Podcasts about Caravaggio

Is the Mona Lisa in the Louvre fake? Was impressionist painter Claude Monet a radical? And was Caravaggio—our show's muse—murdered? Art history holds as many mysteries and baffling stories as it does masterpieces, and Jennifer Dasal, museum curator and host of the wildly popular ArtCurious podcast knows all the best ones. In this week's episode from our archives, we sit down with Jennifer to chat about her book, ArtCurious: Stories of the Unexpected, Slightly Odd, and Strangely Wonderful in Art History and delve into the fascinating world of mystery and art. PS Jennifer has a new book out! Check it out here: The Club: Where American Women Artists Found Refuge in Belle Époque Paris. ***The Bittersweet Life podcast has been on the air for an impressive 10+ years! In order to help newer listeners discover some of our earlier episodes, every Friday we are now airing an episode from our vast archives! Enjoy!*** ------------------------------------- COME TO ROME WITH US: Our third annual Bittersweet Life Roman Adventure is in the books! If you'd like to join us in 2026, and be part of an intimate group of listeners on a magical and unforgettable journey to Rome, discovering the city with us as your guides, find out more here. ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. BECOME A PATRON: Pledge your monthly support of The Bittersweet Life and receive awesome prizes in return for your generosity! Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!

The cage breaks open. Caravaggio breaks with it.Chained in a torture chamber beneath the fortress, Caravaggio faces the Grand Master one last time. Faith against flesh. Obedience against desire. What follows is an escape down a fortress wall, a boat in the dark, and a fugitive painter running not toward freedom but toward the only thing he has left.Act Three is the fall. Brutal. Beautiful. Inevitable.Sicily. Caravaggio paints like a man on fire. In Syracuse, a burial. In Messina, a nativity. Each canvas more desperate than the last. Each one a confession he cannot say out loud. The genius is still there. The man holding the brush is disappearing.Back in Rome, the news arrives. Lena. The woman whose face launched his greatest work. Gone. Caravaggio learns what it costs to leave someone behind in a city that devours the unprotected.Cardinal Del Monte makes his final play. A pardon. A real one. Signed by the Pope himself. But the pardon needs a delivery and Caravaggio needs to stay alive long enough to receive it.Naples. A prison cell. Malaria. Chains. The Grand Master finds him one last time. Two men who could never say what they meant finally say it. It is too late for both of them.Then a swamp. Bandits. A boiling sun. A beach. A boy. Two nuns. And the Tyrrhenian coast, where the greatest painter of his generation reaches for the light one final time.The pardon arrives. The man does not.Act Three is reckoning. Loss. Grace. The moment the fuse runs out.What you see in the art, you will find in the artist. What you see in the artist, you will find in the man.Cast Dennis Kleinman · Narrator Craig Parker · Caravaggio Dan Lauria · Cardinal Del Monte Bruce Davison · Alof de Wignacourt Shaan Sharma · Stefano della Croce Catherine Lidstone · Lena Sarah Elmaleh · Maria Brendan Bradley · Annibale Carracci Noah James · Ranuccio Tomassoni Josh Sterling · Ottavio Tomassoni Zeke Alton · Giovan Tomassoni Nick Monteleone · Mancini Matt Curtin · Toppa Bjorn Johnson · Pope Paul V Ray Abruzzo · Pope Clement VIIIWritten by Richard VetereExecutive Produced by Jack Levy, Shaan Sharma, and Mark KnellTable Read is a Manifest Media production.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Friends of the Rosary,In today's Gospel (Luke 5:27–32), Luke recounts how Jesus saw a tax collector named Levi sitting at the customs post."He said to him, “Follow me.”And leaving everything behind, he got up and followed him.Then Levi gave a great banquet for him in his house,and a large crowd of tax collectorsand others were at table with them.The Pharisees and their scribes complained to his disciples, saying,“Why do you eat and drink with tax collectors and sinners?”Jesus said to them in reply,“Those who are healthy do not need a physician, but the sick do.I have not come to call the righteous to repentance but sinners.”The call of Jesus to Matthew — as we see it in the painting of Caravaggio, above — has the sense of “walk as I walk; think as I think; choose as I choose.” It means a self-reordered according to the pattern and manner of Jesus.“Following Jesus is indeed a kind of resurrection from the dead, since it involves the transition from a lower form of life to a higher, from a preoccupation with the temporary goods of this world to an immersion in the goodness of God,” writes Bishop Barron.Those who have undergone a profound conversion tend to speak of their former life as a kind of illusion, something not entirely real. It's the “false self” that has given way to the authentic self. It's the father of the prodigal son saying, “Your brother was dead and has come to life again; he was lost and has been found.”Come, Holy Spirit, come!To Jesus through Mary!Here I am, Lord; I come to do your will.Please give us the grace to respond with joy!+ Mikel Amigot w/ María Blanca | RosaryNetwork.com, New YorkEnhance your faith with the new Holy Rosary University app:Apple iOS | New! Android Google Play• ⁠February 21, 2026, Today's Rosary on YouTube | Daily broadcast at 7:30 pm ET

