Podcasts about Canaletto

En Cultura Rápida repasamos las noticias más destacadas del día: los aranceles a las películas producidas fuera de Estados Unidos, los Premios Rock Villa de Madrid y la subasta de El regreso del Bucintoro en el día de la Ascensión de Canaletto.En Manos Sucias nos acompaña Lolo López Egea, responsable del equipo “Ficticios in extremis”, dedicado a los efectos especiales cinematográficos y al modelado de prótesis dentales en el laboratorio de María Sola.También hablamos con Pinxo y Cesc Mulet, directores del documental Signos en la arena. Mallorca 1893, un viaje por la música y la cultura de la movida mallorquina en los años 80.Y cerramos con Barra Libre de Aloma Rodríguez entrevistando a Mercedes Cebrián por su libro Estimada clientela. Una celebración del arte de ir de compras, editado por Ediciones Siruela, donde reflexiona sobre los rituales cotidianos del consumo.Escuchar audio

En Cultura Rápida repasamos las noticias más destacadas del día: los aranceles a las películas producidas fuera de Estados Unidos, los Premios Rock Villa de Madrid y la subasta de El regreso del Bucintoro en el día de la Ascensión de Canaletto.Escuchar audio

Arte Canaletto - Spendieren Sie einen Cafè (1€)? Donate a coffee (1€)? https://ko-fi.com/italiano Livello A2 #arte #gemälde #storia #italy #vhs #canalettoVita e opere di Giovanni Antonio Canal Buongiorno cari amici e amanti dell'italiano e benvenuti all'episodio numero Oggi parliamo di arte e più in dettaglio di un pittore che tutti voi sicuramente conoscete e cioè il Canaletto. Se il nome non vi dice niente allora pensate a Venezia, pensate alla Basilica di San Marco oppure al Canal Grande e ora pensate di vederle come una fotografia e poi ancora su un quadro. Avete capito vero? Sì, vi voglio parlare proprio del pittore che ha dipinto Venezia nel Settecento in modo così preciso e reale che quando si pensa a un quadro di Venezia, si pensa proprio alle sue famose vedute. Infatti il Canaletto, suo vero nome Giovanni Antonio Canal, era un rappresentante dello stile del „vedutismo“, cioè la pittura delle vedute. Tutto questo viene dal verbo „vedere“ perché nei suoi quadri vediamo i canali, le piazze e la vita di Venezia. Questo pittore era così preciso e sì qualche volta ha anche forse idealizzato la città, ma ha comunque sempre rappresentato la città lagunare in modo realistico e così bello da diventare molto famoso e richiestissimo....- The full transcript of this Episode is available via "Luisa's learn Italian Premium", Premium is no subscription and does not incur any recurring fees. You can just shop for the materials you need or want and shop per piece. Prices start at 0.20 Cent (i. e. Eurocent). - das komplette Transcript / die Show-Notes zu allen Episoden sind über Luisa's Podcast Premium verfügbar. Den Shop mit allen Materialien zum Podcast finden Sie unterhttps://premium.il-tedesco.itLuisa's Podcast Premium ist kein Abo - sie erhalten das jeweilige Transscript/die Shownotes sowie zu den Grammatik Episoden Übungen die Sie "pro Stück" bezahlen (ab 20ct). https://premium.il-tedesco.itMehr info unter www.il-tedesco.it bzw. https://www.il-tedesco.it/premiumMore information on www.il-tedesco.it or via my shop https://www.il-tedesco.it/premium

In this episode of Danny Hurst´s Unusual Histories Bridge Series, he reaches the last of the bridges that cross the river Thames, in London – Hampton Court Bridge. You will find out why a bridge had to be built in this specific location and why it had to be torn down and redesigned multiple times. The first, of which despite being so stunning that Canaletto created an engraving of it, only lasted for 25 years. You will also gain a fascinating insight into the history of Hampton Court Palace, including its ghosts, most famous residents and the King James Bible. If you can´t get enough of these podcasts, head to https://www.patreon.com/DannyHurst to access my exclusive, member-only, fun-filled and fact-packed history-related videos. KEY TAKEAWAYS Hampton Court bridge was not built for Henry VIII as many people think. The bridge is the only one that enables you to cross from Greater London into a different county. The structure in place today is the 4th Hampton Court Bridge iteration. Hampton Court Palace has been open to the public since 1838. Unusually, the bridge was built by a ferry master. When the latest version of the bridge was built, two smaller rivers had to be diverted. The current version of the bridge was the first ferro-cement bridge over the Thames. BEST MOMENTS “It opened in 1753 and was built in the fashionable Chinese Willow pattern style, with seven steep curved spans and pagoda style piers in the centre.” “Changing the flow of the Thames and causing navigational issues when trying to get through the arches of the bridge.” “The oldest surviving hedge maze in Britain, Hampton Court is a mixture of Tudor and Baroque styles after a huge redesign.” “The palace (Hampton Court) itself is noted by architecture historians as an example of transitioning styles.” EPISODE RESOURCES https://www.citybridgefoundation.org.uk https://www.hrp.org.uk/hampton-court-palace https://www.orleanshousegallery.org/collection/the-first-bridge-at-hampton-court HOST BIO Historian, performer, and mentor Danny Hurst has been engaging audiences for many years, whether as a lecturer, stand-up comic or intervention teacher with young offenders and excluded secondary students. Having worked with some of the most difficult people in the UK, he is a natural storyteller and entertainer, whilst purveying the most fascinating information that you didn't know you didn't know. A writer and host of pub quizzes across London, he has travelled extensively and speaks several languages. He has been a consultant for exhibitions at the Imperial War Museum and Natural History Museum in London as well as presenting accelerated learning seminars across the UK. With a wide range of knowledge ranging from motor mechanics to opera to breeding carnivorous plants, he believes learning is most effective when it's fun. Uniquely delivered, this is history without the boring bits, told the way only Danny Hurst can. CONTACT AND SOCIALS https://instagram.com/dannyjhurstfacebook.com/danny.hurst.9638 https://twitter.com/dannyhurst https://www.linkedin.com/in/danny-hurst-19574720

We trace Venice's remarkable flowering between the 1300s and 1500s, in which it astonished Europe as a center of commercial and imperial power, learning, and art, as well as its repeated struggles -- with the bubonic plague, the Ottoman Turks, the rival Italian states, and the Catholic Church -- that forced Venice to give up its empire, and to transform into a pleasure-ground of music, theater, sex, and revelry -- arguably becoming the world's first tourist attraction -- before finally losing its long-treasured independence and becoming a pawn of modern powers. Image: Painting by Canaletto, 1730s, showing the Sensa festival fleet and the Bucintoro returning to San Marco after the marriage to the sea ceremony. Thank you to Sarai Cole for permitting use of an exceprt of her rendition of Vivaldi's "Filiae Maestae Jerusalem" / "Sileant Zephyri" -- https://soundcloud.com/sarai-cole-freericks/sileant-zephyri-from-filiae-maestae-jerusalem-vivaldi Suggested further reading: Ferrarro, "Venice: History of the Floating City"; Madden, "Venice: A New History"; Morris, "The Venetian Empire: A Sea Voyage" Please sign up as a patron to help keep the pod coming, and to hear patron-only lectures, including the recent series on the Epic of Gilgamesh -- https://www.patreon.com/c/user?u=5530632

Christian GrappioloA Savigliano, Cuneo, Bra, Mondovì e Torino“I segreti della camera ottica”Un viaggio in cinque tappe, una tenda itinerante in cui scoprire i segretidella camera ottica, dai vedutisti alla fotografia. In occasione della mostra “Canaletto, Van Wittel, Bellotto. Il Gran Teatro delle città.Capolavori dalle Gallerie Nazionali di Arte Antica”promossa negli spazi del Complesso Monumentale di San Francesco a Cuneoda Fondazione CRC e Intesa Sanpaolo “I segreti della camera ottica” è un viaggio in cinque tappe, una tenda itinerante in cui scoprire i segreti della camera ottica, dai vedutisti alla fotografia, organizzato in occasione della mostra “Canaletto, Van Wittel, Bellotto. Il Gran Teatro delle città. Capolavori dalle Gallerie Nazionali di Arte Antica”, aperta fino al 30 marzo 2025 negli spazi del Complesso Monumentale di San Francesco a Cuneo e promossa da Fondazione CRC e Intesa Sanpaolo, in collaborazione con le Gallerie Nazionali di Arte Antica di Roma e con il supporto organizzativo di MondoMostre.Si partirà da Savigliano, domenica 15 dicembre, per spostarsi il 22 dicembre a Cuneo (inizio via Roma, vicino a Piazza Galimberti), il 5 gennaio 2025 a Bra (Corso Cottolengo, area sopraelevata coperta), ultime due tappe a metà gennaio a Mondovì e a inizio febbraio a Torino. In ognuna di queste città verrà allestita una grande tenda-camera ottica all'interno della quale, come nelle camere ottiche che utilizzavano i vedutisti, apparirà l'immagine del mondo.L'ingresso nella tenda è aperto a tutti, grandi e piccini. All'interno sarà possibile scoprire i principi del funzionamento di questo strumento, antenato della macchina fotografica, che i vedutisti utilizzavano per tracciare le immagini a partire dalle quali, ingrandite, modificate e montate una accanto all'altra, realizzavano poi in studio le proprie opere. Nel corso della giornata sarà anche possibile provare una camera ottica portatile, simile a quelle utilizzate dai vedutisti per realizzare i propri disegni.Accompagnerà i curiosi in questo viaggio Christian Grappiolo, fotografo e esperto di fotografia stenopeica.  Christian Grappiolo ha condiviso questa passione in decine di laboratori per adulti e ragazzi, collabora con la Fototeca Nazionale Ando Gilardi per la quale ha contribuito alla riedizione del volume “Spiracolo” di Ando Gilardi e ha recentemente pubblicato un volume di foto stenopeiche “Unboxing Cuneo” a cura di Giorgio Olivero.In tutti gli appuntamenti, la tenda sarà aperta dalle dieci del mattino fino al tramonto.  L'accesso è libero e gratuito, il laboratorio è a cura di Felìz Comunicazione.Informazioni e prenotazioni su www.fondazionecrc.itLa camera ottica La camera ottica è uno strumento composto da una scatola completamente oscurata dotata di un obiettivo attraverso il quale entra la luce che proietta l'immagine di ciò che è inquadrato sul fondo della scatola. La camera ottica funziona un po' come il nostro occhio ed è anche alla base della fotografia, ma è stata utilizzata già prima dell'invenzione di quest'ultima, da pittori che ricalcavano su carta l'immagine proiettata. Di camere ottiche e camere oscure (la versione senza obiettivo) se ne sono costruite di moltissimi modelli e svariate dimensioni. A volte addirittura si trasformava una camera d'abitazione in camera oscura: si oscurava la stanza, si praticava un piccolo foro in un muro o a una finestra e si proiettava sulla parete prospiciente.Le camere ottiche portatili utilizzate dai vedutisti erano dotate di uno specchio girevole che rifletteva l'immagine stenopeica su uno schermo traslucido. Poggiando sullo schermo un foglio di carta i vedutisti tracciavano le linee degli oggetti e delle architetture.Canaletto operava portandosi le camere ottiche nelle calli veneziane: orientando in varie direzioni l'obiettivo della camera, disegnava le vedute divise in porzioni, e vi annotava colori, ombre e condizioni delle architetture. Nei suoi appunti, conservati nelle Gallerie dell'Accademia di Venezia, sono contenuti disegni che, collegati in gruppi, formano delle vedute continue. Era solito realizzare più schizzi, a volte mantenendo fermo il punto di vista e disegnando due o più prospettive ruotando il quadro prospettico gradualmente, in altri casi spostando la camera.  Il dipinto era poi il risultato della composizione di più schizzi, realizzato in studio usando compassi rapportatori, quadrettature e pantografi, adattandoli con abili accorgimenti di regia e deformazioni per dilatare lo spazio e offrire originali tagli compositivi. Il pittore utilizzava i suoi schizzi documentari per replicare le composizioni, aumentando o restringendo il primo piano, allargando la visuale, combinando dettagli architettonici precisi e figure sempre diverse.     “Canaletto, Van Wittel, Bellotto. Il Gran Teatro delle città. Capolavori dalle Gallerie Nazionali di Arte Antica” Complesso Monumentale di San Francesco, Cuneo www.fondazionecrc.itIL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Paola Nicita"Canaletto, Van Wittel, Bellotto. Il Gran Teatro delle città"Capolavori dalle Gallerie Nazionali di Arte AnticaComplesso Monumentale di San Francesco, CuneoMostra aperta fino al 30 marzo 2025www.fondazionecrc.itIl progetto espositivo, appositamente ideato per lo spazio cuneese, riunisce dodici capolavori provenienti dalle Gallerie Nazionali di Arte Antica di Roma che esplorano e reinventano l'immagine delle città nell'epoca dei Grand Tour e degli ambienti culturali illuminati, in un periodo in cui la prima tappa di ogni itinerario culturale attraverso l'Italia era Roma e la meta finale coincideva con Venezia.Curata da Paola Nicita e Yuri Primarosa, delle Gallerie Nazionali di Arte Antica, offre uno spaccato inedito sulla rappresentazione degli scenari urbani di Roma e Venezia nel Settecento attraverso le opere di tre maestri indiscussi della veduta: Giovanni Antonio Canaletto, Gaspar Van Wittel e Bernardo Bellotto, ai quali si affiancano i lavori del pittore piacentino Giovanni Paolo Pannini.La mostra Canaletto, Van Wittel, Bellotto. Il Gran Teatro delle città. Capolavori dalle Gallerie Nazionali di Arte Antica racconta la grande trasformazione artistica che pone lo scenario urbano allivello di un palcoscenico all'aperto, risolvendosi in vere e proprie scenografie dove realtà e immaginazione si fondono in maniera spettacolare e dove lo sguardo fotografico dialoga sempre con il coinvolgimento poetico. La grandiosità di Roma e il fascino lagunare di Venezia sono protagonisti delle scene catturate dai maestri in mostra, che ne immortalano momenti vitali come le feste, le cerimonie e gli eventi mondani con l'intento di restituire un ricordo vivido e duraturo ai viaggiatori che li avevano vissuti. L'arte di Canaletto, Van Wittel e Bellotto mette in scena la città antica accanto a quella moderna, spaziando dalla pittura di teatro al capriccio archeologico fino ad arrivare alla veduta topografica.Accompagna la mostra il catalogo edito da MondoMostre che affianca i contributi critici di Paola Nicita e Yuri Primarosa.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

