Pissarro was one of the pioneering Impressionist painters.

Una de les seccions del Som Cultura és 3 mints d'art, un repàs a la història de l'art en tan sols tres minuts. Un breu resum d'històries relacionades amb grans obres, artístes, curiositats o tècniques pictòriques. Tres minuts per a reviure el passat artístic i recordar als més grans mestres de la pintura i l'escultura.

Una de les seccions del Som Cultura és 3 mints d'art, un repàs a la història de l'art en tan sols tres minuts. Un breu resum d'històries relacionades amb grans obres, artístes, curiositats o tècniques pictòriques. Tres minuts per a reviure el passat artístic i recordar als més grans mestres de la pintura i l'escultura.

John Constable painted this bucolic landscape for Major General Francis Slater–Rebow but it's not what it appears to be! We'll talk about the headaches caused by an overeager client and what one of those cows is hiding.  We'll also see how Constable used a technique to conjure up distant figures, just like Camille Pissarro did decades later. And we'll find out how Constable's cheapness and cold feet nearly cost him the love of his life! See the artwork at https://alonglookpodcast.com/wivenhoe-park-essex-by-john-constable/ SHOW NOTES (TRANSCRIPT) “A Long Look” theme is “Ascension” by Ron Gelinas https://youtu.be/jGEdNSNkZoo Episode theme is “Piano Sonata no. 11, K. 331 – I. Andante grazioso” by Wolfgang Amadeus Mozart. Courtesy of musopen.org. Wivenhoe Park, Essex info https://www.nga.gov/collection/highlights/constable-wivenhoe-park-essex.html https://www.nga.gov/collection/art-object-page.1147.html https://www.nga.gov/collection/art-object-page.1147.html#relatedpages British Paintings of the Sixteenth through Nineteenth Centuries (PDF) Constable info John Constable (Masters of Art Series) by John Walker (Amazon) Slow Art Day The post Wivenhoe Park, Essex by John Constable appeared first on A Long Look.