Can what is broken be repaired? This episode comes after a life episode of burnout, a moment when nothing made sense. It unfolds like fragments, pieced together, tracing the feeling of being broken—and finding meaning within it.From fragmentation in landscapes, to the myth of Osiris in Ancient Egypt, to ancestral rites of dismemberment, to dreams, to repairing broken clay with golden dust—this podcast episode aims to show through storytelling how what is broken can be the beginning of something whole.How can we see the light among the fractures? How do myths guide us through the stages of human life, toward adulthood? How did our ancestors understand being broken, and what can we learn from them today?⭐ If you liked the episode, please share it and rate it 5 stars on your favourite platform.Sources:https://traditionalkyoto.com/culture/kintsugi/https://www.britannica.com/topic/Osiris-Egyptian-godhttps://gabrielamgutierrez.substack.com/p/the-ritual-of-dismembermentCover: Narcissus by Caravaggio, c.1597–c.1599Hosted on Ausha. See ausha.co/privacy-policy for more information.

En este episodio exploramos la vida intensa y contradictoria de Caravaggio, el artista que transformó para siempre la pintura europea con su uso dramático de la luz y la sombra.  Desde su ascenso meteórico en la Roma de la Contrarreforma hasta el crimen que lo convirtió en fugitivo, recorremos la historia de un genio brillante y profundamente conflictivo, cuya obra revolucionó el arte barroco mientras su vida se desmoronaba entre escándalos, violencia y exilio.  Una historia donde el talento, la fe y la oscuridad se entrelazan en cada pincelada.