MILANO (ITALPRESS) - Della Madonna col Bambino di Botticelli al Ritratto di giovane donna del Pollaiolo; dall'Annunciazione del Sassoferrato ai paesaggi del Canaletto e de Il Grechetto. I grandi capolavori di pittura, e le collezioni di orologi antichi e ceramiche del Museo Poldi Pezzoli, fiore all'occhiello della cultura a Milano, entrano nella quotidianità di Humanitas San Pio X, arricchendo di bellezza gli spazi ristrutturati dell'ospedale e creando una connessione tra l'arte e le persone. xm4/f18/fsc/gtr

MILANO (ITALPRESS) - Della Madonna col Bambino di Botticelli al Ritratto di giovane donna del Pollaiolo; dall'Annunciazione del Sassoferrato ai paesaggi del Canaletto e de Il Grechetto. I grandi capolavori di pittura, e le collezioni di orologi antichi e ceramiche del Museo Poldi Pezzoli, fiore all'occhiello della cultura a Milano, entrano nella quotidianità di Humanitas San Pio X, arricchendo di bellezza gli spazi ristrutturati dell'ospedale e creando una connessione tra l'arte e le persone. xm4/f18/fsc/gtr

MILANO (ITALPRESS) - Della Madonna col Bambino di Botticelli al Ritratto di giovane donna del Pollaiolo; dall'Annunciazione del Sassoferrato ai paesaggi del Canaletto e de Il Grechetto. I grandi capolavori di pittura, e le collezioni di orologi antichi e ceramiche del Museo Poldi Pezzoli, fiore all'occhiello della cultura a Milano, entrano nella quotidianità di Humanitas San Pio X, arricchendo di bellezza gli spazi ristrutturati dell'ospedale e creando una connessione tra l'arte e le persone. xm4/f18/fsc/gtr

Depois de mais de um ano fechado para reformas, o museu Jacquemart-André, de Paris, reabre com uma exposição de obras-primas da Galeria Borghese, de Roma, um dos principais endereços culturais da capital italiana. O empréstimo inclui quadros de Ticiano, Rafael, Boticelli, Rubens e Caravaggio, obras que raramente viajam. Patrícia Moribe, de ParisA Galeria Borghese é fruto de um colecionador compulsivo e pouco escrupuloso, o cardeal Scipione Caffarelli-Borghese (1577-1633), sobrinho de Camillo Borghese, eleito papa Paulo V. Numa era em que a igreja era sinônimo de poder, o cardeal amealhou uma impressionante coleção de esculturas antigas e pinturas – no final do século 17, a família Borghese possuía cerca de 800 peças.Para abrigar o acervo, Scipione construiu a suntuosa Villa Borghese, inspirada em mansões romanas, em meio a um parque em uma das sete colinas de Roma.Uma parte da coleção de antiguidades foi vendida à Napoleão Bonaparte e transferida para o Louvre após o casamento arranjado de sua irmã Pauline com um rico príncipe da família Borghese. Para evitar a dispersão do tesouro, o Estado italiano compra a coleção e transforma a magnífica mansão em museu público, a Galeria Borghese.A história conta um episódio que demonstra bem o caráter pouco lícito do cardeal amante das artes. Ele convence o tio papa a confiscar, em 1607, mais de cem obras de Cavalier d'Arpino (1568-1640), então um dos artistas mais cotados de Roma. O pretexto foi posse ilegal de armas de fogo. Em seguida, o generoso papa presenteia o sobrinho com o espólio retido de d'Arpino.“A exposição é o resultado de um encontro incrível com Francesca Capelletti, diretora-geral da Galeria Borghese, que estava procurando um local para exibir sua coleção fora de Roma, durante reformas”, explica Christophe Beth, administrador do museu Jacquemart-André. “E o que poderia ser melhor do que uma exposição sobre essas obras-primas absolutas da coleção Borghese para a reabertura do museu?”, diz.“O objetivo foi escolher as obras mais emblemáticas e, ao mesmo tempo, que fossem compatíveis com o museu Jacquemart-André, que era uma residência, uma mansão do século 19. Os espaços são de tamanho humano, portanto, não pudemos trazer grandes esculturas. Mas trouxemos quadros de Da Vinci, Caravaggio, Rafael e muitos outros. E criamos um espaço para as esculturas de Bernini”, diz o administrador francês.O conjunto das obras a serem expostas foi escolhido em colaboração entre a Galeria Borghese e o curador da exposição, Pierre Curie, que é conservador do museu Jacquemart-André.A exposição vem atraindo muitos visitantes, ocasionando filas e opiniões variadas.“A exposição me surpreendeu. Ela é pequena, distribuída em algumas salas. As obras mostram o gosto refinado dos colecionadores. Mas é muito cheio, as pessoas se empurram e não há espaço para se apreciar as obras”, conta a guia turística Zilda Figueiredo.“É uma coleção interessante, gostei da ideia de ver essas obras em Paris, pois assim não preciso viajar até Roma”, disse a aposentada holandesa Kathleen.“O museu Jacquemart-André é uma residência concluída em 1875, encomendada por Édouard André, seu proprietário, um rico herdeiro de uma família de banqueiros de Paris. O hedonismo foi algo que ele buscou ao longo de sua vida, enriquecendo sua casa com coleções de arte, quadros, esculturas, móveis e objetos. Com sua esposa Nelly Jacquemart, ele viajou o mundo para adquirir obras de arte”, relata Beth.A visita à suntuosa mansão do casal Jacquemart-André é uma viagem no tempo, com obras do século 15 ao século 18, incluindo quadros de Van Dyck, Rembrandt, Canaletto, Mantegna, Botticelli, Fragonard e outros. O casal, que não tinha filhos, legou tudo ao Instituto da França para que fosse transformado em museu, inaugurado em 1913. A exposição “Obras-Primas da Galeria Borghese” fica em cartaz até 5 de janeiro de 2024, no Museu Jacquemart-André, em Paris.

Greg has won big money prizes on the Jeopardy! Teen Tournament, Who Wants to Be a Millionaire?, and The Chase, but he's finally made it to the big time…Tangents. You have to listen to Greg play the game in a way no other contestant has to this point. Episode Links: Last Wikipedia Search: Dick Tuck Something you learned in the last week: There are no EFL football grounds in conservative constituencies. Favorite TV Theme: Friday Night Lights Favorite Movie Soundtrack: Zidane: A 21st Century Portrait AND…Space Jam Current Pop Culture Thing: Summer of Soccer - Euros and Copa América Favorite Trivia: Venetian painter Canaletto's name Where do you quiz: Various online leagues and live at Anvil & Forge and Hand of Fate…and hosting at Boone's. Thanks, Greg! Be sure to check out the links at https://linktr.ee/TriviaWorkshop and https://www.tangentstrivia.com/

Talk Art returns for Season 23! We meet Culture-loving Rob Rinder MBE and Architecture-fan Rylan Clark as they follow in the footsteps of 19th century romantic poet Lord Byron, and other Grand Tourists, on the 200th anniversary of his death.We discuss Caravaggio, Murano glass blowing, Artemisia Gentileschi & her censored ‘Allegory of Inclination' (1816) and what it was like to become nude life models themselves. We explore how they met the Venice-based drag/art collective House of Serenissima, and hear all the gossip from the historic era of the Grand Tour.Rob and Rylan's Grand Tour follows Rob Rinder and Rylan Clark – presenters, friends, and men who love the finer things in life – as they discover the greatest art treasures in Italy, finding out more about themselves along the way. Together, they retrace the steps of countless English aristocrats who took the Grand Tour – the original gap year – leaving behind the confines of British society for freedom and discovery abroad. But can the Grand Tour still work its magic today?Starting their journey in the winding canals of Venice, Rylan and Rob are ready to embark on the Grand Tour, once a cultural rite of passage designed to turn young men into distinguished gentlemen. In the city, they unveil one of the largest canvas paintings in the world, Tintoretto's Il Paradiso, leaving them in awe. They also learn about the legacy of Italian painter Canaletto before heading off to the quaint island of Murano, famous for its glass blowing art. Rob, a lover of opera and poetry, attempts to realise a lifelong dream by conducting Vivaldi's Four Seasons in the same church it was first performed in. Meanwhile, Rylan learns all about the lesser known side of the famous Venice Carnival. In episode two, Rob and Rylan head to the Renaissance city of Florence, the “Beating Heart of Tuscany”. Famous for its many museums and art galleries, this charming city is oozing with history around every corner. Set out to uncover the secrets of the Renaissance period, the pair soak up the sights, including the well known Uffizi Gallery in the historic centre, home to pieces by legendary artists Leonardo da Vinci, Michelangelo and Raffaello. They go on to visit more iconic locations: the Stibbert Museum, the Bargello Museum, Piazzale Michelangelo, Piazza Santa Croce during the final of the Calcio Storico, Piazza della Signoria, Piazza Santa Maria Novella, and Ponte alle Grazie. Along the trip, the duo learnt what it meant to be a Grand Tourist, trying on flamboyant Italian looks, fencing, dancing.On their final stop, the dynamic duo head to Italy's capital city, Rome. Here they enjoy exploring the classical ruins of the famous Colosseum and the Roman Forum as well as the Pantheon. Channelling their love of opera, Rylan and Rob enjoy a rooftop performance with sensational views of the city in the background.Rob and Rylan's Grand Tour is available now to stream on BBC iPlayer.Follow @RobRinder and @Rylan Hosted on Acast. See acast.com/privacy for more information.

Dieser Kunstsnack ist eine Reise in die Vergangenheit. Es geht um das Gemälde "Blick auf Dresden" von Bernardo Bellotto. Die Maltechnik des Künstlers wird ebenso thematisiert, wie seine Arbeit mit der camera obscuro. Außerdem erklärt Jakob Schwerdtfeger, was eine Vedute ist, warum Bellotto oft mit Canaletto verwechselt wird und dass Bernardo Bellotto ein echter Chronist der Stadt Dresden war. Was Märklin Landschaften, Touri-Souvenirs und Las Vegas damit zu tun haben? Hört rein!

Ob der Oberbürgermeister der Stadt Pirna am Wochenende die Nachrichten verfolgt hat? Wenn ja hat er friedliche Menschen dabei beobachten können, wie sie für die liebe und ihre Grundrechte gewaltfrei protestiert haben! Der CSD in Pirna stand in diesem Jahr besonders im Auge der Öffentlichkeit, nachdem der Oberbürgermeister zuerst das hissen der Regenbogenflagge während des Pride-Monats verweigert hatte und die Flagge dann sogar mit anderen, zurecht verbotenen, Flaggen der früheren NS-Zeit verglich. Für viele Menschen aus Pirna und ganz Deutschland ging das zu weit! Wir waren vor Ort um zu sehen, wie die Stadt und der CSD in diesem Jahr mit so viel Aufmerksamkeit umgehen. Auch Drag Queen Meryl Deep hatten die Schlagzeilen damals schockiert und zu einer Aktion geführt: der ersten Tour für Toleranz. Mit einem vollen Bus Interessierter hat sich Meryl am Samstag auf den Weg nach Pirna gemacht und Solidarität demonstriert. Wie sehr sie und ihr Engagement Andere inspiriert haben, hat sie uns vor Ort am Rande des CSDs in unserem kleinen. gläsernen, Podcast Studio erzählt. Aber natürlich geht auch die Hochzeitsplanung weiter, über die wir unsere Zuhörlinge in dieser Woche ausführlich informieren. Dieses Mal geht es um den Tanz der Tänze .. den Hochzeitstanz! Außerdem haben es in dieser Woche gleich zwei Faux-Pas in die Sendung geschafft und auch ein Telegramm. Und damit: Vorhang auf für die Dachboden Revue direkt aus Pirna! Shownotes: Wer den CSD Pirna unterstützen möchte: Hier klicken! PS: Dankeschön an das Caféhaus Canaletto in Pirna, dass uns so großartig aufgenommen hat!

Tuttolibri con Liliana Russo, che ci presenta il nuovo thriller storico di Matteo Strukul: La cripta di Venezia

Welcome to the Instant Trivia podcast episode 1179, where we ask the best trivia on the Internet. Round 1. Category: State Of The Book 1: "The Help". Mississippi. 2: "The Last Picture Show". Texas. 3: "Washington Square". New York. 4: "Centennial" by James Michener. Colorado. 5: "The Grapes of Wrath"--2 states please, where the story begins and ends. Oklahoma and California. Round 2. Category: Tell 1: Although he may be legendary, William Tell is one of the best-known heroes of this nation. Switzerland. 2: This form of "William" is in the German title of Friedrich Schiller's play about Tell. Wilhelm. 3: In the traditional William Tell story, this is the cause of death of the cruel governor Gessler. shot with an arrow. 4: It was Tell's response when Gessler asked what the extra arrow was for. to kill him if he missed with the first one. 5: The overture to this Italian composer's opera about William Tell is used to speed things up. Rossini. Round 3. Category: Guinness Animal Records 1: The largest one ever made by birds was built by bald eagles and weighed over 6,700 lbs.. a nest. 2: A Texas cat named Dusty must have been the cat's meow as she had 420 of these. kittens. 3: Some of these arthropods have as many as 750 legs, not a thousand as their name implies. a millipede. 4: The Gaboon viper has the longest of any snake, nearly 2". the fang. 5: It's the slowest-moving land mammal, and its name is a synonym for laziness. a sloth. Round 4. Category: The New York Times Style 1: An nytimes.com slide show on this woman's style included the red and black number from Election Night 2008. Michelle Obama. 2: Disco hoops and other styles of extravagant these "suggest you are taking the party with you". earrings. 3: A blog post notes that Junya Watanabe's Spring '09 collection continues to rely on this basic type of working pants. jeans. 4: In May 2008 the times reported on a more modest look in this wear, including boy shorts and halter tops. swimwear. 5: The times said this "NY" designer became "a Seventh Avenue original" using tights as a foundation for skirts and shirts. Donna Karan. Round 5. Category: A Success With Brush 1: In "The Story of Painting" Sister Wendy says, "He is much more than a painter of the fair and fat". (Peter Paul) Rubens. 2: An early 1730s work by Canaletto shows this canal city's "Quay of the Piazzetta". Venice. 3: There are 2 versions of John Singleton Copley's "Watson and" this sea predator in U.S. galleries. the Shark. 4: For your information, no, your six-year-old could not make paintings just like this man's 1952 "Convergence". (Jackson) Pollock. 5: Victorine Meurent, his favorite model, is the nude in his "Le dejeuner sur l'herbe". Edouard Manet. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