主播：蒋璐阳、申舶良 访谈嘉宾：Irma Boom（设计师） 2019年是荷兰17世纪“黄金时代”艺术大师伦勃朗逝世350周年，阿姆斯特丹荷兰国立博物馆（Rijksmuseum）首次将其馆藏的300多件伦勃朗作品同时向公众展出——“All the Rembrandts”，这个被称为”the exhibition of our lifetime” 的展览不仅在展览规模上创下记录，更在展览设计上打破常规，带给我们一场极具当代感的伦勃朗大展。 BoomEar邀请本次伦勃朗大展的总体设计师、国际著名书籍设计师Irma Boom做客本期节目。你将听到这位与伦勃朗一样天性叛逆、充满爆发力与创造力的荷兰籍设计师如何看待伦勃朗的艺术，以及面对如此充满挑战性的展览委任，她如何在一年的准备期内研究并建立设计方案，如何打破传统展览的壁垒，以颇具当代感的方式对话这位古典大师。 ``` ``` 主要内容 00:23 阿姆斯特丹近期艺术展览 01:39 荷兰国立博物馆伦勃朗大展简介 05:12 伦勃朗大展设计师Irma Boom简介 08:01 Irma Boom概述本次展览设计理念 11:53 伦勃朗的版画作品的特殊意义 13:12 Irma Boom谈伦勃朗的版画创作 15:44 伦勃朗与17世纪荷兰的艺术市场 16:50 伦勃朗的人生“悲剧”与自由精神 18:40 Irma Boom谈伦勃朗的艺术态度 20:31 作为自画像“狂人”的伦勃朗 22:20 Irma Boom谈伦勃朗的自画像 23:34 Irma Boom谈自己的设计之路 25:45 Irma Boom谈本次展览主色系 28:40 更多伦勃朗展览及收藏推荐 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/AODpScU_.jpeg 蒋璐阳在“All the Rembrandts”展览现场与Irma Boom进行采访 ``` ``` 本期节目中提到的伦勃朗作品 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/yxcVsq8P.jpg 《夜巡》（Militia Company of District II under the Command of Captain Frans Banninck Cocq, known as the ‘Night Watch’），1642，荷兰国立博物馆，阿姆斯特丹 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/RARjMvHn.jpg 《梅尔腾与奥普金双人像》（Pendant portraits of Maerten Soolmans and Oopjen Coppit），1634，布面油画，荷兰国立博物馆，阿姆斯特丹 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/uVYgPDfk.jpg 《市政官》（The Sampling Officials of the Amsterdam Drapers’ Guild, Known as ‘De Staalmeesters)’），1662，布面油画，荷兰国立博物馆，阿姆斯特丹 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/vgxmgu1_.jpg 《犹太新娘》（Isaac and Rebecca, Known as ‘The Jewish Bride’），约1665-1669，布面油画，荷兰国立博物馆，阿姆斯特丹 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/lpGpHjRe.jpg 《伸出左手的乞丐》（Beggar with his Left Hand Extended），1631，铜板蚀刻，荷兰国立博物馆，阿姆斯特丹 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/93qUTX75.jpg 《自画像》（Self-portrait），约1628，布面油画，荷兰国立博物馆，阿姆斯特丹 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/kNiOM-M4.jpg 《笑之自画像》（Rembrandt Laughing），约1628，铜板油画，盖蒂博物馆，洛杉矶 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/vG2-cp0O.jpg 《自画像》（Self-portrait），约1668，布面油画，瓦尔拉夫-里夏茨博物馆，科隆 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/Cr6edQCN.jpg 《杜普教授的解剖课》（The Anatomy Lesson of Dr Nicolaes Tulp），1632，布面油画，莫瑞泰斯皇家美术馆，海牙 ``` ``` “All the Rembrandts”展览现场 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/V27EmpUq.jpg https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/RV2n8yO4.jpg https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/zigxnYaU.jpg https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/jiACnjng.jpg https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/f2kNnOZO.jpg （以上图片提供：Irma Boom，荷兰国立博物馆） ``` ``` 本期节目中提到的维米尔作品 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/fRJoYSWc.jpg 《倒牛奶的女仆》（The Milkmaid），约1660，布面油画，荷兰国立博物馆，阿姆斯特丹 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/jPyG64fK.jpg 《戴珍珠耳环的少女》（Girl with a Pearl Earring），约1665，布面油画，莫瑞泰斯皇家美术馆，海牙 ``` ``` 本期节目中提到的书籍与电影 Rem Koolhass《Elements of Architecture》 https://www.amazon.com/Rem-Koolhaas-Elements-Architecture/dp/3836556146/ref=sr11?keywords=Elements+of+architecture&qid=1552964864&s=gateway&sr=8-1 斯维特拉娜·阿尔珀斯《伦勃朗的企业：工作室与艺术市场》 https://book.douban.com/subject/26126559/ 彼得·格林纳威《夜巡》 https://movie.douban.com/subject/1787541/ ``` ``` https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/-I7XuxGE.png Irma Boom在阿姆斯特丹的工作室 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/fuS8xizn.jpg Irma Boom在工作 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/SoOtYSNc.jpg Irma Boom在对伦勃朗版画作品的细部进行研究（以上图片提供：Irma Boom） ``` ``` 本期节目中提到的美术馆与展览 伦勃朗大展“All the Rembrandts”，荷兰国立博物馆（Rijksmuseum），阿姆斯特丹， 展至6月10日 https://www.rijksmuseum.nl/en/all-the-rembrandts "Hockney - Van Gogh"，梵高美术馆（Van Gogh Museum），阿姆斯特丹，展至5月26日 https://www.vangoghmuseum.nl/en/whats-on/exhibitions/exhibition-hockney-van-gogh "Unique Impressions: the Experiments of Camille Pissarro"，梵高美术馆，阿姆斯特丹，展至5月26日 https://www.vangoghmuseum.nl/en/whats-on/exhibitions/camille-pissarro 盖蒂博物馆（J. Paul Getty Museum），洛杉矶 http://www.getty.edu/museum/ 瓦尔拉夫-里夏茨博物馆（Wallraf-Richartz-Museum)，科隆 https://www.wallraf.museum/en/the-museum/ 老绘画陈列馆（Alte Pinakothek），慕尼黑 https://www.pinakothek.de/en "Rembrandt: Graphic Highlights of the Munich Collection", 现代艺术陈列馆（Pinakothek der Moderne），慕尼黑，9月27日-10月20日 https://www.pinakothek.de/en/exhibitions/focus-rembrandt-graphic-highlights-of-munich-collection-working-title 莫瑞泰斯皇家美术馆（Mauritshuis），海牙 https://www.mauritshuis.nl/en/ 莱顿布料厅市立博物馆（Museum De Lakenhal），莱顿 https://www.lakenhal.nl/nl 伦勃朗故居博物馆（Rembrandthuis），阿姆斯特丹 https://www.rembrandthuis.nl/?lang=en "Rembrandt-Velázquez"，荷兰国立博物馆，阿姆斯特丹， 10月11日-2020年1月19日 https://www.rijksmuseum.nl/en/rembrandt-velazquez ``` ``` https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/OFVslIyI.jpeg 伦勃朗用过的铜板蚀刻工具 https://files.fireside.fm/file/fireside-uploads/images/6/65f629fe-233a-4538-9207-055bb64b0ba9/fC1w8Pp7.jpeg Irma Boom在介绍她设计的衍生品，演示怎样用圆珠笔画一幅伦勃朗肖像（摄影：蒋璐阳） ``` ``` 了解Irma Boom设计的更多书籍 Irma Boom Office https://irmaboom.nl MoMA收藏的Irma Boom书籍设计 https://www.moma.org/artists/33693?=undefined&page=1&direction= Irma Boom在Open House Lecture分享她的书籍设计 https://www.youtube.com/watch?v=Ej_B0DFBEmY ``` ``` BoomEar特邀音乐创作：陈少琪 微信公众号：BoomEar 亦可在iTunes Store、喜马拉雅fm上搜索“BoomEar”订阅 Special Guest: Irma Boom.