La forma passiva è uno degli argomenti più insidiosi della grammatica italiana, e quasi tutti gli studenti commettono gli stessi errori. In questo articolo scoprirai i 5 errori più comuni con la forma passiva e imparerai come evitarli una volta per tutte. 5 Errori con il Passivo in Italiano Errore N°1: Usare l'Ausiliare AVERE Partiamo dalle basi. Questo è l'errore più grave e, purtroppo, anche molto frequente tra gli studenti di italiano. Alcuni studenti costruiscono frasi come: "La pizza ha mangiata da Marco." Questo è completamente sbagliato. In italiano, l'unico ausiliare per formare il passivo è ESSERE. Sempre. Senza eccezioni. "La pizza è mangiata da Marco." Come Trasformare una Frase Attiva in Passiva Per comprendere meglio il meccanismo della trasformazione, analizziamo un esempio chiaro e dettagliato. Frase Attiva Marco mangia la pizza. Marco = soggetto (chi compie l'azione) mangia = verbo la pizza = complemento oggetto (chi riceve l'azione) Frase Passiva La pizza è mangiata da Marco. La pizza = nuovo soggetto è mangiata = verbo al passivo (essere + participio passato) da Marco = agente (chi compie l'azione) Come vedi, nella trasformazione avvengono tre cambiamenti fondamentali: Il complemento oggetto diventa soggetto Il verbo diventa essere + participio passato Il soggetto originale diventa "agente" e si introduce con la preposizione DA Verbi Transitivi e Intransitivi: Una Distinzione Fondamentale Non tutti i verbi possono avere una forma passiva. Solo i verbi transitivi (cioè quelli che possono avere un complemento oggetto) possono essere trasformati al passivo. "Il libro è letto da Maria." (leggere = transitivo, posso leggere qualcosa) "Il parco è andato da Maria." (andare = intransitivo, non posso "andare qualcosa") Un trucco semplice per riconoscere i verbi transitivi: se nella frase attiva puoi rispondere alla domanda "Che cosa?" dopo il verbo, allora il verbo è transitivo e puoi fare il passivo. Marco mangia... che cosa? → La pizza. Transitivo! Maria va... che cosa? → ??? Intransitivo! Errore N°2: Usare la Preposizione Sbagliata per l'Agente Questo errore è strettamente collegato al primo e riguarda proprio quella parolina che introduce l'agente nella frase passiva. Molti studenti commettono errori come: "La pizza è mangiata per Marco." "La pizza è mangiata di Marco." Ma la preposizione corretta è una sola: DA! "La pizza è mangiata da Marco." Perché Questo Errore È Così Comune? L'origine di questo errore spesso dipende dalla lingua madre dello studente: Chi parla spagnolo spesso usa "per" perché in spagnolo si dice "por" (La pizza es comida por Marco). Chi parla inglese a volte usa "di" perché in inglese si dice "by", che in altri contesti si traduce con "di" (a book by Hemingway = un libro di Hemingway). Ma ricorda: in italiano, per l'agente del passivo, si usa sempre DA. Esempi Corretti con la Preposizione DA Questo quadro è stato dipinto da Caravaggio. La lettera sarà scritta da me. I biscotti sono stati preparati da mia nonna. L'America fu scoperta da Cristoforo Colombo. La Divina Commedia è stata scritta da Dante Alighieri. Errore N°3: Confondere il Passivo Presente con il Passato Questo errore è molto subdolo e dipende da come funziona il passato prossimo in italiano. Guarda questa frase: "La pizza è mangiata." Molti studenti pensano: "Vedo due parole: 'è' + 'mangiata'. Due parole = passato prossimo!" SBAGLIATO! Questa frase è al presente passivo, non al passato! Il segreto è questo: nel passivo, il tempo è determinato SOLO dall'ausiliare ESSERE. Tabella dei Tempi Verbali al Passivo Tempo VerbaleForma PassivaNumero di ParolePresenteLa pizza è mangiata2 parolePassato prossimoLa pizza è stata mangiata3 paroleImperfettoLa pizza era mangiata2 paroleTrapassato prossimoLa pizza era stata mangiata3 parolePassato remotoLa pizza fu mangiata2 paroleTrapassato remotoLa pizza fu stata mangiata3 paroleFuturo sempliceLa pizza sarà mangiata2 paroleFuturo anterioreLa pizza sarà stata mangiata3 parole Come vedi, per il passato prossimo passivo servono tre parole: essere (al presente) + stato/a/i/e + participio passato. La Differenza È Fondamentale La pizza è mangiata = Presente (qualcuno la sta mangiando ora, in generale) La pizza è stata mangiata = Passato prossimo (qualcuno l'ha già mangiata) È una differenza enorme! Confonderle può creare grandi malintesi nella comunicazione. Immagina di essere in un ristorante e dire "La pizza è mangiata" (presente) invece di "La pizza è stata mangiata" (passato): il cameriere potrebbe pensare che qualcuno stia ancora mangiando la pizza, invece di capire che è già finita. Errore N°4: Sostituire Sempre ESSERE con VENIRE Forse hai sentito dire che in italiano si può usare anche il verbo VENIRE per formare il passivo. Ed è vero! La pizza viene mangiata da Marco. Questa frase è perfettamente corretta e significa la stessa cosa di "La pizza è mangiata da Marco." Ma attenzione: c'è una regola importante! La Regola Fondamentale di VENIRE VENIRE si può usare SOLO con i tempi semplici. I tempi semplici sono: presente, imperfetto, passato remoto, futuro semplice, congiuntivo presente, congiuntivo imperfetto, condizionale presente. La pizza viene mangiata. (presente) La pizza veniva mangiata. (imperfetto) La pizza verrà mangiata. (futuro) Ma con i tempi composti? No, non si può! La pizza è venuta mangiata. → SBAGLIATO! La pizza è stata mangiata. → CORRETTO! Tabella Comparativa: ESSERE vs VENIRE TempoCon ESSERECon VENIREPresenteè mangiataviene mangiataImperfettoera mangiataveniva mangiataPassato remotofu mangiatavenne mangiataFuturo semplicesarà mangiataverrà mangiataPassato prossimoè stata mangiataè venuta mangiataTrapassato prossimoera stata mangiataera venuta mangiataFuturo anterioresarà stata mangiatasarà venuta mangiata Perché Esiste l'Alternativa con VENIRE? Spesso si usa "venire" per dare un senso più dinamico all'azione, per sottolineare che qualcosa sta accadendo in quel momento. Inoltre, "venire" può aiutare a evitare ambiguità: la frase "La porta è chiusa" potrebbe significare sia "La porta viene chiusa (da qualcuno)" sia "La porta è in stato di chiusura". Usando "La porta viene chiusa" si elimina l'ambiguità e si indica chiaramente un'azione in corso. Errore N°5: Non Riconoscere le Strutture Passive "Nascoste" Ed eccoci all'ultimo errore, forse il più insidioso di tutti. Esistono alcune strutture che sono passive... ma non sembrano passive! Molti studenti non le riconoscono e quindi non le capiscono. Vediamone tre molto comuni. 1) ANDARE + Participio Passato "Questo lavoro va fatto entro domani." Che cosa significa? Significa che questo lavoro deve essere fatto entro domani. È un obbligo, una necessità. La struttura andare + participio passato ha un significato passivo con valore di dovere/necessità. Altri Esempi con ANDARE + Participio Le regole vanno rispettate. = Le regole devono essere rispettate. Questo documento va firmato. = Questo documento deve essere firmato. I compiti vanno consegnati venerdì. = I compiti devono essere consegnati venerdì. La carne va cotta bene. = La carne deve essere cotta bene. Questi medicinali vanno presi a stomaco pieno. = Questi medicinali devono essere presi a stomaco pieno. Attenzione: anche "andare" segue la regola del punto 4! Si usa solo nei tempi semplici. Il lavoro va fatto. (presente) Il lavoro andava fatto. (imperfetto) Il lavoro è andato fatto. → Sbagliato! 2) Participio Passato da Solo (Participio Assoluto) "Fatte queste premesse, possiamo continuare." Questa struttura si chiama participio assoluto e ha valore passivo. Significa: "Dopo che queste premesse sono state fatte..." Il participio, posto all'inizio della frase, indica un'azione già compiuta che precede l'azione principale. Altri Esempi di Participio Assoluto Letto il libro, ho capito tutto. = Dopo che il libro è stato letto (da me)... Finiti i compiti, sono uscito. = Dopo che i compiti sono stati finiti... Considerati tutti i fattori, la decisione è stata difficile. = Dopo che tutti i fattori sono stati considerati... Superato l'esame, ho festeggiato. = Dopo che l'esame è stato superato... Aperta la porta, entrò nella stanza. = Dopo che la porta fu aperta... Questa struttura è molto usata nella lingua scritta e formale, ma si sente anche nel parlato. Se non la riconosci, rischi di non capire il significato della frase. 3) Il "SI" Passivante "In Italia si mangia molta pasta." Questa frase non significa che qualcuno mangia se stesso (quello sarebbe riflessivo!). Significa: "In Italia molta pasta è mangiata" / "In Italia la gente mangia molta pasta." È il famoso SI passivante: si usa quando non vogliamo o non possiamo specificare chi compie l'azione. Come Riconoscere il SI Passivante Il verbo concorda con il sostantivo che segue: Si mangia molta pasta (pasta = singolare → verbo singolare) Si mangiano molti spaghetti (spaghetti = plurale → verbo plurale) Si legge un libro / Si leggono molti libri Si parla l'italiano / Si parlano molte lingue Esempi Comuni del SI Passivante Il si passivante è estremamente comune in italiano. Lo sentirai e leggerai ovunque: Qui si parla italiano. (= L'italiano è parlato qui) Non si accettano carte di credito. (= Le carte di credito non sono accettate) Come si dice "hello" in italiano? (= Come è detto "hello" in italiano?) In questo negozio si vendono prodotti biologici. (= Prodotti biologici sono venduti) Affittasi appartamento. (= Un appartamento viene affittato - forma molto comune negli annunci) Se non riconosci questa struttura,