*Cough cough*... This week Susie and Gyles explore the language of diseases. From Cholera to Mumps, and Malaria to Influenza, they have you covered. Also, we reveal the WINNERS of our 'To Dent' and 'To Brandreth' competition! We love hearing from you, find us @SomethingRhymes on Twitter and Facebook, @SomethingRhymesWith on Instagram or you can email us on our email address here: purplepeople@somethingrhymes.com Want even more purple, people? Join the Purple Plus Club by clicking the banner in Apple podcasts or head to purpleplusclub.com to listen on other platforms' Don't forget that you can join us in person at our upcoming tour, tap the link to find tickets: www.somethingrhymeswithpurple.com  Enjoy Susie's Trio for the week:  Shackbaggerly: Disordered and unkempt. Komorebi (Japanese): The patterns cast by sunlight filtering through trees. Gruttling (old East Anglian dialect): A strange, inexplicable noise. Gyles' poem this week was 'Sick Room' by Billy Collins Every time Canaletto painted Venice he painted her from a different angle, sometimes from point of view he must have imagined, for there is no place in the city he could have stood and observed such scenes. How ingenious of him to visualise a dome or canal from any point in space. How passionate he was to delineate Venice from perspectives that required him to mount the air and levitate there with his floating brush. But I have been sick in this bed for over sixty hours, and I am not Canaletto, and this airless little room, with its broken ceiling fan and it monstrous wallpaper, is not Venice. A Sony Music Entertainment production.   Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts     To bring your brand to life in this podcast, email podcastadsales@sonymusic.com  Learn more about your ad choices. Visit podcastchoices.com/adchoices

The National Gallery opened its doors on 10th May 1824. The public could view 38 paintings, free. Now there are more than 2,300, including many masterpieces of European art by geniuses such as Rembrandt, Turner and Van Gogh. It is still free. The gallery's director, Gabriele Finaldi, guides Samira Ahmed through the collection. Artists Barbara Walker, Bob and Roberta Smith and Celine Condorelli, last year's artist-in-residence , choose paintings from the collection that are important to them, as does the critic Louisa Buck. The Sainsbury Wing is closed for building work, giving an opportunity to attend to the paintings there, and Samira visits the conservation studio and the framing workshop. She hears, too, from curator Mari Elin Jones in Aberystwyth about how during the Second World War the entire National Gallery collection was evacuated to a slate quarry in north Wales. The gallery's historians, Susanna Avery-Quash and Alan Crookham, show Samira photos of this period, and documents from the very beginning of the gallery. As part of the bicentennial celebrations 12 masterpieces are going to cities around the UK, to form the centre of exhibitions. Appropriately, Canaletto's 'The Stone Mason's Yard' will be going to Aberystwyth. From BBC Archive recordings we hear how Kenneth Clark and pianist Myra Hess organised lunchtime concerts held in the empty gallery, keeping cultural life going during the Blitz.Samira, Gabriele and Bob and Roberta first came to the National Gallery as children; Louisa Buck brought her children, who hunted for dragons in the paintings. The National Gallery is a welcoming, free, safe space for everyone, as a visitor, her baby asleep in his sling, happily explains.Presenter: Samira Ahmed Producer: Julian May

10 januari is de live podcast in Utrecht, hier bestel je tickets. Het kijken naar Netflix-hitserie The Crown bracht Maarten op het idee voor deze aflevering. Hij bespreekt uitgebreid vedute. Dat zijn heel nauwkeurig geschilderde stadsgezichten. De bekendste vedute-schilder van de 18e eeuw was Giovanni Antonio Canal, beter bekend als Canaletto. Zijn leerling Bernardo Bellotto maakte nog mooiere schilderijen. ⁠Tom⁠ stipt de gesloten Europese migratiedeal aan. En aan het eind van de aflevering worden de heren bruut gestoord.

In this episode, art critic Martin Gayford takes us on a breathtaking journey through five centuries of art history in Venice, exploring masterpieces of the Italian Renaissance, Peggy Guggenheim's palazzo, and the kaleidoscopic Venice Biennale. Martin Gayford's book 'Venice: City of Pictures' takes readers on a visual journey through five centuries of Venetian image making, including works by Titian, Canaletto, Ruskin, Turner, Monet, Manet and more. In this episode, Gayford takes us through the canals and palazzos of this ‘uniquely pictorial' place, and its many incarnations throughout history. This episode was presented by Eliza Apperly. Intro and outro audio by Eliza Apperly and Benjamin Nash.

Welcome to the Instant Trivia podcast episode 925, where we ask the best trivia on the Internet. Round 1. Category: note-able women 1: In 1999 this singer who once tore up the Pope's picture was ordained the first female priest in the Latin Tridentine Church. Sinead O'Connor. 2: Emily Watson earned an Oscar nomination for playing cellist Jacqueline du Pre in this 1998 film. Hilary and Jackie. 3: She sang on Broadway in "Damn Yankees" and "Bells Are Ringing" before playing TV's screechy-voiced Edith Bunker. Jean Stapleton. 4: The violin virtuoso known by the single name Midori was born in this country in 1971. Japan. 5: Patti Page played Sister Rachel in this Burt Lancaster film based on a Sinclair Lewis novel. Elmer Gantry. Round 2. Category: art and artists 1: This "American Gothic" artist was an asst. professor of fine arts at the Univ. of Iowa in 1934. Grant Wood. 2: This Spanish surrealist collaborated on 2 films with Luis Bunuel, "Un Chien Andalou" and "L'Age D'Or". Salvador Dali. 3: A Canaletto view of this square shows the Doge's palace and the Loggia of Sansovino. Saint Mark's Square. 4: Otto Dix did several of this type of portrait, including one "As a Soldier" and one as the war god Mars. self-portrait. 5: Though the Spanish court painter, he portrayed the vulgarity of the family of Charles IV. Francisco Goya. Round 3. Category: esoterica 1: This Poe poem has a scholar seeking solace in ancient, esoteric writings, but he's disturbed by a "rapping at my chamber door". "The Raven". 2: The Pleistocene Epoch was the last time about 1/3 of the Earth's land surface was covered by these. glaciers. 3: Kukai, also known as Kobo Daishi, brought esoteric Shingon Buddhism to this country. Japan. 4: For Louis XV from 1769 to 1774 it was Marie DuBarry. mistress. 5: Pemba, one of the world's leading suppliers of clove oil, is an island near Zanzibar in this ocean. Indian Ocean. Round 4. Category: the world of lounge 1: Much lounging is done on this vinyl-covered fabric named for Naugatuck, Connecticut. Naugahyde. 2: The primo cocktail of the cocktail nation is this one favored by James Bond. a martini. 3: You can't go wrong if you make this man your model of style and demeanour:"The last thing I need is a dame around me who says she's my wife. You know how I operate.". Dean Martin. 4: 1996 film that popularized lines like "You're money, baby". Swingers. 5: With hits like "Somewhere My Love", this bandleader brought a "Ray" of light to '60s lounge. Ray Conniff. Round 5. Category: "n"veloped 1: The only word in "The Pledge of Allegiance" that starts and ends with "N". nation. 2: It's the first age you reach when you're surrounded by "N"s. nineteen. 3: This "Dance" by the Pointer Sisters was featured in the film "Beverly Hills Cop". "The Neutron Dance". 4: A black widow spider's venom is classified as this 10-letter type of poison. a neurotoxin. 5: A webcam on this university's School of Communications is pointed at Lake Michigan. Northwestern. Thanks for listening! Come back tomorrow for more exciting trivia! Special thanks to https://blog.feedspot.com/trivia_podcasts/

On this episode of the Nordic Art Agency Podcast host Juliet is joined by Rosie O'Connor the Co-Curator at Frameless, London's first permanent digital immersive arts experience. Frameless opened in September 2022 in the heart of London's West End cultural district. As the biggest digital immersive arts experience of its kind in the UK, Frameless is a new art landmark destination, bringing art to life like never before.  So after almost a year of opening it's doors with a 4K multi-genre and multi-artist experience, featuring iconic masterpieces from the likes of Cezanne, Kandinsky, Monet, Canaletto, Rembrandt and Klimt how has this new immersive art experienced been received and what place does it take in the museum and gallery world?Rosie O'Connor who studied Art History and Visual Culture and has a special interest in British Modernism, museology and accessibility in the arts gives us her take on the evolution and future of the immersive art experience.

Nel nuovo episodio di TuttoLibri, la nostra Liliana Russo presenta Il ponte dei delitti di Venezia di Matteo Strukul

Holly and Tracy discuss the commercial nature of Canaletto's work. They also talk about how Lully managed to achieve his many ambitions. See omnystudio.com/listener for privacy information.

Canaletto rose to fame painting remarkable views of Venice. He became especially popular with wealthy tourists, who commissioned his paintings as souvenirs of their travels. Research: Constable, William G.. "Canaletto". Encyclopedia Britannica, 14 Oct. 2022, https://www.britannica.com/biography/Canaletto Britannica, The Editors of Encyclopaedia. "War of the Austrian Succession". Encyclopedia Britannica, 3 Mar. 2023, https://www.britannica.com/event/War-of-the-Austrian-Succession Binion, A., & Barton, L.  Canaletto. Grove Art Online.Retrieved 17 Apr. 2023, from https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000013627 “The Stonemason's Yard.” The National Gallery. https://www.nationalgallery.org.uk/paintings/canaletto-the-stonemasons-yard “London: Interior of the Rotunda at Ranelagh.” The National Gallery. https://www.nationalgallery.org.uk/paintings/canaletto-london-interior-of-the-rotunda-at-ranelagh “Canaletto's Drawings.” Royal Collection Trust. https://www.rct.uk/collection/themes/exhibitions/canaletto-in-venice/the-queens-gallery-palace-of-holyroodhouse/canalettos-drawings Baetjer, Katherine and J.G. Links. “Canaletto.” Metropolitan Museum of Art, New York. Harry N. Abrams, Inc. 1989. Accessed through The Met: Watson Library Digital Collections. https://libmma.contentdm.oclc.org/digital/collection/p15324coll10/id/49280 “Imaginary View of Venice.” The Met. https://www.metmuseum.org/art/collection/search/335287#:~:text=It%20was%20in%20these%20years,representing%20actual%20sites%2C%20others%20imaginary. Erkelens, C. J. (2020). Perspective on Canaletto's Paintings of Piazza San Marco in Venice, Art & Perception, 8(1), 49-67. doi: https://doi.org/10.1163/22134913-20191131 “Canaletto.” The Art Story. https://www.theartstory.org/artist/canaletto/ “Canaletto.” National Gallery of Art. https://www.nga.gov/collection/artist-info.1080.html?artistId=1080&pageNumber=1 “Piazzo San Marco.” The Met. https://www.metmuseum.org/art/collection/search/435839 “Architectural Capriccio.” https://www.themorgan.org/collection/drawings/141078 “Owen McSwiney.” The Fitzwilliam Museum. https://fitzmuseum.cam.ac.uk/objects-and-artworks/highlights/context/patrons-donors-collectors/owen-mcswiny  See omnystudio.com/listener for privacy information.

“Paysage” Fenêtre sur la natureau Louvre-Lens, Lensdu 29 mars au 24 juillet 2023Interview de Marie Gord, Attachée territoriale de conservation du patrimoine, chargée de recherches et de documentation au musée du Louvre-Lens et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Lens, le 18 avril 2023, durée 15'07,© FranceFineArt.https://francefineart.com/2023/04/19/3428_paysage_louvre-lens/Communiqué de presseCommissariat :Vincent Pomarède, Conservateur général du patrimoine au musée du LouvreMarie Gord, Attachée territoriale de conservation du patrimoine, chargée de recherches et de documentation au musée du Louvre-Lens Marie Lavandier, Conservatrice générale du patrimoine, directrice du Louvre-Lens Direction artistique :Laurent Pernot, ArtisteEn collaboration avec Mathis Boucher, Architecte-scénographe au Louvre-Lens#LouvreLensQu'est-ce qu'un paysage ?C'est la question que le Louvre-Lens pose dans cette exposition, en l'abordant sous l'angle artistique.Depuis la Renaissance jusqu'à nos jours, par la peinture, les artistes rejouent à leur manière les mythes de la Création, en représentant ciel, terre, mer, lumière et ténèbres. Les instantanés chatoyants des impressionnistes, les brumes fugitives des peintures de montagne et d'eau chinoises (shanshui), les mille et une vues des estampes japonaises, toutes ces œuvres murmurent des messages faits de clarté et d'ombres.Ce langage codé trouve son registre dans ce que le 17e siècle a nommé les ornements de la nature : arbres, végétaux, rochers et ruisseaux. Afin de le décrypter, l'exposition plonge aux sources des représentations artistiques et suit l'artiste dans les étapes de son travail, depuis l'esquisse préparatoire jusqu'à l'oeuvre achevée. Elle explore ainsi différents types de paysages et de points de vue sur la nature, du petit dessin jusqu'au gigantesque panorama, de la plaine paisible jusqu'aux volcans menaçants, de l'instant éphémère jusqu'à la vision d'éternité, de la figuration jusqu'à l'abstraction.Les énigmes sont nombreuses : de quels lieux s'agit-il ? Quels outils utilisent les artistes ? Quel est leur rapport aux sciences de leur temps ? Que ressentent-ils face aux sites naturels ?Riche de plus de 170 oeuvres, et de deux espaces cinéma, le parcours invite à pénétrer dans les coulisses de la fabrique du paysage, de la Renaissance à nos jours, croisant Nicolas Poussin, Canaletto, Jean-Honoré Fragonard, Katsushika Hokusai, Utagawa Hiroshige, Camille Corot, John Martin, Catherine Empis, George Sand, Frederic Edwin Church, Jean-François Millet, Claude Monet, Vassily Kandinsky, Georgia O'Keeffe, Nicolas de Staël ou encore Joan Mitchell.Outre les créations en elles-mêmes – célèbres ou plus inattendues –, l'exposition présente des objets permettant de répondre à ces questions, tels des manuels pédagogiques écrits par les artistes ou des instruments employés en atelier ou en plein air. Tous permettent de suivre les amateurs dans leurs intérieurs où le paysage se fait décor, mais aussi les artistes durant leurs expéditions, dans leurs jardins ou beaucoup plus loin.Dans notre monde, aujourd'hui totalement métamorphosé par l'activité humaine, les thèmes du paysage et de la nature sont d'une actualité brûlante ; les oeuvres les questionnent à leur manière et démontrent, s'il le fallait, à quel point sont liés art et paysage.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Bernardo Bellotto nipote del più importante Giovanni Antonio Canal ma entrambi chiamati Canaletto!