Blessed are they who see beautiful things in humble places where other people see nothing. – Camille Pissarro, painter Ruben Rojas, knows what it means to take beautiful intention and turn it into soul moving action.  To choose love over fear.  He is the co-founder of Beautify Earth, a social impact entrepreneur, and world-class artist … Continue reading 30: See Love with Ruben Rojas, Artist & Co-Founder of Beautify Earth

Camille Pissarro was an Impressionist painter who created this sun-drenched view of a famous park in 1900. We'll find out where this lovely scene takes place and how and why just 5 small strokes of color can conjure up a fashionista. We'll also discover its connection to Hermann Goering and how a Gallery director was instrumental in the formation of the Monuments Men program. See the artwork at https://alonglookpodcast.com/place-du-carrousel-by-camille-pissarro/ SHOW NOTES “A Long Look” theme is Ascension by Ron Gelinas Episode theme is Menuet sur le nom d'Haydn composed by Maurice Ravel, performed by Luis Sarro. Courtesy of musopen.org Place du Carrousel information https://www.nga.gov/collection/art-object-page.52199.html#overview Impressionism https://www.nga.gov/features/slideshows/impressionism.html World War II Provenance Research https://www.nga.gov/collection/wwii-research.html Monuments Men information https://www.nga.gov/about/monuments-officers-national-gallery-art.html The Monuments Men (movie) The Monuments Men (book) Slow Art Day Recommended Reading Art and Illusion by E.H. Gombrich The post Place du Carrousel by Camille Pissarro appeared first on A Long Look.