Malta. A fortress carved from rock, surrounded by sea, ruled by warrior monks who pray at dawn and kill by noon.Caravaggio arrives to paint a portrait. He stays because he has no choice. The Grand Master offers sanctuary, admiration, and something neither man is prepared to name. The Captain at Arms offers suspicion, jealousy, and a locked door every night.Act Two is the cage. Beautiful. Suffocating. Holy.Caravaggio paints the Grand Master's portrait and captures more than armor and scars. He captures a man's loneliness. The Knights throw a feast in his honor. He dances on tables. He is knighted with a gold sword. He is watched from every window.Back in Rome, Cardinal Del Monte fights for a papal pardon while the Tomassoni brothers hire bounty hunters. The Pope dies. A new Pope rises. The Church still cannot decide what Caravaggio is worth.On the beach, the Turks attack. Knights are nailed to crosses and set on fire, floated into the harbor at dawn. Caravaggio picks up a sword for the first time. He gives water to a dying boy. The boy is killed in front of him.Flashbacks pull him back to Rome. To Lena. To the night Ranuccio came for him with a blade. To the moment that changed everything.He paints The Beheading of Saint John the Baptist on a chapel wall and signs his name in the blood flowing from the saint's neck. The only painting he ever signed.Then he paints a Cupid so grotesque it seals his fate.Act Two is devotion. Desire. Betrayal. The moment a man realizes that the sanctuary he was promised is just a prison with better art on the walls.The fuse is burning.CastDennis Kleinman · NarratorCraig Parker · CaravaggioDan Lauria · Cardinal Del MonteBruce Davison · Alof de WignacourtShaan Sharma · Stefano della CroceCatherine Lidstone · LenaSarah Elmaleh · MariaBrendan Bradley · Annibale CarracciNoah James · Ranuccio TomassoniJosh Sterling · Ottavio TomassoniZeke Alton · Giovan TomassoniNick Monteleone · ManciniMatt Curtin · ToppaBjorn Johnson · Pope Paul VRay Abruzzo · Pope Clement VIIIWritten byRichard VetereExecutive Produced byJack Levy, Shaan Sharma, and Mark KnellTable Read is a Manifest Media production.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this episode, we explore self-portrait poems through the lens of visual art—from “plating poems” to Dante Di Stefano's haunting idea of “ghost-ekphrasis.” Along the way, we dig into standout work by Hayden Saunier, Donald Hall, Seamus Heaney, Chen Chen, A.K. Ramanujan, Denise Duhamel, and Di Stefano himself—plus we paint an intense detour into Caravaggio. If you love ekphrastic poetry, craft talk, and poems that double as portraits, this one's for you.At the Table:Katie DozierTimothy GreenDante Di StefanoBrian O'SullivanJoe Barca

Annemieke Bosman in gesprek met Frits Scholten, senior conservator beeldhouwkunst Rijksmuseum. Frits Scholten is de samensteller van de indrukwekkende tentoonstelling Metamorfosen nu te zien in het Rijksmuseum. De tentoonstelling Metamorfosen laat zien hoe kunstenaars zich al eeuwenlang laten inspireren door het grootse gedicht van de Romeinse dichter Ovidius. Meer dan 80 topstukken van onder anderen Titiaan, Correggio, Cellini, Caravaggio, Rubens, Rodin, Brancusi, Bourgeois én Bernini worden voor deze tentoonstelling samengebracht, afkomstig uit musea en collecties wereldwijd. De tentoonstelling wordt gemaakt in samenwerking met Galleria Borghese in Rome. Een van de kunstwerken die te zien zijn is de wereldberoemde sculptuur de Slapende Hermaphroditus, afkomstig uit de collectie van het Musée du Louvre in Parijs. De sculptuur is een iconisch werk uit zowel de antieke als de barokke beeldhouwkunst vanwege de ingreep van de Italiaanse beeldhouwer Bernini. Hij voorzag het antieke Romeinse marmeren lichaam begin 17de eeuw van een verbluffend realistisch matras en kussen. Het beeld, dat vrijwel nooit wordt uitgeleend, is een van de hoogtepunten van de tentoonstelling Metamorfosen.