Photo by Kate Orne/Upstate Diary Melissa McGill, (born in Rhode Island, 1969) is a New York based interdisciplinary artist known for ambitious, collaborative, site specific public art projects. They take the form of site-specific, immersive experiences that explore nuanced conversations between land, water, sustainable traditions, and the interconnectedness of all living things. At the heart of her work is a focus on community, meaningful shared experiences and lasting impact. Spanning a variety of media including performance, photography, painting, drawing, sculpture, sound, light, video and immersive installation, McGill has presented both independent public art projects and solo exhibitions nationally and internationally since 1991. She lives in Lenapehoking (Beacon, New York). Her recent endeavor, Red Regatta (2019), was an independent public art project that activated Venice's lagoon and canals with four unprecedented large-scale regattas of traditional vela al terzo sailboats hoisted with hand-painted red sails, presented in collaboration with Associazione Vela al Terzo Venezia, co-organized by Magazzino Italian Art. In the Waves (2021) was a series of collaborative performances presented by Art&Newport that moved over the landscape in Newport Rhode Island evoking the urgency of rising sea levels and a rapidly changing climate with an ensemble of local community members. The artist invited members of the local community to join the ensemble of this inclusive movement-based public artwork to create a shared meaningful experience about these environmental themes. Her land art project, Constellation (2015-2017), installed on an island in the Hudson River, lit each night creating a new constellation transforming The Bannerman Castle ruin. She has been exhibiting her artwork nationally and internationally since 1991, and additional recent projects include Canaletto and Melissa McGill:Performance and Panorama, 2022, The Lightbox, United Kingdom; Palmas, 2014, Manitoga, Garrison, New York ; The Campi, 2018, Venice, Italy, as well as solo exhibitions at The Permanent Mission of Italy at the United Nations, New York organized by Magazzino Italian Art; Mazzoleni London-Torino; TOTAH, New York; White Cube, London; Power House, Memphis; Palazzo Capello, Venice; and CRG Gallery, New York. She is a graduate of The Rhode Island School of Design, a member of the Lenape Center Advisory Council, and a National Endowment of the Arts ArtWorks Grant recipient. In 2022 she was awarded the Helena Rowe Metcalf Visionary Award by the Rhode Island School of Design Alumni Association. Melissa McGill Sea Saga, 2022 organic indigo on clay coated wood panels (diptych) 36 × 30 × 1 ½ inches (91.5 × 76 × 4 cm) 36 × 30 × 1 ½ inches (91.5 × 76 × 4 cm) Oceanus, 2021 Organic indigo on clay coated wood panel 36 x 30 x 1.5 inches Celestial River, 2022 Organic idigo on yupo paper, 9″ x 12″  

Mario Cresci"Matrici"L'incertezza del veroA cura di Stefano RaimondiMimesis Edizionihttps://www.mimesisedizioni.it/Mario Cresci sperimenta la coesistenza tra scrittura e immagine in questa preziosa opera che racchiude ottanta disegni – quali sono i suoi anni – tratti da fotografie realizzate dall'autore dagli anni Sessanta a oggi.Se gli “scaraboti” prodotti da Canaletto nel XVIII secolo rappresentano per l'artista le “matrici” prospettiche funzionali ai suoi dipinti, nel libro di Cresci si assiste a un'inversione del processo, con il trasferimento delle immagini in segni-disegni suggeriti dalle stampe fotografiche. Da qui il fraseggio con la scrittura, anch'essa evocativa e non descrittiva, che affronta i principali snodi biografici e critici della sua attività.L'inserimento del QR code, alla fine del libro, consentirà al lettore di “vedere” o “non vedere” le fotografie da cui sono stati ricavati i disegni.Mario Cresci (Chiavari, 1942) è fotografo, visual designer e docente all'Università ISIA di Urbino. Ha indagato le potenzialità del linguaggio fotografico verificandole con le più aggiornate metodologie della ricerca artistica contemporanea. Teorizza e pratica fin dagli anni Sessanta la contaminazione tra le diverse discipline espressive: fotografia, disegno, installazione, performance, video. Dal 1974 alcune sue fotografie fanno parte della collezione del MoMA di New York. Dal 1991 al 1999 ha diretto l'Accademia G. Carrara di Belle Arti di Bergamo, città dove attualmente vive e lavora. Nel 2019 ha pubblicato Segni migranti. Storie di grafica e fotografia, un compendio della sua ricercaIL POSTO DELLE PAROLEAscoltare fa Pensarehttps://ilpostodelleparole.it/

Country Houses are a huge inspiration for our host. After a childhood of being marched around the most incredible houses in the UK, he learnt to love them for their artistic and cultural importance in the landscape of Great Britain. Today, Harry is on a mission to highlight their cultural significance, dispelling their connotations of a grandma's day-out and instead inspiring people to see the benefit of a storied artistic experience that truly connects people with the history and objects of our past. Harry is lucky enough to have worked at one of the UK's finest stately homes and so had plenty of first-hand experience of the people who visit them and how to make them more accessible to all. This week, Harry is joined by two women championing the importance of stately homes. Firstly, we hear from historian and producer at History Hit TV Alice Loxton, who shares some of the stories behind some of her favourite homes, and talks about why more people should get involved with them. Also joining the episode is historian and author Charlotte Furness who discusses her thoughts on how to open up these buildings for all, as well as the reasons they still matter in our cultural landscape. She also shares with us the fascinating history of Anne Lister, a remarkable woman who features in Charlotte's latest book and whose diaries are still studied today as a record of hidden LGBTQ+ voices in the early 19th century.  Harry Stevens is the host of Young at Art and is a 21-year-old art and interiors obsessive passionate about opening up the art world to all. At Young at Art Harry speaks to the tastemakers who are defining a new image of art and design today, with new episodes out weekly. If you enjoyed this episode and want to find who we will be speaking to next, you can follow the podcast on instagram @youngatartpodcast. Today's guests can be found on instagram at @charlottefurnesswriter and @history_alice, and Harry can be found at @planetstevens. For more information about the podcast, please visit the website, www.youngatartpodcast.comThe podcast's cover art was drawn by Beatrice Ross, @beatricealiceross and the intro music was written and performed by Maggie Talibart, @maggie_talibart.  Houses to Visit1. Althorp House, Northamptonshire. A hidden gem only an hour from London, Althorp House has one of the best private art collections in the UK with works by Joshua Reynolds, Thomas Gainsborough, Van Dyke and Stubs. Featuring a mix of both modern works and inherited family pieces, the collection at Althorp feels fresh and relevant today. Althorp is also the family home of Princess Diana, and has been lived in by the Spencer Family for over 500 years. https://althorpestate.com 2. Kenwood House, Hampstead, London.Set on London's Hampstead Heath, Kenwood House is owned by English Heritage and was once home to a fascinating character from aristocratic history, Dido Elizabeth Belle, widely considered UK's first black British aristocrat. Dido's story is fascinating; her father Sir John Lindsay was a white Royal Naval Officer and her mother Maria Bell was a black slave living in the British West Indies. She was also a niece of William Murray, later the 1st Earl of Mansfield, who was influential in his views towards the abolition of slavery in the UK, some 60 years before the abolition act was passed in 1833. Her story is explored in the 2013 film Belle. https://www.english-heritage.org.uk/visit/places/kenwood/ 3. Castle Howard, YorkshireBridgerton fans rejoice at the sight Castle Howard, which stands in as the fictional Clyvedon Castle, home to the Duke and Duchess of Hastings (played by Regé Jean-Page and Phoebe Dynevor). Castle Howard is a fabulous baroque palace: construction took over 100 years to complete and the result is a masterpiece of early 18th century design. The castle has a wonderful collection of antique sculpture, Canaletto paintings, and is set in acres of beautifully maintained parkland. https://www.castlehoward.co.uk 4. Mapperton House, DorsetHome to the Earl and Countess of Sandwich (Yes, where the name for the infamous lunchtime meal comes from) Mapperton is considered 'the finest manor house in England' and is home to an eclectic mix of objects and intriguing family history. Home to the Montagu family, Mapperton is the home of Julie Montagu - Viscountess Hinchingbrooke - who documents her life living and restoring the home to her YouTube channel (which has nearly 100,000 subscribers, all eager to get a slice of Mapperton life for themselves). Recently seen in Netflix's adaptation of Daphne Du Maruier's novel Rebecca, Mapperton House is a gem set amongst acres of gardens, where the Viscountess can be seen taking her daily ice bath in the 17th century canal garden !https://mapperton.com