Coincidiendo con el 115 aniversario de su muerte, Centro Sefarad-Israel, con el apoyo de la Embajada de Francia y el Institut Français, organizó esta conversación sobre el pintor de origen judío con el director del Museo Camille Pissarro de Pontoise, Christophe Duvivier y Ruth de la Heras, periodista de El País. Sintonía: Lachaim de Kevin MacLeod está sujeta a una licencia de Creative Commons Attribution (https://creativecommons.org/licenses/by/4.0/) Fuente: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100412 Artista: http://incompetech.com/--

Daily Devotion:   When you find yourself blindsided by life's uphill battles, simply ask yourself, "What would Jesus Do?"Here are 3 easy ways to handle life's obstacles.  First, know that difficult seasons are learning lessons of growth in the kingdom.  Secondly, your perspective matters.  With any situation you can look at it negatively or positively which inevitably will add or reduce stress in your life. Lastly, decide what to do with the situation.  Will you let it weigh you down or will you give it to Jesus?  For a bonus, keep 1Peter 5:7 imprinted in your heart forever. 1 Peter 5:7, "Casting all your care upon him; for he careth for you." Blessed are they who see beautiful things in humble places where other people see nothing. -Camille Pissarro

Au moment de son installation à Eragny, Pissarro s’est constitué de solides convictions anarchistes, grâce à ses lectures et de longs dialogues avec d’autres artistes et intellectuels. Comment ces convictions se manifestent-elles dans la vie et l’œuvre du peintre ? Avec Christophe Charle, professeur à l’université Panthéon-Sorbonne

A l’occasion de l’exposition, a été réuni un ensemble rare d’ouvrages illustrés de gravures originales et publiés par Eragny Press, la maison d’édition créée par Camille Pissarro et son fils Lucien. Cette conférence revient sur cette aventure, qui permit la parution de textes de Villon, Flaubert ou encore Charles Perrault. Avec Lionel Pissarro, galeriste

Daily Devotion:   You might just get it!  Many people are praying for things like a new job, new house, first child and/or marriage.  Have you ever thought, how much change your life has to endure to receive these blessings?  God will bless you.  Your prayers will be answered.  Can you handle it is the question?  Are you ready for your blessing?Philippians 4:19, "And my God will meet all your needs according to the riches of his glory in Christ Jesus." Blessed are they who see beautiful things in humble places where other people see nothing. -Camille Pissarro       Stolen Lunches is a bible study community of believers.  We hold men, women, and couples bible studies.  We have annual retreats, missions trips and weekly prayer calls.  You can join us from anywhere in the world.  Sign up for our newsletters & stay connected.   Steal away with us and be fed by God~ Stolen Lunches. 

Primer fragmento del Programa 2 Empezamos el segundo programa y estamos cerca de visitar la tumba CR-19 en el viejo cementerio de Fulham, no tiene lápida. Mientras caminamos por el barrio de Londres hay algo que nos sorprende. Se trata de un lugar, un pintor: Camille Pissarro. Más contenido en nuestra página paningunaparte.com ¿Qué te ha parecido?

Primer fragmento del Programa 2 Empezamos el segundo programa y estamos cerca de visitar la tumba CR-19 en el viejo cementerio de Fulham, no tiene lápida. Mientras caminamos por el barrio de Londres hay algo que nos sorprende. Se trata de un lugar, un pintor: Camille Pissarro. Más contenido en nuestra página paningunaparte.com ¿Qué te ha parecido?