Caravaggio, the brilliant outlaw painter whose genius made him famous and whose violence made him a fugitive.Rome, 1610. The city is loud, corrupt, holy, and dangerous. Caravaggio thrives in it.Act One drops you straight into the night everything breaks. Inside a dark Roman chapel, Caravaggio confronts his greatest rival and exposes a truth the Church is not ready to control. God does not live in perfection. God lives in flesh, shadow, and brutal light.Outside the church, Rome answers back. Wine turns into provocation. Desire turns into rivalry. Old grudges sharpen. A debt comes due. What begins as swagger spirals into violence, and by dawn Caravaggio's life in Rome is over.Wanted. Hunted. Unforgivable.A carriage slips through the gates. A boat cuts across black water. Behind him, the city that crowned him now wants him dead. Ahead lies Malta, a fortified island ruled by warrior monks, where faith is enforced with steel and survival demands obedience.Act One is ignition. Art as rebellion. Faith as power. Genius as liability.This is where the fuse gets lit.CastDennis Kleinman · NarratorCraig Parker · CaravaggioDan Lauria · Cardinal Del MonteBruce Davison · Alof de WignacourtShaan Sharma · Stefano della CroceCatherine Lidstone · LenaSarah Elmaleh · MariaBrendan Bradley · Annibale CarracciNoah James · Ranuccio TomassoniJosh Sterling · Ottavio TomassoniZeke Alton · Giovan TomassoniNick Monteleone · ManciniMatt Curtin · ToppaBjorn Johnson · Pope Paul VRay Abruzzo · Pope Clement VIIIWritten by Richard VetereExecutive Produced byJack Levy, Shaan Sharma, and Mark KnellTable Read is a Manifest Media production.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this Sunday teaching, Co-Lead Minister Jenell Coker continues our series on Oceanside Sanctuary's Core Values, focusing this week on "Sacred Stories." Drawing from the Gospel of John (20:24-29), Jenell re-examines the narrative of "Doubting Thomas." Rather than seeing Thomas's hesitation as a failure of faith, she presents it as a vital invitation to investigate the Divine for ourselves. Exploring the gritty realism of Caravaggio's painting The Incredulity of Saint Thomas, Jenell illustrates how personal encounters with the risen Christ—and the sharing of those experiences—are what truly transform us. We are challenged to move beyond simply consuming the stories of others and instead learn to articulate our own. From the "sacred ordinary" of daily tasks to the pursuit of justice, how do we recognize and record God's presence in our lives? Join us as we explore the power of journaling, testimony, and the healing found in owning our sacred stories. Learn more about us at oceansidesanctuary.org Chapters (00:00:00) - sacred stories(00:04:51) - The Crucified Thomas(00:14:00) - How Well Do You Know Your Story?(00:17:42) - A Bookmark for the Church(00:19:23) - How Do You Experience God?(00:22:11) - St. Thomas' Story

Borges, Caravaggio, Kafka, Iwaszkiewicz, Blecher, Carson, Weil – wszystkich tych artystów, pod wieloma względami tak różnych od siebie, łączyła jedna rzecz: wszyscy za pośrednictwem sztuki próbowali albo zniknąć, albo zacząć wszystko od początku. Ta myśl jest osią zbioru esejów Grzegorza Jankowicza, w którym autor zastanawia się nad istnieniem trzeciej drogi – takiej, w której równie możliwe jest zniknięcie, jak i nowy początek.„Od-tworzenie. Eseje o potencjalności” to zbiór rymujących się ze sobą tekstów, które otwierają rozmaite pytania – o relację artysty z aktem tworzenia, twórczą siłę ludzkich ograniczeń oraz potencjał i sens literatury.Prowadzenie: Agata KasprolewiczGość: Grzegorz JankowiczRealizacja: Kris Wawrzak---------------------------------------------Raport o stanie świata to audycja, która istnieje dzięki naszym Patronom, dołącz się do zbiórki ➡️ ⁠https://patronite.pl/DariuszRosiak⁠Subskrybuj newsletter Raportu o stanie świata ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➡️ ⁠https://dariuszrosiak.substack.com⁠Koszulki i kubki Raportu ➡️ ⁠https://patronite-sklep.pl/kolekcja/raport-o-stanie-swiata/⁠ [Autopromocja]