[Warning: this is a long post, and probably not of interest to everyone, but you never know. Also it's probably one to read rather than listen to, but some prefer the audio, so I've given you the choice.]As regular readers of my stuff will know, I'm of the view that a society should be designed around direct democracy and very low levels of land value tax (LVT), what Milton Friedman called “the least bad tax”. I may dream of Ancapistan, a land of no government, but the reality is that taxation of some kind, even if it be voluntary, is inevitable. There has never been a civilisation without taxation.Ideally, land value tax would replace ALL other taxes. However, if you offered me LVT in the UK and all other taxes, income tax especially, slashed to 10, 15 or even 20%, I'd bite your hand off. My friends in the countryside hate the idea, and I get angry messages about it, but the reality is that it is the owners of prime city centre real estate, the likes of the Crown, the Grosvenor Estate, major institutions and so on, who would bear the brunt, not ordinary homeowners or someone with 10 acres of field with no planning permission. (In my book Daylight Robbery, I argue for location value tax - it's the same as land value tax, but I use the word “location” because the location of the land - ie city centres - is more important than the actual amount of land).In any case, LVT is not going to happen here in the UK. Introducing a major new tax is too big an undertaking. It's easier for politicians to raise and lower the taxes they already impose, and tinker round the edges of the existing system. LVT would be a whopping vote-loser in a nation whose primary concept of wealth is the value of their house. Just explaining it, never mind getting it across the line, is hard enough. (If you want an explainer, by the way, there is one here and another here). Anyway this is all pre-amble, and I'm not here today to discuss the merits - or lack thereof - of LVT. For the purposes of this blog, just take my word that LVT keeps the relationship between ruler and citizen, between governor and governed, in healthy, transparent check. With LVT you would pay fewer taxes and lower levels of tax - ie less tax overall.So I've been trying to come up with a politically possible means by which* LVT can be implemented and shown in practice to work* Beautiful housing can be made affordable to ordinary people without collapsing the housing market or having to reform the fiat money system* Corporations, particularly crony capitalist building companies, planners, regulators and government are kept out of it, and people can be left to their own ingenious devicesAnd, by George, I think I've got it.Here's my idea. I stress: it is just an idea I am working through so there are bound to be flaws. I'd be grateful for any comments, pointers, thoughts, statistics, data, and so on.Water Location Value TaxSummary:Today's unaffordable housing is a consequence of both our system of planning and our system of money. They have conspired. But wholesale reform to either as good as politically impossible. With Britain's over-leverage to housing, the financial repercussions of markedly lower house prices are politically intolerable. Instead we propose to bypass the housing market altogether with an initiative to re-populate the underused rivers, keys, docks and canals of Britain with houseboats, barges and floating homes. Local authorities and the land registry will determine who “owns” the water and the land beside it (most water is nationally owned). That which is not needed for transportation (eg the middle of rivers) will be parcelled off into small plots to be sold to individual owners – not corporate entities – on which they can then build or buy, then moor floating homes and other edifices. An annual Water Tax will then be levied along the lines of Henry George's Single Tax (land value tax), based on the rental value of the plot, payable to the local authority and to the body in charge of the waterway, usually the Canal River Trust.20 housing ministers since 1999The unaffordability of housing has been for twenty years or more one of the biggest issues in the country. As if to illustrate the priority this problem is being given in Whitehall, we have this:In fact, we have had two more, since Esther McVey and this chart: Christopher Pincher Stuart Andrew and Steward Andrew. I make that 20 different housing ministers since Hilary Armstrong in 1999. It's not what you would describe as evidence of a long-term strategy.It seems absurd that we should have any crisis at all. A house does not cost a lot of money to build. In China it has long been the case that a 3D printer can build a home in a day for about £3,000. Here in the UK you can buy a flatpack 3-bed house, which takes 6-7 hours to erect, yours for £24,000. The interior of one of architect, Renato Vidal's 3-bed, flat-packed homes, £24,000. Meanwhile, there is no shortage of land. Little more than 4% of the land in England and Wales is built on, even less in Scotland. This was the finding of the National Ecosystem Assessment in 2011: just 1.1% of rural and urban land in England and Wales has domestic property on it, another 1% has commercial property and 2% is roads. The rest – around 95% - is not built on. You could, in theory, double the housing stock of England and Wales, using little more than 1% of land. (It is more complicated than that but you take my point).How on earth have we got into the situation that in 21st century Britain almost an entire generation is “priced out”? Underlying cause of high house prices number one – money supplyBetween 1997 and 2007 the population grew by 5%, yet the housing stock grew by 10%.  If house prices were a simple function of supply and demand, they would have fallen slightly over the period. Instead, they tripled.Mortgage lending over the same period went up by 370%. It was the increased supply of money, which caused house prices to rise. Money supply increased at a rate of roughly 11.5% per annum in the 40 years between 1971 and 2011. Some 40% of it went into residential and commercial property. Roughly speaking, house price inflation mirrored money supply growth. The Bank of England has a remit to curb inflation, but it does not include house prices or money supply growth in its standard measures, and so house price inflation went unchecked. If interest rates had reflected 11.5% annual money supply growth, house price inflation would have been stopped in its tracks.  Underlying cause number two – planningPlanning laws are the second part of the problem. The newly created money poured into a market which had limited ability to expand.The 1947 Town and Country Planning Act, passed by Clement Attlee's Labour Government, became the foundation of modern town and country planning in the UK, followed by new statutes in 1990 and 2004.  It was founded on the laudable aim “that all the land of the country is used in the best interests of the whole people”. What happened, however, was that it became difficult to get permission to build anything, so the act had the effect of reinforcing the monopoly of the landowner. Today, just 6,000 or so landowners (the Crown, large institutions and a few rich families) own more than 70% of UK land. Most people do not have the time and resources to navigate planning laws, so house building has become the preserve of a few large corporations. An acre of rural land worth £10,000 becomes an acre of land worth as much as £1m once it has planning permission. This is an expensive and utterly needless cost of government, and it goes a long way to explain why house prices are so much higher than build prices. The act led to huge concentrations of both people and capital in areas that were already built up – especially London – and brought vast, unearned wealth to those who owned at the expense of those who didn't. Our most beautiful domestic architecture was predominantly built in the 18th and 19th century, before planning laws. The more planning there is, the uglier buildings seem to get. This is causation not correlation: it is inevitable when the final say on creative decisions is in the hands of planners. Imagine Van Gogh needing regulatory approval on a painting. Here are some nice houses built before planning laws.Why this housing crisis is unsolvableTo solve the crisis requires two things: money reform and planning reform.  Both are such huge undertakings with such opposing vested interests as to be almost unachievable. As a nation, Britain is over-leveraged to housing. Too many people have too much money tied up in their house. The economic risks of significantly lower prices are high. What party standing for lower house prices would even get elected? Homeowners are more likely to vote than renters. The house price crash of 1989-94 was a major factor in making the Tories unelectable for half a generation. No party wants such a fate. A land value tax, along the lines of the Single Tax suggested by Henry George, would go a long way to resolving many of the housing market's distortions, but there is as little chance of that as there is of money and planning reform. Politicians promising new taxes when there is no national emergency tend not to be popular. Margaret Thatcher's Community Charge is one of many examples.There is an impossible deadlock. We must seek a solution elsewhere. In his 2009 essay, The Education of a Libertarian, tech entrepreneur Peter Thiel argued that political change cannot be achieved through political activism. Instead, one must “find an escape from politics in all its forms”, he says, and “focus on technologies that create a new space for freedom”. The Internet, for example, was one such “new space” albeit a virtual one.  In the future sea steading or outer space might be. “The mode for escape,” he says “must involve some sort of new and hitherto untried process that leads us to some undiscovered country.”It might be that there is an “undiscovered country” that exists in the middle of every major city of the UK: on its water.The most valuable real estate in the worldThere is a piece of prime Central London real estate, bigger than Hyde Park and better located. It is undeveloped - 150 years ago Londoners were making more use of it than they are today. Yet it could create all sorts of possibilities for people, not least billions of pounds worth of business, as well as lighten London's chronic congestion and housing problems. The River Thames.I lived for many years on a barge, docked on the Isle of Dogs. How it used to frustrate me, as we drove up the river, that this enormous resource, the Thames, was barely used.  A few party, pleasure and tour boats, some barges carrying freight, HMS Belfast, the Thames Clippers, a couple of floating restaurant-bars and the occasional mooring for houseboats. That's pretty much it. Plenty of office and apartment blocks have been built along each side (what a missed opportunity to produce something beautiful that was), but in front of them, from Teddington Lock to the Isle of Dogs and beyond, there is mile upon mile of unused bank wall, foreshore and river with hardly any activity. Here is Canaletto's Greenwich Hospital painted on the southern tip of the Isle of Dogs in around 1750. It is a haven of activity: boats ferrying people about, delivering goods, industry, commerce - as well as people living in boats moored on the river. It was bustling. Here is that same view today. There is nothing going on.This is the view from either side of Vauxhall Bridge. I took these pictures during the rush hour a couple of years back. Plenty is happening on either side, but on the river itself there is nothing going on. We cross the Thames, we walk along the side of it, we look at it, occasionally we take boat trips on it, but we don't actually use it. The River Thames used to be the lifeblood of London and we have lost touch with it. The story is the same in so many cities across the country. Each one has its water: its docks, its quays, its rivers, its canals. Almost invariably the banks have been developed in some way – the docks of Liverpool, Cardiff, Salford or Birmingham, for example - but the water itself just sits there, looking on – idly ignored. Canary Wharf is another example – even there, so much of the quay water goes almost unused. The waterways of Britain have become a relative economic desert.There should be houseboats, barges, floating structures, shops, restaurants, workplaces, offices, cinemas, theatres, small craft ferrying people in between. The possibilities are enormous. Of course there are ecological and aesthetic concerns, but these can be addressed. In London especially, but elsewhere too, there are safety issues with the tide and currents, but these are challenges which can easily be overcome by entrepreneurs, engineers and inventors between them. They managed 200 years ago. Take a leaf out of Venice's book, take a leaf out of Amsterdam's book, out of Seattle or Vancouver's book. But the mayor cannot just shout “everyone in a boat”. How then to develop our water? How to do it well? And why has it not happened before?Without clear ownership capital will not be investedOne of the barriers to development has been lack of clear ownership. On the non-tidal Thames (from Teddington Lock to the source in Oxfordshire), for example, there are riparian rights. The owner of the bank has ownership of the bed to the middle of the river. However, the middle of the river must be left clear for craft to pass and the Environment Agency limits what can and can't be done. (Can any lawyer readers confirm this?)On the tidal Thames, however – which stretches from Teddington Lock to the Estuary - these riparian rights are less clear. The Port Of London Authority (PLA) inherited ownership of the riverbed and the foreshore from the City of London in 1907. The bank and one boat width immediately next to it are owned by somebody else. Often there is a dispute over ownership of the wall alongside the river. Many moorings - Reed Wharf by Tower Bridge, Nine Elms in Vauxhall, St Mary's Church in Battersea, for example - have been there for decades, yet they are all constantly in and out of legal disputes over ownership. Much of the problem is that ownership was never registered and recorded in the same way that “normal” land was. Water moves.When ownership is not clear, capital is less likely to be risked. Things then fall into disrepair. Take a look at the mooring by St Mary's Church in Battersea if you want to see the depths of disrepair to which boats on an unmaintained mooring can sink (literally). This could be such a beautiful mooring. The spot is glorious (though not as nice as it was before they built those horrible glass fronted apartment blocks next to it).The disrepair gives rise to nimby-ism. Riverside properties don't want their view of the river spoiled by grotty old boats.  When they have control of the access point on the bank to the water, they have control of what can or can't happen. Moored boats, complain those who live on the river, even if lived on for many years, have fewer rights than squatters. They can be moved on with little notice or permission. The waters of Britain are, for the most part, nationally owned, under the stewardship of the Canal River Trust. The Environment Agency also has a role. In the case of the tidal Thames, the Port of London Authority is the body responsible. These bodies made certain decisions about how the waterways were to be used – no residential development on the Thames was one. But these decisions were taken without any kind of public vote. All three would vehemently defend this charge, but they have proved barriers to rather than facilitators of progress. None are popular with those who live on boats. Our goal is to sell small plots of water – on docks, canals, rivers, wherever there is ample space – to private (not corporate) owners. The owner, not the public body, will then have the say as to what they moor there. The solutionHow ironic that a land value tax could be the answer.The local authority, together with the land registry, should parcel up each area of water, foreshore and bank in its jurisdiction into plots, with a register of who owns what. Most of the water is nationally owned, but there may be some disputes over ownership of access points and banks. These will be resolved in due course, as I'll explain.Each plot that is nationally owned should then be put up for auction with a 125-year lease, some for domestic use, some for commercial. The proceeds of the sale go to the local authority and the body in charge of the water on a 70:30 basis. We want to encourage individual owners. We want to discourage property speculators, landlords and corporate developers. So there will a maximum size to each plot and no body may buy more than one - at this stage. Buyers of domestic plots may be individuals or families – but no corporations. Against every plot a tax is then levied, which should be a proportion – likely 10% - of the annual rental value of that plot. That percentage rate is agreed in advance and, probably, fixed for the duration of the lease. Thus everyone will know where they stand. No chains are allowed in the commercial plots. Small businesses only.Every year for 125 years the lessee will pay, say, 10% of the rental value of the plot. If he/she doesn't want to pay the tax, they sell the plot to someone who is happy to. Rental values can be assessed every three years - but they are pretty easy to determine. You just look at what nearby plots are renting for.This tax revenue, as with the sale money, is shared 70:30 between the local authority and the body in charge of the waterway in that area, usually the Canal River Trust, thereby providing an income stream for both. The Authority then has an obligation to spend or invest that tax revenue maintaining and improving the waterways, in consultation with those who live on them. The lure of the tax and the sale revenue should encourage the compliance of both in the scheme, but the order should come from above - from central government.The administration of the tax should settle many issues surrounding ownership. In many cases it should force disputes to be settled. The obligation to pay tax will force many owners, either to make use of the plot - to develop it in some way (a way that is ecologically and aesthetically agreeable, of course) - or to sell it to someone who will. Once ownership is clear, and development possible, capital will follow.With individual families and small businesses developing floating properties according to their own needs and wants – self-build essentially – we are guiding development along the lines of a Schumacherian, “small is beautiful” ethos. The large building corporations (not to mention the regulators who approved their projects), who between them have between brought Britain its bland and characterless architecture of the last 70 years, will not be involved in any way. There will be certain craft specifications (usually a limit on size), but the main say will lie with the creator not the regulator. We do not want not homogenisation, but individuality and character. Individuals developing their own places to live and work will have a far greater incentive to create something unique and beautiful than a planner looking to tick boxes. Houses – and boats and barges – can be bought and sold for much closer to their build costs, a far cry from the astronomical prices paid elsewhere. It is unlikely banks will lend recklessly, if at all, thus will we keep “excess money creation” out of this market. The obligation to pay tax should deter speculators and land-bankers. Beautiful floating edifices can be built, homes, places of work and entertainment, water commerce can flourish once again, congestion elsewhere can ease. Fantastic communities can flourish - boating communities are as close-knit and happy as you get. Thus do we create a thriving new opportunity in the middle of our cities at a low cost to entrants. A market-based policy to alleviate the UK's housing shortage. Please share your thoughts. I'm particularly interested in any data there is on how much water is actually available. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.theflyingfrisby.com/subscribe