Albert Edward Daniel, a native of St. Thomas and the son of Lucy Ann & Charles Daniel, of Charlotte Amalie, was born on May 16, 1897 in the then Danish West Indies. He lived all his life on St. Thomas. Although he had no formal training in the field of Art, he became a self-taught artist and sculptor with an original approach to his subject matter. It is significantly coincidental that he should have spent his early years living in the same house at 14 Dronnigens Gade in which houses the Enid M. Baa Public Library & Archives. Joseph Patrick Gimenez, born March 17, 1893 on St. Thomas, obtained his early formal education at the local grammar school and the Convent of La Sainte Union de Sacre Coeur on St. Thomas. In 1914 when he began writing poetry, he wrote his first poems in Spanish & published many of them in the Dominican papers. He later became known as "The Virgin Islands Mystic Poet". Canada Lee, the adopted name of Lionel Cornelius Canegata, was a noted 20th Century jockey, boxer, & actor. Born on May 3, 1907 in New York City’s San Juan Hill district, he attended Public School 5 in Harlem. He began his musical education at the age of 7, studying violin with the composer, J. Rosamond Johnson. At the age of 14 he ran away to the Saratoga Race Track in upstate New York to become a jockey. After 2 years of jockeying he became a horse exerciser for prominent racehorse owners. Camille Pissarro (10 July 1830 – 13 November 1903) was a Danish-French Impressionist & Neo-Impressionist painter born on the island of St Thomas in the Danish West Indies, now the US Virgin Islands. His importance resides in his contributions to both Impressionism and Post-Impressionism. Pissarro studied from great forerunners, including Gustave Courbet & Jean-Baptiste-Camille Corot. He later studied & worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54.

After the Franco-Prussian War, Pissarro painted this blooming orchard, a subject then strongly associated with Daubigny. In Pissarro’s orchard picture, the laboring peasants and freshly turned soil anchor the image more firmly in the here and now. However, just like Daubigny, Pissarro worked outdoors, delicately brushing the pale colors of blossoms onto his canvas and celebrating spring and renewal.

Long revered as Monet’s most exquisite series, the Haystack paintings are remarkable for the range of light and weather conditions portrayed. In Haystacks, midday the edges of the stacks shimmer in the heat, and sunlight appears to radiate from the structures themselves. Elsewhere, in the snow scenes, the forms seem to absorb light. The practical nature of the stacks – a means of storing the harvest – receives less attention. When the sheaves of wheat or oats were cut, the cereal stacks were thatched with straw and left to stand until spring, and the arrival of the threshing machines that moved between villages. For a country still smarting from the effects of the Franco–Prussian war – and in a period when France seemed to be rapidly overtaken by industrialised Britain, Germany, the United States or even Russia – Monet’s choice of motif, like the series of poplar paintings that followed, was reassuringly French. The haystacks resonate with notions of rural productivity and the relative harmony of country life. Monet spent extended periods travelling and painting picturesque locations in and around France in the late 1870s to the 1890s – from Vétheuil on the Seine to the coasts of Normandy and Brittany, then London, Venice, Norway and the Mediterranean. Between late 1888 and February 1891 he painted at least thirty canvases of haystacks, of which fifteen were shown in May 1891 at Durand-Ruel’s gallery.1This exhibition built on Monet’s growing success: despite comparatively high prices, most of the Haystacks sold, many of them to American collections where they remain. In October 1890 he could afford to buy the house at Giverny that he had rented since 1883. Ten years later, Monet bought an adjoining field and, from the early 1900s, extended his famous garden with its bridges and ponds of waterlilies (fig. 22, p. 43). Pissarro wrote that Monet’s haystacks ‘breathed’ happiness, but at times the series caused the artist much anxiety.2 In October 1890 he complained about the difficulty of his work, especially his frustration at the time it took to capture instantaneous effects of light.3Haystacks, midday is certainly the result of a ‘long and continued effort’ with its layered paint and compositional changes indicating successive reworking in the field and in the studio. Monet gradually incorporated more and more colour – red–orange at the top of the stack, pink that flecks the stubblefield, touches of orange in the sky, shimmering yellow outlining the trees – until the whole surface of the canvas vibrates in the haze of the midday heat. His sensitivity to rapidly changing light, developed during three decades painting en plein air, as well as the initial haystack paintings made in the previous eighteen months, meant that he was able to extend the series under a greater range of conditions. Clearly it was the changing effects of light, an atmospheric enveloppe around the forms, rather than the stacks themselves, that fascinated the artist. There is a small piece of grass imbedded in the lower right edge of the canvas – perhaps it serves as a reminder of the practical function of haystacks. Lucina Ward 1 Daniel Wildenstein, Monet, or, The triumph of Impressionism (catalogue raisonné), 4 vols, Cologne and Paris: Taschen and Wildenstein Institute, 1996, vol. 3, see cat. W1213–1217 for 1888–89 stacks, W1266–1273 for summer–autumn 1890 and W1274–1290 for 1890–91 winter stacks; the May 1891 exhibition comprised twenty-two works, of which fifteen were haystacks. 2 Camille Pissarro, letter to Lucien Pissarro, 5 May 1891, in Janine Bailly-Herzberg (ed.), Correspondance de Camille Pissaro, 5 vols, Paris: Presses universitaires de France, 1980–91, vol. 3, l. 658, p. 72. 3 Letter to Gustave Geffroy, 7 October 1890, no. 1076, Wildenstein, vol. III, p. 258.