Odcinek specjalnie na Walentynki. Amor Vincit Omnia lub Amor Zwycięski obraz namalowany przez Caravaggio w 1601-1602 roku.Jest o symbolach, jest o miłości, jest o przełamywaniu schematów. Mam nadzieję, że znajdziecie w tym też trochę sensu.Karnet na wykłady "Co kryje się za odwagą baroku?" znajdziecie tutaj https://app.evently.pl/events/12346-sezon-4-co-kryje-sie-za-odwaga-baroku...Podcast Otulina o sztuce napędzany jest wsparciem Patronek i Patronów w serwisie Patronite.pl. Jeśli chcesz dołączyć do tego zacnego grona, tutaj jest link https://patronite.pl/otulina_o_sztuceZnajdź mnie na Facebooku: ⁠https://www.facebook.com/otulinablogpl⁠ lub na Instagramie: ⁠https://www.instagram.com/otulina_o_sztuce⁠Lub YouTube https://www.youtube.com/@otulinaosztuce

A real treat for you in this episode, as Phil goes on a field trip to London to meet with Xavier Bray, Director of the Wallace Collection, and discuss one of Caravaggio's most controversial works, the focus of their current exhibition, running until 12th April 2026. More than a podcast — it's a remembrance.Dive into the vibration that connects us all: Love. Listen on: Apple Podcasts SpotifySupport the show

From the identity of a frequently seen character in Caravaggio paintings to how many Caravaggio paintings there are in the world to how to secure tickets for Leonardo's "Last Supper" to how much the Medici were worth, and much, much more - this episode answers the very questions that you ask me about the great art, artists, and history of the Italian Renaissance.

Rome. 1610. A painter who sees God in the faces of prostitutes and killers is on the run for murder.His name is Caravaggio. He drinks too much. He loves recklessly. Men, women, it doesn't matter. He picks fights with swordsmen and screams at the heavens in candlelit chapels. He paints the way other men pray, except his prayers are in defiance. And the Catholic Church can't decide whether to pardon him or let the bounty hunters finish the job.This screenplay by Richard Vetere, a Pulitzer nominee and Golden Palm winner whose work has been produced by Francis Ford Coppola, follows Caravaggio from the brothels of Rome to a besieged fortress on Malta where a scarred Grand Master offers him sanctuary and something that looks a lot like love. But sanctuary has a price. And Caravaggio has never paid what he owes without bleeding for it.There are popes making deals in candlelight. Brothers hunting him across the Mediterranean for killing their own. A muse he left behind in Rome who can't wait much longer. A rival painter who despises his work and can't stop staring at it. Knights nailed to crosses and set on fire floating into the harbor at dawn. A prison cell carved into rock like a grave. And an escape across open sea in a fishing boat guided by a boy too afraid to speak.This is not a quiet period piece. This is Game of Thrones in Renaissance Italy with paintbrushes and rapiers.Craig Parker, who played Haldir in Lord of the Rings, plays Caravaggio. Academy Award nominee and Golden Globe winner Bruce Davison plays the Grand Master. Dan Lauria, America's dad from The Wonder Years, plays the Cardinal pulling every string in Rome. Ray Abruzzo, Little Carmine from The Sopranos, plays the Pope. The cast includes Broadway veterans, stars of The Chosen, the voices behind the biggest video games on the planet, and a former Navy test pilot born in Italy playing an Italian swordsman.Fourteen actors. One genius who painted like God was guiding his hand and lived like the devil was chasing him. Turns out both were true.This is Caravaggio. This is Table Read. Listen now wherever you get your podcasts.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Mensen, dieren, monsters en goden: al tweeduizend jaar lang inspireert de dichtbundel Metamorfosen van de Romeinse schrijver Ovidius verhalenvertellers én kunstenaars. De gelijknamige tentoonstelling opent op 6 februari in het Rijksmuseum. Daarin is werk te zien van wereldberoemde kunstenaars als Titiaan, Caravaggio en Bernini, maar ook hedendaagse kunstwerken, zoals de reusachtige spin van Bourgeois en videowerk van Juul Kraijer. Janine Abbring en Frits Scholten nemen ons mee door Ovidius' mooiste verhalen en de hoogtepunten uit de tentoonstelling.

God's Call and Our Response The Homily reflects on readings from Scripture, focusing on how Saul . . . . . . despite being appointed and anointed by God and filled with the Holy Spirit . . . fell from grace. The central question, “How have the warriors fallen?” is repeated to emphasize a tragic decline rooted in disobedience to God and jealousy. Saul stopped listening to God, chose his own ego, and became consumed by comparison and envy toward David's success. The Homily compares this to everyday experiences of comparison and highlights that the antidote is gratitude and obedience to God, recognizing that God's grace meets our needs, not our wants. The Homily closes with a prayer that we remain attentive, obedient, and grateful to God so as not to fall like Saul. Listen to God's Call and Our Response --------------------------------------------------------------------------- Why was this image selected: This moment of divine calling highlights the importance of listening and responding to God . . . a central lesson in the text. It contrasts obedience with Saul's failure to heed God. --------------------------------------------------------------------------- Art Work The Calling of St. Matthew: Italian Painter: Michelangelo Merisi da Caravaggio, : 1599-1600 This painting is unique. It depicts Jesus, with an outstretched arm, pointing to Levi. The tax collectors are illuminated by light as they look at Jesus. St. Peter stands near Jesus, as He tells Levi to Follow Me!. The painting resides in Rome within San Luigi dei Francesi. The painting hangs next to two other St. Matthew paintings, including the Martyrdom of St. Matthew. --------------------------------------------------------------------------- Gospel Reading: Mark 3: 20-21 First Reading: 2 Samuel 1: 1-4, 11-12, 19, 23-27