[Warning: this is a long post, and probably not of interest to everyone, but you never know. Also it's probably one to read rather than listen to, but some prefer the audio, so I've given you the choice.]As regular readers of my stuff will know, I'm of the view that a society should be designed around direct democracy and very low levels of land value tax (LVT), what Milton Friedman called “the least bad tax”. I may dream of Ancapistan, a land of no government, but the reality is that taxation of some kind, even if it be voluntary, is inevitable. There has never been a civilisation without taxation.Ideally, land value tax would replace ALL other taxes. However, if you offered me LVT in the UK and all other taxes, income tax especially, slashed to 10, 15 or even 20%, I'd bite your hand off. My friends in the countryside hate the idea, and I get angry messages about it, but the reality is that it is the owners of prime city centre real estate, the likes of the Crown, the Grosvenor Estate, major institutions and so on, who would bear the brunt, not ordinary homeowners or someone with 10 acres of field with no planning permission. (In my book Daylight Robbery, I argue for location value tax - it's the same as land value tax, but I use the word “location” because the location of the land - ie city centres - is more important than the actual amount of land).In any case, LVT is not going to happen here in the UK. Introducing a major new tax is too big an undertaking. It's easier for politicians to raise and lower the taxes they already impose, and tinker round the edges of the existing system. LVT would be a whopping vote-loser in a nation whose primary concept of wealth is the value of their house. Just explaining it, never mind getting it across the line, is hard enough. (If you want an explainer, by the way, there is one here and another here). Anyway this is all pre-amble, and I'm not here today to discuss the merits - or lack thereof - of LVT. For the purposes of this blog, just take my word that LVT keeps the relationship between ruler and citizen, between governor and governed, in healthy, transparent check. With LVT you would pay fewer taxes and lower levels of tax - ie less tax overall.So I've been trying to come up with a politically possible means by whichLVT can be implemented and shown in practice to workBeautiful housing can be made affordable to ordinary people without collapsing the housing market or having to reform the fiat money systemCorporations, particularly crony capitalist building companies, planners, regulators and government are kept out of it, and people can be left to their own ingenious devicesAnd, by George, I think I've got it.Here's my idea. I stress: it is just an idea I am working through so there are bound to be flaws. I'd be grateful for any comments, pointers, thoughts, statistics, data, and so on.Water Location Value TaxSummary:Today's unaffordable housing is a consequence of both our system of planning and our system of money. They have conspired. But wholesale reform to either as good as politically impossible. With Britain's over-leverage to housing, the financial repercussions of markedly lower house prices are politically intolerable. Instead we propose to bypass the housing market altogether with an initiative to re-populate the underused rivers, keys, docks and canals of Britain with houseboats, barges and floating homes. Local authorities and the land registry will determine who “owns” the water and the land beside it (most water is nationally owned). That which is not needed for transportation (eg the middle of rivers) will be parcelled off into small plots to be sold to individual owners – not corporate entities – on which they can then build or buy, then moor floating homes and other edifices. An annual Water Tax will then be levied along the lines of Henry George's Single Tax (land value tax), based on the rental value of the plot, payable to the local authority and to the body in charge of the waterway, usually the Canal River Trust.20 housing ministers since 1999The unaffordability of housing has been for twenty years or more one of the biggest issues in the country. As if to illustrate the priority this problem is being given in Whitehall, we have this:In fact, we have had two more, since Esther McVey and this chart: Christopher Pincher Stuart Andrew and Steward Andrew. I make that 20 different housing ministers since Hilary Armstrong in 1999. It's not what you would describe as evidence of a long-term strategy.It seems absurd that we should have any crisis at all. A house does not cost a lot of money to build. In China it has long been the case that a 3D printer can build a home in a day for about £3,000. Here in the UK you can buy a flatpack 3-bed house, which takes 6-7 hours to erect, yours for £24,000. The interior of one of architect, Renato Vidal's 3-bed, flat-packed homes, £24,000. Meanwhile, there is no shortage of land. Little more than 4% of the land in England and Wales is built on, even less in Scotland. This was the finding of the National Ecosystem Assessment in 2011: just 1.1% of rural and urban land in England and Wales has domestic property on it, another 1% has commercial property and 2% is roads. The rest – around 95% - is not built on. You could, in theory, double the housing stock of England and Wales, using little more than 1% of land. (It is more complicated than that but you take my point).How on earth have we got into the situation that in 21st century Britain almost an entire generation is “priced out”? Underlying cause of high house prices number one – money supplyBetween 1997 and 2007 the population grew by 5%, yet the housing stock grew by 10%.  If house prices were a simple function of supply and demand, they would have fallen slightly over the period. Instead, they tripled.Mortgage lending over the same period went up by 370%. It was the increased supply of money, which caused house prices to rise. Money supply increased at a rate of roughly 11.5% per annum in the 40 years between 1971 and 2011. Some 40% of it went into residential and commercial property. Roughly speaking, house price inflation mirrored money supply growth. The Bank of England has a remit to curb inflation, but it does not include house prices or money supply growth in its standard measures, and so house price inflation went unchecked. If interest rates had reflected 11.5% annual money supply growth, house price inflation would have been stopped in its tracks.  Underlying cause number two – planningPlanning laws are the second part of the problem. The newly created money poured into a market which had limited ability to expand.The 1947 Town and Country Planning Act, passed by Clement Attlee's Labour Government, became the foundation of modern town and country planning in the UK, followed by new statutes in 1990 and 2004.  It was founded on the laudable aim “that all the land of the country is used in the best interests of the whole people”. What happened, however, was that it became difficult to get permission to build anything, so the act had the effect of reinforcing the monopoly of the landowner. Today, just 6,000 or so landowners (the Crown, large institutions and a few rich families) own more than 70% of UK land. Most people do not have the time and resources to navigate planning laws, so house building has become the preserve of a few large corporations. An acre of rural land worth £10,000 becomes an acre of land worth as much as £1m once it has planning permission. This is an expensive and utterly needless cost of government, and it goes a long way to explain why house prices are so much higher than build prices. The act led to huge concentrations of both people and capital in areas that were already built up – especially London – and brought vast, unearned wealth to those who owned at the expense of those who didn't. Our most beautiful domestic architecture was predominantly built in the 18th and 19th century, before planning laws. The more planning there is, the uglier buildings seem to get. This is causation not correlation: it is inevitable when the final say on creative decisions is in the hands of planners. Imagine Van Gogh needing regulatory approval on a painting. Here are some nice houses built before planning laws.Why this housing crisis is unsolvableTo solve the crisis requires two things: money reform and planning reform.  Both are such huge undertakings with such opposing vested interests as to be almost unachievable. As a nation, Britain is over-leveraged to housing. Too many people have too much money tied up in their house. The economic risks of significantly lower prices are high. What party standing for lower house prices would even get elected? Homeowners are more likely to vote than renters. The house price crash of 1989-94 was a major factor in making the Tories unelectable for half a generation. No party wants such a fate. A land value tax, along the lines of the Single Tax suggested by Henry George, would go a long way to resolving many of the housing market's distortions, but there is as little chance of that as there is of money and planning reform. Politicians promising new taxes when there is no national emergency tend not to be popular. Margaret Thatcher's Community Charge is one of many examples.There is an impossible deadlock. We must seek a solution elsewhere. In his 2009 essay, The Education of a Libertarian, tech entrepreneur Peter Thiel argued that political change cannot be achieved through political activism. Instead, one must “find an escape from politics in all its forms”, he says, and “focus on technologies that create a new space for freedom”. The Internet, for example, was one such “new space” albeit a virtual one.  In the future sea steading or outer space might be. “The mode for escape,” he says “must involve some sort of new and hitherto untried process that leads us to some undiscovered country.”It might be that there is an “undiscovered country” that exists in the middle of every major city of the UK: on its water.The most valuable real estate in the worldThere is a piece of prime Central London real estate, bigger than Hyde Park and better located. It is undeveloped - 150 years ago Londoners were making more use of it than they are today. Yet it could create all sorts of possibilities for people, not least billions of pounds worth of business, as well as lighten London's chronic congestion and housing problems. The River Thames.I lived for many years on a barge, docked on the Isle of Dogs. How it used to frustrate me, as we drove up the river, that this enormous resource, the Thames, was barely used.  A few party, pleasure and tour boats, some barges carrying freight, HMS Belfast, the Thames Clippers, a couple of floating restaurant-bars and the occasional mooring for houseboats. That's pretty much it. Plenty of office and apartment blocks have been built along each side (what a missed opportunity to produce something beautiful that was), but in front of them, from Teddington Lock to the Isle of Dogs and beyond, there is mile upon mile of unused bank wall, foreshore and river with hardly any activity. Here is Canaletto's Greenwich Hospital painted on the southern tip of the Isle of Dogs in around 1750. It is a haven of activity: boats ferrying people about, delivering goods, industry, commerce - as well as people living in boats moored on the river. It was bustling. Here is that same view today. There is nothing going on.This is the view from either side of Vauxhall Bridge. I took these pictures during the rush hour a couple of years back. Plenty is happening on either side, but on the river itself there is nothing going on. We cross the Thames, we walk along the side of it, we look at it, occasionally we take boat trips on it, but we don't actually use it. The River Thames used to be the lifeblood of London and we have lost touch with it. The story is the same in so many cities across the country. Each one has its water: its docks, its quays, its rivers, its canals. Almost invariably the banks have been developed in some way – the docks of Liverpool, Cardiff, Salford or Birmingham, for example - but the water itself just sits there, looking on – idly ignored. Canary Wharf is another example – even there, so much of the quay water goes almost unused. The waterways of Britain have become a relative economic desert.There should be houseboats, barges, floating structures, shops, restaurants, workplaces, offices, cinemas, theatres, small craft ferrying people in between. The possibilities are enormous. Of course there are ecological and aesthetic concerns, but these can be addressed. In London especially, but elsewhere too, there are safety issues with the tide and currents, but these are challenges which can easily be overcome by entrepreneurs, engineers and inventors between them. They managed 200 years ago. Take a leaf out of Venice's book, take a leaf out of Amsterdam's book, out of Seattle or Vancouver's book. But the mayor cannot just shout “everyone in a boat”. How then to develop our water? How to do it well? And why has it not happened before?Without clear ownership capital will not be investedOne of the barriers to development has been lack of clear ownership. On the non-tidal Thames (from Teddington Lock to the source in Oxfordshire), for example, there are riparian rights. The owner of the bank has ownership of the bed to the middle of the river. However, the middle of the river must be left clear for craft to pass and the Environment Agency limits what can and can't be done. (Can any lawyer readers confirm this?)On the tidal Thames, however – which stretches from Teddington Lock to the Estuary - these riparian rights are less clear. The Port Of London Authority (PLA) inherited ownership of the riverbed and the foreshore from the City of London in 1907. The bank and one boat width immediately next to it are owned by somebody else. Often there is a dispute over ownership of the wall alongside the river. Many moorings - Reed Wharf by Tower Bridge, Nine Elms in Vauxhall, St Mary's Church in Battersea, for example - have been there for decades, yet they are all constantly in and out of legal disputes over ownership. Much of the problem is that ownership was never registered and recorded in the same way that “normal” land was. Water moves.When ownership is not clear, capital is less likely to be risked. Things then fall into disrepair. Take a look at the mooring by St Mary's Church in Battersea if you want to see the depths of disrepair to which boats on an unmaintained mooring can sink (literally). This could be such a beautiful mooring. The spot is glorious (though not as nice as it was before they built those horrible glass fronted apartment blocks next to it).The disrepair gives rise to nimby-ism. Riverside properties don't want their view of the river spoiled by grotty old boats.  When they have control of the access point on the bank to the water, they have control of what can or can't happen. Moored boats, complain those who live on the river, even if lived on for many years, have fewer rights than squatters. They can be moved on with little notice or permission. The waters of Britain are, for the most part, nationally owned, under the stewardship of the Canal River Trust. The Environment Agency also has a role. In the case of the tidal Thames, the Port of London Authority is the body responsible. These bodies made certain decisions about how the waterways were to be used – no residential development on the Thames was one. But these decisions were taken without any kind of public vote. All three would vehemently defend this charge, but they have proved barriers to rather than facilitators of progress. None are popular with those who live on boats. Our goal is to sell small plots of water – on docks, canals, rivers, wherever there is ample space – to private (not corporate) owners. The owner, not the public body, will then have the say as to what they moor there. The solutionHow ironic that a land value tax could be the answer.The local authority, together with the land registry, should parcel up each area of water, foreshore and bank in its jurisdiction into plots, with a register of who owns what. Most of the water is nationally owned, but there may be some disputes over ownership of access points and banks. These will be resolved in due course, as I'll explain.Each plot that is nationally owned should then be put up for auction with a 125-year lease, some for domestic use, some for commercial. The proceeds of the sale go to the local authority and the body in charge of the water on a 70:30 basis. We want to encourage individual owners. We want to discourage property speculators, landlords and corporate developers. So there will a maximum size to each plot and no body may buy more than one - at this stage. Buyers of domestic plots may be individuals or families – but no corporations. Against every plot a tax is then levied, which should be a proportion – likely 10% - of the annual rental value of that plot. That percentage rate is agreed in advance and, probably, fixed for the duration of the lease. Thus everyone will know where they stand. No chains are allowed in the commercial plots. Small businesses only.Every year for 125 years the lessee will pay, say, 10% of the rental value of the plot. If he/she doesn't want to pay the tax, they sell the plot to someone who is happy to. Rental values can be assessed every three years - but they are pretty easy to determine. You just look at what nearby plots are renting for.This tax revenue, as with the sale money, is shared 70:30 between the local authority and the body in charge of the waterway in that area, usually the Canal River Trust, thereby providing an income stream for both. The Authority then has an obligation to spend or invest that tax revenue maintaining and improving the waterways, in consultation with those who live on them. The lure of the tax and the sale revenue should encourage the compliance of both in the scheme, but the order should come from above - from central government.The administration of the tax should settle many issues surrounding ownership. In many cases it should force disputes to be settled. The obligation to pay tax will force many owners, either to make use of the plot - to develop it in some way (a way that is ecologically and aesthetically agreeable, of course) - or to sell it to someone who will. Once ownership is clear, and development possible, capital will follow.With individual families and small businesses developing floating properties according to their own needs and wants – self-build essentially – we are guiding development along the lines of a Schumacherian, “small is beautiful” ethos. The large building corporations (not to mention the regulators who approved their projects), who between them have between brought Britain its bland and characterless architecture of the last 70 years, will not be involved in any way. There will be certain craft specifications (usually a limit on size), but the main say will lie with the creator not the regulator. We do not want not homogenisation, but individuality and character. Individuals developing their own places to live and work will have a far greater incentive to create something unique and beautiful than a planner looking to tick boxes. Houses – and boats and barges – can be bought and sold for much closer to their build costs, a far cry from the astronomical prices paid elsewhere. It is unlikely banks will lend recklessly, if at all, thus will we keep “excess money creation” out of this market. The obligation to pay tax should deter speculators and land-bankers. Beautiful floating edifices can be built, homes, places of work and entertainment, water commerce can flourish once again, congestion elsewhere can ease. Fantastic communities can flourish - boating communities are as close-knit and happy as you get. Thus do we create a thriving new opportunity in the middle of our cities at a low cost to entrants. A market-based policy to alleviate the UK's housing shortage. Please share your thoughts. I'm particularly interested in any data there is on how much water is actually available. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit frisby.substack.com/subscribe

Probst, Carstenwww.deutschlandfunk.de, Kultur heuteDirekter Link zur Audiodatei

Simone Seiffert ist Projektkoordinatorin des Lernortes Semperbaus und gibt in dieser Podcast Folge Auskunft über vergangenes und die Zukunft. Nach einer siebenjährigen Umbauphase lockt die Gemäldegalerie »Alte Meister« seit 2020 wieder Kunst-Fans aus dem In- und Ausland in die Stadt an der Elbe. So wurde im vergangen Jahr eine einzigartige Jan Vermeer Ausstellung geboten. Jetzt steht die nächste Ausstellung auf dem Programm: ab dem 21. Mai 2022 dreht sich in einer Sonderausstellung alles um »300 Jahre Canaletto«! [Werbung] Vielen Dank an Visit Dresden für die Einladung und Organisation!

Liliana Russo nel nuovo episodio di TuttoLibri presenta Il cimitero di Venezia, di Matteo Strukul

The Alnwick Castle Podcast gets artistic this episode, as host Daniel is joined by Sunday Times art critic and documentarian Waldemar Januszczak to explore some of the highlights of the Castle's painting collection. Waldemar talks about the importance of artists like Canaletto, Van Dyck, Titian and Palma Vecchio, all of whom have works displayed in Alnwick Castle's State Rooms. We pay special attention to William Dobson, the 'lost genius of British art', whose self-portrait at Alnwick is one of Waldemar's favourite paintings.You can see images of the artworks discussed in this episode on the Alnwick Castle Facebook and Instagram pages (find them @alnwickcastle and @alnwickcastleofficial respectively) or, of course, by visiting the Castle.If you enjoyed this episode of the podcast, please subscribe and share it with your friends, and we appreciate any ratings or reviews you can offer! You can get in touch with us on Twitter @alnwickcastle or by emailing podcast@alnwickcastle.com .

This episode is also available as a blog post: https://hazelstainer.wordpress.com/2017/06/30/canaletto-the-art-of-venice/