have always loved the immense streets of Paris, shimmering in the sun, the crowds of all colours, those beautiful linear and aerial perspectives, those eccentric fashions, etc. But how to do it? To install oneself in the middle of the street is impossible in Paris. Ludovic Piette, letter to Pissarro 18721 Early in 1897 Pissarro began a series of paintings of the intersection of the boulevards Montmartre, Haussmann and des Italiens with the rues de Richelieu and Drouot. Between 10 February and 17 April he painted fourteen views looking east along the Boulevard Montmartre, and a further two towards the Boulevard des Italiens. From the 1860s Baron Haussmann’s interventions transformed Paris. The narrow, winding streets of the medieval city – easily barricaded in the 1848 revolution – were destroyed. Approximately 150 kilometres of road were constructed, with long avenues, apartments of a standard height, public gardens, the Paris Opéra and other public buildings, new bridges, gas lamps, a new water supply and sewers, reinvented the city. By the late 1880s Pissarro solved the conundrum suggested by his friend Piette: elevation. From a room in the Hôtel de Russie, on the corner of the Boulevard des Italiens and Rue Drouot, Pissarro looked down onto the new spaces of Paris. Although the artist and subsequent commentators are very particular about the locations of the Boulevard Montmartre series, the city’s topography is not his subject. Rather it is the changing conditions of the streets themselves. Pissaro took several cues from Monet; the high viewpoint and bustling street recall his friend’s painting Boulevard des Capucines 1873.2Both artists show the city’s hustle and bustle – a scatter of people à la japonaise, the melange of dress and hats, pillar boxes and carriage wheels – channelled down the grand boulevard. Boulevard Montmartre, morning, cloudy weather is an extraordinarily energetic painting. Pissarro’s ink and wash drawing of 1897 shows the basic components of the fourteen canvasses, but in the paintings the vanishing point is higher.3This gives the scene greater vibrancy, and makes us feel as if we are leaning out into the street. The merging of the boulevards in the distance, fringed on either side by footpaths, street-level shops and regulation-height apartments, all serve to emphasise the high perspective. A forest of chimneys is echoed by spindly trees, which line the boulevard. The patchwork of shop windows at right seems to take on elements of the crowds. An ‘imperial coach’, the heads of passengers visible through the open roof, ferries people down the boulevard. The scene is rendered with a palette of great subtlety: greys, browns and whites accented with red and tiny amounts of green. Pissarro’s fixed viewpoint meant that he recorded the ever-shifting configurations of crowds and traffic. At times the differences between the position of people in the street from one Boulevard painting to another is so slight that we could be looking at photographs of the same scene, taken only moments apart. Lucina Ward 1 In Janine Bailly-Herzberg (ed.), Mon cher Pissarro – Lettres de Ludovic Piette à Camille Pissarro, Paris: Editions du Valhermeil, 1985, p. 73. 2 Monet, either the version in Nelson-Atkins Museum of Art, Kansas City, or the painting in the Pushkin Museum of Fine Arts, Moscow. 3 Carriages on the Boulevard Montmartre 1897, private collection; see Karen Levitov and Richard Shiff, Camille Pissarro: impressions of city and country, New York: Jewish Museum, 2007, p. 70.