Nghe trọn nội dung sách nói Bệnh Nhân Người Anh trên ứng dụng Voiz FM: https://voiz.vn/play/166/ Bệnh Nhân Người Anh là một tác phẩm đậm chất thơ về số phận của bốn con người gặp nhau trong một tòa biệt thự bỏ hoang ở vùng đồi nước Ý, vào những ngày cuối cùng của Chiến tranh Thế giới thứ hai. Câu chuyện mở ra như những trang sách được lật giở ngẫu nhiên, dần hé lộ đời sống nội tâm và quá khứ của từng nhân vật: Hana – cô y tá mang những tổn thương tinh thần sâu sắc, ở lại chăm sóc bệnh nhân khi bệnh viện dã chiến đã giải tán; Caravaggio – tên trộm, cựu điệp viên bị tra tấn dã man; Kip – người lính công binh gỡ bom gốc Ấn Độ, dè dặt và xa cách với thế giới phương Tây; và bệnh nhân người Anh – nhân vật trung tâm, bị bỏng nặng đến mức không còn nhận diện được, một ẩn số giữa tất cả.Bệnh nhân người Anh thực sự là ai? Câu trả lời dần hiện lên qua những mảnh ký ức chập chờn như tia chớp lóe sáng trong tâm trí ông. Những hồi ức về đời sống phiêu lưu và mối tình mãnh liệt nhưng đầy đau đớn dẫn người đọc bước vào một mê cung cảm xúc phức tạp, nơi tình yêu, chiến tranh, ký ức và mất mát đan xen không ngừng. Tại ứng dụng sách nói Voiz FM, sách nói Bệnh Nhân Người Anh được đầu tư chất lượng âm thanh và thu âm chuyên nghiệp, tốt nhất để mang lại trải nghiệm nghe sâu lắng, giàu chất thơ và đầy ám ảnh cho bạn.--- Về Voiz FM: Voiz FM là ứng dụng sách nói podcast ra mắt thị trường công nghệ từ năm 2019. Với gần 2000 tựa sách độc quyền, Voiz FM hiện đang là nền tảng sách nói podcast bản quyền hàng đầu Việt Nam. Bạn có thể trải nghiệm miễn phí đa dạng nội dung tại Voiz FM từ sách nói, podcast đến truyện nói, sách tóm tắt và nội dung dành cho thiếu nhi. ---Voiz FM website: https://voiz.vn/ Theo dõi Facebook Voiz FM: https://www.facebook.com/VoizFM Tham khảo thêm các bài viết review, tổng hợp, gợi ý sách để lựa chọn sách nói dễ dàng hơn tại trang Blog Voiz FM: http://blog.voiz.vn/ ---Cảm ơn bạn đã ủng hộ Voiz FM. Nếu bạn yêu thích sách nói Bệnh Nhân Người Anh và các nội dung sách nói podcast khác, hãy đăng ký kênh để nhận thông báo về những nội dung mới nhất của Voiz FM channel nhé. Ngoài ra, bạn có thể nghe BẢN FULL ĐỘC QUYỀN hàng chục ngàn nội dung Chất lượng cao khác tại ứng dụng Voiz FM.Tải ứng dụng Voiz FM: voiz.vn/download#voizfm #podcast #benhnhannguoianh #michaelondaatje

REALISING WONDERFUL IDEAS. Colin Bailey is a British art historian and Director of the Morgan Library & Museum in New York City. He is a scholar of eighteenth and nineteenth century French art, with a specific interest in the artist Pierre-Auguste Renoir. For the first time ever in America, Caravaggio's Boy With A Basket Of Fruit is on show at The Morgan. "Renoir Drawings is a survey of Renoir working on paper, drawings, pastels; and then how some of those drawings relate to paintings and even sculpture. "We also are a teaching institution, so we want to put a light on Caravaggio in a slightly different way. "My first job is just keep telling everyone how interesting and lively and rewarding The Morgan is and making sure that it is." https://www.alainelkanninterviews.com/colin-bailey-2/

The calling of the first four apostles is not just a nice story, though it is. It is Jesus beginning His church, calling the first of twelve for whom He desired the role of leadership in His church; twelve just like the twelve tribes of Israel because the Church is the new Israel. This role of apostle continues today in every bishop around the world because this was Christ's intention. He did not start something and then let it get by on its own. Rather, the divine plan was there from the very beginning.The image is by Caravaggio depicting the call of Peter and Andrew.Music by TheNonVisibles from Pixabay If you would like to contact me to provide feedback, suggestions or to ask questions you can do this via email:frpchandler@armidale.catholic.org.auAlso if you would like to support me in this work, please send me an email and I will provide details for how you can make a donation. Music by TheNonVisibles from Pixabay

It's... alive! On the highly anticipated season six premiere of The Art of Costume Podcast, we are joined by costume designer Kate Hawley to break down the visionary world of Guillermo del Toro's Frankenstein.In this in-depth conversation, Kate takes us through the film's striking visual language, from the haunting use of the color red and painterly inspirations from Caravaggio, to the creation of the nightmarish angel and the unforgettable collaboration with Tiffany & Co. Kate also discusses working with the cast, designing for Frankenstein's Creature, and how kitty litter may have played a far more surprising role in this film than anyone would expect.It's a chilling, richly artistic dive into one of the year's most captivating films, and a thrilling way to kick off a brand new season of The Art of Costume Podcast.