Cruise NewsP&O Cruises Australia will require COVID-19 vaccination for Australian passengersP&O Cruises Australia will require COVID-19 vaccination for passengers in Australia upon its return to cruising, Carnival Corporation's local President Sture Myrmell revealed.Speaking today at Cruise Lines International Association's Cruise Forum, Myrmell revealed the requirement during the ‘State of the Industry – The Road to Recovery' session.Myrmell said the policy is solely a P&O Australia decision right now, but that each Carnival brand would make its own announcement in due course.Fred. Olsen completes first international voyage ex UK.Fred. Olsen has become the first cruise line to complete an international voyage since the resumption of cruising, as Borealis returned to the UK from Iceland this weekThere were a number of procedures that Fred. Olsen and guests needed to complete to make this sailing to Iceland possible, including pre-registration forms and testing prior to arrival into Iceland and before returning to the UK. All guests were also required to be fully vaccinated by the Icelandic government.The cruise line currently has two ships sailing, Borealis and new flagship Bolette, both of which are offering more international sailings from September. New ship Borealis set sail for the rugged landscapes of Iceland on Saturday, 14th August with around 800 guests on board. It was the first international voyage to set sail from British waters since all UK cruise operators paused their operations in March 2020.The cruise called into Reykjavík, Ísafjörður, Eyjafjörður and Seyðisfjörður, and guests were able to leave the ship and explore ashore in organised shore excursions.Regent Seven Seas Cruises® Sets Record for Largest Booking Day in Company's HistoryRegent Seven Seas Cruises, the world's leading luxury cruise line, achieved the largest booking day in the company's 29-year history with the launch of its 2023-2024 Voyage Collection when sales opened at 10:30pm on 18 August 2021.Reservations surpassed Regent's previous largest booking day – which was set on 21 October 2020 with the launch of its 2022-2023 Voyage Collection – by 15%. Travel trends identified from the booking day include a desire for longer, more exclusive experiences in bucket-list destinations, as illustrated by a significant rise in bookings of the Regent Suite and more unfamiliar and exotic regions being reserved. Luxury Cruise Line Enjoys Fourth Record-Breaking Launch Day Within a YearHolland America Line Announces May 2022 Return-to-Service Dates for Volendam and ZaandamTravellers looking to get back to sea on their favourite Holland America Line ship can anticipate a restart date of May 2022 for Volendam and Zaandam. The ships will join Eurodam, Koningsdam, Nieuw Amsterdam, Nieuw Statendam, Rotterdam and Zuiderdam, which have returned to service or are slated to restart cruising by November 2021.Holland America Line will restart the two ships in May when Volendam will explore Northern Europe and Zaandam will return to the Canada/New England region. With these new start dates, the Grand World Voyage and Grand South America and Antarctica Voyage will not operate in 2022 and will resume in 2023.Volendam and Zaandam Return May 2022When Volendam returns on May 1, the ship will offer longer explorations ranging from 14 to 35 days to the Baltic, Norway up to North Cape and Spitsbergen, British Isles and Iceland, all roundtrip from Rotterdam, Netherlands. The ship also sails along the Iberian Peninsula to the Mediterranean and down to Egypt and Israel.Zaandam restarts on May 12 in the beloved Canada/New England region, with a cruise from Fort Lauderdale, Florida, to Boston, Massachusetts, followed by itineraries between Boston and Montreal, Quebec, Canada. The ship will offer the popular 35-day Voyage of the Vikings itinerary in July that sails roundtrip from Boston to Canada, Greenland, Iceland, Norway, the Netherlands, United Kingdom and Ireland.Grand Voyages Resume in 2023When the Grand World Voyage departs Jan. 3, 2023, Zuiderdam will debut on the 128-day around-the-world sojourn, offering world cruise guests the opportunity to book a verandah stateroom for the first time. Zuiderdam also features Music Walk's Lincoln Center Stage, B.B. King's Blues Club and Billboard Onboard, along with specialty restaurants Pinnacle Grill and Canaletto. Volendam will return for the 74-day Grand South America and Antarctica Voyage in 2023 that departs Jan. 3, 2023.2023 Grand World Voyage Highlights — Zuiderdam128 days. Departing Jan. 3, 2023, roundtrip from Fort Lauderdale.Crossing the South Pacific to New Zealand and Australia before sailing up the west coast of Africa and charting a path through Northern Europe.61 total ports in 30 countries and island nations, including eight overnight calls.15 calls around the African continent with opportunities for safari experiences.2023 Grand South America and Antarctica Highlights — Volendam74 days. Departing Jan. 3, 2023, roundtrip from Fort Lauderdale on an itinerary that circles the continent on a counterclockwise route.34 total ports in 16 countries and island nations, including five overnight calls.Daylight transit of the Panama Canal and overland opportunities to visit Machu Picchu, the Galapagos Islands, Patagonia and Iguazu Falls.Four days of spectacular scenic cruising in the icescapes of Antarctica.11 calls in Brazil and a journey along the Amazon River to Manaus.Guests who were booked on the 2022 Grand South America and Antarctica Voyage will be automatically moved to the 2023 departure aboard Volendam. Guests who were booked on the 2022 Grand World Voyage aboard Zaandam will be automatically moved to the 2023 Grand World Voyage aboard Zuiderdam.Seabourn Announces Updated Restart Date For Seabourn SojournSeabourn, the ultra-luxury cruise line, continues to work with various global government and port officials to develop plans for a full return to cruising. The line is currently operating two of the five ships in its fleet. As a result of the current environment and forecast for destinations to reopen, Seabourn has updated the restart of one of its remaining ships, Seabourn Sojourn, to open in time for the summer season in the Mediterranean on June 6, 2022.The ship will resume service in Europe, where it will spend its summer 2022 season sailing the Western Mediterranean and exploring the French and Italian Rivieras, Spain, Portugal, Gibraltar, Morocco, Malta and the Canary Islands.The revised restart date means the brand is cancelling the 2022 145-day World Cruise on Seabourn Sojourn, which was originally scheduled to depart on January 11, 2022 from Los Angeles. The 2024 World Cruise itinerary will replicate the highly anticipated 2022 World Cruise. The 2024 World Cruise will be available for booking in October 2021.Princess Cruises Announces Updated Return to Cruise Operations Timing for Island Princess and Diamond PrincessPrincess Cruises, is announcing updated restart timing for Island Princess and Diamond Princess. Island Princess will now return to service with a series of cruises to the Caribbean in spring 2022, prior to its 14-day Panama Canal Ocean to Ocean voyage on April 27, 2022. Diamond Princess will also return to service in spring 2022 with a season of Japan sailings. Details of both new programs will be announced shortly.Island Princess and Diamond Princess join eight MedallionClass™ ships – Majestic Princess, Grand Princess, Ruby Princess, Enchanted Princess, Sky Princess, Regal Princess, Caribbean Princess and Emerald Princess—which have returned to service or are scheduled to restart by November 28, 2021, taking guests to Alaska, the Caribbean, Panama Canal, Mexico, Hawaii, and the California Coast.Viking Announces Parallel 2023-2024 World Cruises In Response To Strong DemandViking® announced its new 2023-2024 Viking World Cruise, which will span 138 days, 28 countries and 57 ports, with overnight stays in 11 cities. As a result of strong demand among guests – with the 2021 and 2022 World Cruises selling out in record time – Viking for the first time will offer a choice of two departure dates for this popular extended voyage. Guests may choose to sail on Viking Sky®, which will depart on December 20, 2023, from Ft. Lauderdale – or on Viking Neptune®, which will depart Ft. Lauderdale on December 23, 2023; both ships will sail the identical itinerary in parallel.From Florida, guests on the 2023-2024 Viking World Cruise will journey to Central America, before transiting the Panama Canal and sailing up the West Coast of North America. A shorter 121-day Viking World Journeys itinerary is also available, allowing guests to join in Los Angeles and cross the Pacific Ocean to call in Hawaii, Australia and New Zealand, before exploring ports of call in Asia and the Middle East. Finally, the ships will journey through the Mediterranean and conclude the voyage in London.Viking's newest World Cruise itinerary visits dozens of the world's most iconic cities, alongside lesser-known destinations, in one continuous itinerary. Overnight stays in 11 ports, such as Sydney, Haifa, and Istanbul, and double overnights in Auckland, Bali, Ho Chi Minh, Yangon, and Mumbai allow guests to delve deeper. While on board, Viking offers cultural enrichment through onboard lectures and entertainment – such as the Viking Resident Historian® program, which provides guests with a high-level historical and cultural education specific to their journey. Guests will immerse themselves in the world's rich cultures during included excursions that provide unmatched insight into daily life, as well as Privileged Access® visits to cultural institutions.Viking Sky and Viking NeptuneViking's ocean ships have a gross tonnage of 47,800 tons, with 465 staterooms that can host 930 guests. Viking's award-winning ocean fleet includes Viking Star®, Viking Sea®, Viking Sky®, Viking Orion®, Viking Jupiter® and Viking Venus®. Viking Neptune® will join the fleet in late 2022. Classified by Cruise Critic as “small ships,” Viking's ocean fleet features modern Scandinavian design with elegant touches, intimate spaces and attention to detail. Atlas Ocean Voyages Announces World Traveller's Inaugural 2022 SeasonHaving just successfully launched the cruise brand's first ship, World Navigator, Atlas Ocean Voyages today unveiled the inaugural season for its second expedition ship, World Traveller. Launching on July 15, 2022, at Lisbon, Portugal, World Traveller promises to deliver more exciting experiences and captivating destinations, for which Atlas is known. For her inaugural season, World Traveller will sail 11 voyages, ranging from six- to- 12-nights, and visit a combination of chic and historic destinations throughout the Mediterranean, Adriatic, Ionian and Aegean seas.World Traveller departs Lisbon on July 15, 2022, for a nine-night inaugural voyage, visiting Spain's Costa del Sol and Balearic Islands. Guests will call at Portimao, Portugal; Gibraltar, U.K.; and Spain's Seville (Cadiz), Puerto Banus, Malaga, Formentera and Ibiza. The inaugural voyage concludes at Palma de Mallorca. A shorter, seven-night voyage, departing September 27 from Malaga to Lisbon, showcases the historic side of the region and features the surrounding cities of the Straits of Gibraltar: Gibraltar, U.K.; Cueta, Spain; and Tangier, Morocco.SINGAPORE Airlines is chartering a cruise for its frequent fliers.The airline has teamed up with Dream Cruises to operate World Dream on a two-night cruise to nowhere itinerary out of Singapore exclusively for KrisFlyer members.It sails from 17-19 Nov, and KrisFlyer members will be able to redeem miles for the cruise. Members can bag a Balcony stateroom for two by redeeming 50,000 KrisFlyer miles, or a Palace suite for 120,000 KrisFlyer miles, including all port fees and taxes. All passengers must take a rapid antigen test at the port. Hosted on Acast. See acast.com/privacy for more information.

UK correspondent Matthew Parris joins Susie to look at the British evacuation from Afghanistan, as the Foreign Secretary comes under fire for his five-star Crete holiday during the crisis which he claims "no one saw coming". Gun licensing is under investigation following the revelation the unit that gave the Plymouth killer a shotgun certificate is manned by civilians and police officers aren't really involved in the vetting. And a forgotten painting by the Italian master Canaletto has been found hanging in the drawing room of an English home.

In episode 52, Chris answers a listener question about the historical fleet of P&O Australia. We chat about the latest cruise news including Holland America Lines 148th Anniversary and Chris surprises Baz with a quick fire round of questions, usually reserved for guests of the show. BUY ME A COFFEEThis podcast is only possible thanks to our supporters, simply buying a coffee keeps us on air. It is just like shouting your mate a coffee, and we consider our listeners close mates.  https://bit.ly/2T2FYGXP&O AUstraliaPacific AriaPacific ExplorerPacific Encounter Bow ArtPacific Encounter AftPhoto credit: P&O AustraliaMARITIME HISTORY Chris discusses the current and previous ships of the P&O Australia Fleet from the early days fo Fairstar through to the latest ships to join the fleet Pacific Encounter & AdventureCRUISE NEWSHolland America Line (HAL) celebrated its 148th anniversary last Sun.The mainstays of the cruise line's business throughout the 19th century were transportation and shipping, before HAL offered its first vacation cruise in 1895. Today, the cruise line operates 10 ships that visit more than 500 ports across all seven continents.Holland America Line Introduces ‘Have It All' Premium PackageFor travellers who appreciate taking an inclusive vacation with extra amenities factored upfront into the price, Holland America Line is launching a new “Have It All” premium package that includes shore excursions, beverages, specialty dining and Wi-Fi in one base cruise fare.Available year-round on all itineraries six days or longer except Grand Voyages, “Have It All” is valued at $99 per guest, per day, for a seven-day cruise, and “Have it All” cruise fares represent incredible savings of 50% or more off the included amenities compared to purchasing them individually. “Have it All” fares will be available for booking April 21, 2021.Cruises of 6 to 9 days:One shore excursion up to $100 value or $100 off any one tour for all guests in a stateroom. Choose from among thousands of tours all over the world – from active ziplining adventures to immersive, historical explorations.Signature Beverage Package for all guests in a stateroom. Enjoy a large selection of wine, beer, spirits, cocktails, soda, coffee and more. Up to 15 drinks per day allowed, and bar service charges are included.One night award-winning specialty dining for all guests in a stateroom. Pinnacle Grill is the ultimate steakhouse at sea, while Tamarind showcases the traditions of Southeast Asia, China and Japan with sensuous flavors and dishes. Canaletto is a relaxed venue that serves authentic Italian cuisine. Ships with Tamarind receive one night at Tamarind or Pinnacle Grill. Ships without Tamarind receive one night at Pinnacle Grill or Canaletto.A Wi-Fi package for the first and second guests in a stateroomCruises of 10 to 20 days: All of the extras included in the package for six- to nine-day cruises, PLUS an additional $100 shore excursion or tour credit ($200 per guest total).Two nights specialty dining: ships with Tamarind receive one night at Pinnacle Grill and one night at Tamarind. Ships without Tamarind receive one night at Pinnacle Grill and one night at Canaletto.Cruises of 21+ days (excluding Grand Voyages): All of the extras included in the package for 10- to 20-day cruises, PLUS an additional $100 shore excursion or tour credit ($300 per guest total).Three nights specialty dining: Ships with Tamarind receive one night at Pinnacle Grill, one night at Tamarind and one night at Canaletto. Ships without Tamarind receive two nights at Pinnacle Grill and one night at Canaletto.Seabourn, Barbados Partnering To Launch Summer Luxury Cruises From July 2021Seabourn, together with the Government of Barbados, is developing plans to restart guest sailings on a second ship through a series of new summer voyages operating round-trip out of Bridgetown, Barbados, beginning on July 18, 2021.The brand also previously announced plans to resume guest operations in Greece aboard Seabourn Ovation starting July 3. More details on those plans are available here.Seabourn Odyssey will operate 7-day cruises from Barbados to Southern Caribbean destinations, including idyllic ports of call in Antigua, the British Virgin Islands, Dominica, Grenada, St. Lucia, St. Maarten, and St. Kitts. The voyages are open for booking on April 21. Guests can also choose a 14-day option, which combines the two distinct 7-day itineraries between Windward and Leeward Islands in the Caribbean Sea. Previously released itineraries for Fall 2021 sailings include additional port calls in St. Vincent and the Grenadines, Guadeloupe, and Martinique.The itineraries include unique Seabourn experiences that become highlights of every traveller's trip. The “Caviar in the Surf” at Carambola Beach has become a perennial favourite, allowing guests to enjoy beautiful beaches while Seabourn team members wade through turquoise water to serve chilled caviar and Champagne.Silversea announces restart of cruising With demand at an all-time high, Silversea Cruises today opened sales on brand new voyages aboard Silver Moon to the Eastern Mediterranean, departing from Greece from June 18, 2021. The leading ultra-luxury cruise line unveiled a collection of nine voyages—each 10 days in length—which will sail round-trip from Piraeus (Athens), taking in many of Greece's most beautiful destinations, such as Santorini, Paros, Mykonos, and Crete, among others, as well as Haifa (Israel) and CyprusViking takes delivery of Venus Viking® announced it took delivery of Viking Venus®, the company's newest ocean ship. The delivery ceremony took place this morning when the ship was presented at Fincantieri's shipyard in Ancona, Italy. Viking Venus will now make her way to the United Kingdom, where she will be officially named on May 17, 2021 by her ceremonial godmother, Anne Diamond, the esteemed British journalist and broadcaster. The ship will then sail spring and summer departures of the England's Scenic Shores itinerary.Aida to commence cruises from Greece May 2021 Aida Cruises today announced it will offer new cruises in Greece from May 23, 2021, with 7-day cruises departing from Corfu and traveling through the Greek islands to Crete and Rhodes, as well as to Katakolon (Olympia) and Piraeus (Athens). Guests can also enjoy the amenities on board with multiple restaurants, bars, cultural activities and sports facilities, as well as organized shore excursions to explore the ports of call.Greece is one of the most popular vacation destinations for German travelers. From May 14, 2021, the Mediterranean country will reopen for tourism from May 14. Its turquoise waters, fascinating culture, unique Greek flair and more make a vacation in this country so attractive.MSC updates 2021 Summer deployment Three ships in the West Mediterranean, calling Italy and Malta  MSC Grandiosa will initially extend her current 7-night itinerary, calling at the Italian ports of Genoa, Civitavecchia for Rome, Naples, Palermo as well as Valletta, Malta. The Spanish ports of Valencia and Barcelona will be added to the ship's current itinerary as soon as these destinations confirm their availability.MSC Seaside will commence sailing on 1 May from Genoa calling at the newly introduced ports of Siracusa in Sicily and Taranto in Puglia, as well as Civitavecchia for Rome and Valetta in Malta. The ship's itinerary will then be enriched with calls to the French port of Marseille as soon as its availability is confirmed.Regarding MSC Seaside, in addition to the range of protected excursions developed for this itinerary MSC Cruises will introduce a special private beach experience in Taranto, exclusively for the ship' guests. A day out at the beach is an important part of a summer holiday so now guests on MSC Seaside will be able to relax on the sandy beach next to the clear waters of the Ionian Sea.MSC Seashore at the end of July will join the MSC Cruises fleet to become its new flagship and from 1 August until 31 October will offer 7-night cruises calling the Italian ports of Genoa, Naples and Messina, as well as Valletta in Malta, Barcelona in Spain and Marseille in France.Three ships in the East Mediterranean, calling Italy, Greece, Croatia and MontenegroMSC Cruises will deploy three ships in this ever-popular region for the upcoming summer season offering a range of different itineraries in the East Mediterranean, offering ports of embarkation in Italy from Trieste, Venice and Bari as well as Piraeus for Athens in Greece, calling at some of the most beautiful Greek Islands, Kotor in Montenegro as well as the vibrant ports of Dubrovnik and Split in Croatia.MSC Orchestra will now depart on 5 June offering guests embarkation in the Italian ports of Venice on Saturdays, Bari on Sundays and then call at the Greek Islands of Corfu, Mykonos as well as Dubrovnik in Croatia.MSC Splendida will commence sailing from 12 June with embarkation in Trieste, Italy on Saturdays and in Bari on Tuesdays, calling at Dubrovnik in Croatia, Corfu in Greece and Kotor in Montenegro.Rounding out the offering in the East Mediterranean is MSC Magnifica from 20 June with embarkation in the Italian ports of Venice on Sundays, Bari on Mondays and Piraeus for Athens on Wednesdays, then calling at the Greek Island of Mykonos and Split, Croatia.UK Domestic CruisesFrom 20 May, the line's flagship MSC Virtuosa will perform her inaugural season in the UK and offer mini cruises from Southampton calling at Portland in Dorset on the Jurassic coast. From 12 June she will operate 7-night cruises from Southampton with embarkation in Liverpool, Greenock for Glasgow and also calling at Portland and Belfast in Northern Ireland. These cruises are designed for British residents only. The sailings are open to vaccinated and non-vaccinated guests and all guests will be tested prior to embarkation.Germany, Northern EuropeIn Germany, considering the current uncertainty regarding the timing for the reopening of local ports, MSC Cruises ships must delay the start of their summer season out of the country's ports until 15 June.At the same time, MSC Cruises today announced that MSC Seaview will homeport in Kiel, Germany starting on 19 June replacing MSC Virtuosa.Additionally, MSC Preziosa is planned to depart on 21 June from Hamburg, Germany and MSC Musica on 20 June from Warnemunde, Germany, if the German ports are open.The three ships are planned to serve 7- and longer nights sailings with itineraries either to the Norwegian fjords or the Baltic capitals, as per their current schedule.MSC Cruises signs landmark agreement with Cruise Saudi to bring its ships to Saudi Arabian watersLine to deploy MSC Magnifica and MSC Virtuosa to the region, two of its most innovative and modern shipsUnder the terms of the agreement, MSC Magnifica will homeport in Jeddah, the commercial hub and one of the largest cities of Saudi Arabia, as well as the second-largest port in the Middle East with a historical centre that has been designated as a UNESCO World Heritage site.Operating seven-day Red Sea cruises from November 2021 to March 2022, the vessel will visit a selection of ports and destinations in the region and three Saudi ports including weekly calls to the port of AlWajh, the gateway to the UNESCO World Heritage site of AlUla.As the Kingdom prepares to host the inaugural Formula 1 Saudi Arabian Grand Prix 2021 on 5 December in Jeddah, MSC Magnifica guests will have the chance to follow this exciting global sports event during their trip aboard MSC Magnifica.In addition to MSC Magnifica's Red Sea sailings, MSC Cruises' flagship MSC Virtuosa will see her winter 2021 programme in the Arabian Gulf enriched with calls in the port of Dammam, visiting AlAhsa oasis, another UNESCO World Heritage site.MSC Virtuosa will call at this new exciting destination every week from December 2021 to March 2022.Move marks milestone in positioning Saudi Arabia as premier global cruise destination. The two companies expect a total of up to 170,000 guests to explore Saudi Arabia's historical, cultural and natural treasures on board the two MSC Cruises ships during the upcoming winter 2021/22 seasonHurtigruten Expeditions Donates 1% of each Alaskan Booking During Earth Week to Protect Alaskan WildlifeHurtigruten Expeditions, the world leader in exploration travel and advocate for sustainable travel, is launching a sale for Earth Week to allow more Americans to discover some of the most unique places on Earth, while its Hurtigruten Foundation will donate to support Alaskan wildland. The Foundation will donate 1% of the total cost of each Alaskan cruise sold during Earth Week to Alaska Wilderness League, which will help protect the Arctic National Wildlife Refuge, located in Alaska's northeast corner, as well as other wildlife reserves. Comprising 19.6 million acres of wildland, the Arctic National Wildlife Refuge is the largest unit in the National Wildlife Refuge System.Earth Week, April 19 to 26, 2021Oceania launches Virtual Experiences Platform. Oceania Cruises, the world's leading culinary and destination-focused cruise line, has launched the Oceania Cruises Virtual Experience, an interactive platform designed to showcase the brand's unique points of difference and inspire guests to book their next cruise.Featuring a stunning collection of specially curated content and inspirational videos presented by Jason Worth, Vice President Australia and New Zealand at Oceania Cruises, users can learn about the line's award-winning culinary offering, destination-rich itineraries, fleet of small, luxurious ships and generous amenities' packages and inclusions.Cunard announces 2022 Event Voyages Music, Literature, Theatre and new Art & Design themed Transatlantic Crossing take Centre Stage on flagship Queen Mary 2, and sister ship Queen ElizabethLuxury cruise line Cunard announced its 2022 line-up of Event Voyages, offering a rich and compelling variety of themes on board flagship liner Queen Mary 2 and Queen Elizabeth. Welcoming back guest favorites including the Literature Festival at Sea in partnership with Cheltenham Literature Festival, The Times and The Sunday Times; and much-loved Anthony Inglis and the UK National Symphony of Orchestra, Cunard also introduces the line's first Art & Design Week, and Beatles and Beyond: Celebrating the Best of British. Also joining the roster is the highly anticipated London Theatre at Sea with the Olivier Awards.Here's a taster of what to expect:15-22 May 2022, Queen Mary 2: London Theatre at Sea, with the Olivier Awards: This eastbound Transatlantic Crossing, created in partnership with Society of London Theatre, will showcase Olivier award-winning talent, both on and off the stage. This Event Voyage will feature spectacular performances and an illustrious line-up of guests in conversation about their careers, as well as talks on productions, how they are produced, and the theatres themselvesHighlights include a dazzling show with the stars in the Royal Court Theatre in a production looking back at the last 45 years of the Olivier Awards; an immersive workshop about the secrets and techniques of putting on a production; and dance classes lead by world class choreographers.8-17 May 2022, Queen Elizabeth: Beatles and Beyond:  Queen Elizabeth will sail a nine-night roundtrip voyage departing Tokyo, tracing the shores of Japan and South Korea, and play host to Cunard's first ever Beatles and Beyond: Celebrating the Best of British voyage.  Through music, film, tastings and demonstrations, the sailing will celebrate beloved aspects of British culture, culminating in a spectacular finale in the Royal Court Theatre by the superb Bootleg Beatles, the world's leading Beatles tribute band.28 August-4 September 2022, Queen Mary 2: Art & Design Week: Cunard's first ever Art & Design Week is a one-of-a-kind experience that will take guests on a journey celebrating the best of design, past, present and future. Unmissable insights, expert-led masterclasses and special on board exhibitions promise to inspire the inner creative life of those who participate. In addition, guests will have an exclusive opportunity to hear from creative influencers at the forefront of design for Cunard's newest ship.25 October-1 November 2022, Queen Mary 2: Anthony Inglis and the UK's National Symphony Orchestra: A regular favorite in the Cunard calendar, the UK's National Symphony Orchestra sets sail again with Maestro Anthony Inglis leading the ensemble in memorable orchestral performances in the Royal Court Theatre.  Guests will enjoy an evening of all-American music, including Gershwin's “Rhapsody in Blue” after departing New York; and an evening celebrating the best of British music before arriving into Southampton. Charismatic conductor Inglis leads the audience, guest choir, soloists and orchestra in both concerts, as well as presenting another afternoon concert featuring Ravel's “Bolero.”“The annual Transatlantic Crossing by the National Symphony Orchestra and myself is keenly looked forward to by the musicians, as much as the guests on board the magnificent liner, Queen Mary 2,” said Anthony Inglis. “After the year we have all had, the orchestra and I have decided that we need a huge celebration in 2022, not only on behalf of the ship and her wonderful crew, but also the guests we have all missed. Therefore, I have planned some exciting surprises, which will be both hugely challenging and equally rewarding. We look forward to welcoming guests for a gigantic, seven-night party with an orchestra playing some favourite classical pieces of music, a choir made up of the guests, plus many other entertaining events as we cross the Atlantic Ocean from New York to Southampton.”3-10 December 2022, Queen Mary 2: Literature Festival at Sea in partnership with Cheltenham Literature Festival, The Times and The Sunday Times:  This extraordinary eastbound Transatlantic Crossing, crafted by the programming team of The Times and The Sunday Times Cheltenham Literature Festival, will offer book lovers the opportunity to join some of the best-loved authors, historians, poets, and critics, as well as journalists from The Times and The Sunday Times, to bring the spirit of the Festival to the voyage.Ethical Cruise T-Shirts Now available branded podcast t-shirts, cruise-tees and Christmas gifts or design your own in the studio. 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In dieser Radioreise nimmt Sie Alexander Tauscher mit in die Canaletto-Stadt Pirna. Was den großen Maler mit dem großen Musiker Richard Wagner hier verbindet, erfahren wir am Tor zur Sächsischen Schweiz. Christian Schmidt Doll, der Chef der Kultur- und Tourismus-Gesellschaft, zeigt uns Wagners Schaffensorte im Ortsteil Graupa. Was sächsischen Kaffee-Genuss betrifft, sind wir hier auch richtig. Folgen Sie in einer der am längsten bestehenden Röstereien. Wir kosten auch Ilse Bähnerts berühmte Melange. Denn die Oma in der Kittelschürze lädt uns ein zu Eierschecke, Eierlikör und ihrem Schälschen Heesen. Der Besuch im Tom Pauls-Theater ist sicher einer der Höhepunkt dieses Stadtrundgangs. Der Schauspieler, Kabarettist und Musiker zeigt uns seinen Lebenstraum, den er sich am Markt in Pirna erfüllt hat. Christiane Stoebe, die Organisatorin des Pirnaer Skulpturensommers, nimmt uns mit in die Bastionen des Schlosses Sonnenstein und der Kaffeeröster Tino Wunderlich schlürft eine feine Tasse Bohnensaft am Strand der Elbe. Viel Spaß in dieser Radioreise nach Pirna!

In dieser Radioreise nimmt Sie Alexander Tauscher mit in die Canaletto-Stadt Pirna. Was den großen Maler mit dem großen Musiker Richard Wagner hier verbindet, erfahren wir am Tor zur Sächsischen Schweiz. Christian Schmidt Doll, der Chef der Kultur- und Tourismus-Gesellschaft, zeigt uns Wagners Schaffensorte im Ortsteil Graupa. Was sächsischen Kaffee-Genuss betrifft, sind wir hier auch richtig. Folgen Sie in einer der am längsten bestehenden Röstereien. Wir kosten auch Ilse Bähnerts berühmte Melange. Denn die Oma in der Kittelschürze lädt uns ein zu Eierschecke, Eierlikör und ihrem Schälschen Heesen. Der Besuch im Tom Pauls-Theater ist sicher einer der Höhepunkt dieses Stadtrundgangs. Der Schauspieler, Kabarettist und Musiker zeigt uns seinen Lebenstraum, den er sich am Markt in Pirna erfüllt hat. Christiane Stoebe, die Organisatorin des Pirnaer Skulpturensommers, nimmt uns mit in die Bastionen des Schlosses Sonnenstein und der Kaffeeröster Tino Wunderlich schlürft eine feine Tasse Bohnensaft am Strand der Elbe. Viel Spaß in dieser Radioreise nach Pirna!

Why do people draw or paint in the way that they do it? What influenced Max Beckman and why would the Barber Institute be interested?

Canaletto and Guardi are probably the two most famous artists associated with the Vedutismo movement. Vedutismo spread in the Eighteenth century and it was strictly connected to the improvement of the camera obscura and the rising of the industrial bourgeoisie. Listen to this episode and you'll find out that the vedutista artiworks are not that different from the pictures that we now take with your mobile phones.

Tiziana Ricci su “Lo stupore e la luce”, la mostra dedicata dalle Gallerie d'Italia di Milano ai vedutisti Bellotto e Canaletto. Barbara Sorrentini intervista il regista di “Le porte del Paradiso”, Guido Nicolas Zingari. L'intervista ad Ayse Kulin, la scrittrice più vendita della Turchia, ospite nella postazione di Radio Popolare a Bookcity, con il suo ultimo libro “L'ultima famiglia di Istanbul” (ed. Newton Compton). Il regista Renato Martinelli parla di “Erodiàs” di Giovanni Testori, con Federica Fracassi al Teatro I di Milano.

This lecture will explore the extent to which Canaletto built upon the existing visual landscape of London and how much he adapted and innovated works by artists like Samuel Scott to produce stunning aspects of London.The transcript and downloadable versions of the lecture are available from the Gresham College website: http://www.gresham.ac.uk/lectures-and-events/canalettos-london-legacy Gresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 1,900 lectures free to access or download from the website.Website: http://www.gresham.ac.ukTwitter: http://twitter.com/GreshamCollegeFacebook: https://www.facebook.com/greshamcollegeInstagram: http://www.instagram.com/greshamcollege