It's... alive! On the highly anticipated season six premiere of The Art of Costume Podcast, we are joined by costume designer Kate Hawley to break down the visionary world of Guillermo del Toro's Frankenstein.In this in-depth conversation, Kate takes us through the film's striking visual language, from the haunting use of the color red and painterly inspirations from Caravaggio, to the creation of the nightmarish angel and the unforgettable collaboration with Tiffany & Co. Kate also discusses working with the cast, designing for Frankenstein's Creature, and how kitty litter may have played a far more surprising role in this film than anyone would expect.It's a chilling, richly artistic dive into one of the year's most captivating films, and a thrilling way to kick off a brand new season of The Art of Costume Podcast.

Ornella BaderyIl Forte di Bardwww.fortedibard.itIn occasione del ventennale del Forte di Bard prende il via il progetto Capolavori al Forte che vedrà alternarsi ogni anno, sino al 2028, un grande capolavoro dell'arte italiana all'interno della ex Cappella militare. Il progetto nasce dalla volontà di valorizzare opere uniche, che raccontano non solo il genio di maestri italiani ma anche storie e iconografie eccezionali.Il primo capolavoro ad essere esposto, fino al 6 aprile 2026, porta la firma di Michelangelo Merisi, detto Caravaggio, ed è uno dei suoi ultimi lavori: il San Giovanni Battista. Un'opera intensa che racconta la maturità dell'artista ma soprattutto il pathos emotivo che lo contraddistingue. Una rappresentazione inedita di San Giovanni che doveva rappresentare la sua redenzione e che invece l'ha accompagnato nel suo ultimo viaggio verso la prematura morte.In collaborazione con MondoMostre e Galleria Borghese, Roma.Con i suoi spazi espositivi e la sua naturale predisposizione ad accogliere mostre che spaziano dal fotografico al classico, incontrando la grafica e il design, il Forte di Bard propone una stagione invernale 2025-2026 particolarmente eclettica.Tre grandi esposizioni animeranno le sale dell'imponente struttura fortificata, un tempo struttura difensiva della via d'accesso in Valle d'Aosta e ora vero e proprio luogo d'arte e di incontri.Ad aprire la stagione il concorso fotografico internazionale «Bird Photographer of the Year», che presenta al grande pubblico i migliori scatti che illustrano il variegato e affascinante mondo dei volatili, spaziando dall'ornitologia e dall'osservazione più tecnica e scientifica ad un approccio più estetico e spettacolare. Visitabile fino al 1° marzo 2026.La natura è protagonista anche dell'universo fotografico di Stefano Unterthiner, fortemente legato alla realtà del Forte di Bard. Nella mostra “Una finestra sull'Artico”, visitabile fino al 3 maggio 2026, egli ha scelto e raccolto sessanta fotografie che raccontano le spedizioni nell'arcipelago Svalbard, in Norvegia e immortalano renne e orsi polari, ma danno inoltre voce alle testimonianze antropiche della piccola comunità di Logyearbyen. Paesaggi di un accecante biancore, ma dal sapore sociale e antropologico, che evidenziano l'impatto del cambiamento climatico sul mondo fragile del “Paradis blanc”.«Fernando Botero. Tecnica monumentale» Fino al 6 aprile 2026 il Forte di Bard completa la sua proposta espositiva con un importante progetto dedicato al pittore, scultore e disegnatore colombiano Fernando Botero.  Curata da Cecilia Braschi,Fernando Botero Tecnica monumentale ripercorre, attraverso oltre cento opere, i principali temi e motivi cari all'artista colombiano, mettendo in luce la sua versatilità tecnica: dall'acquarello al pastello, dal disegno al carboncino, passando dalla pittura ad olio all'affresco, fino alla scultura. In sessanta anni di carriera, Fernando Botero, scomparso nel 2023, ha cercato l'espressione del suo stile, personale e inconfondibile, in ogni tecnica, ha esplorato con abilità e sapienza tutti i materiali, lasciandosi ispirare dai grandi maestri dell'Ottocento italiano e spaziando dalla natura morta al nudo, dalla scena di genere al ritratto, dal dialogo con la storia dell'arte alla denuncia sociale e politica.I suoi personaggi pieni e rotondi e le sue immagini barocche dall'atmosfera sudamericana approdano nella mostra allestita nelle sale delle Cannoniere e suddivisa in sette sezioni tematiche che permetteranno al visitatore di addentrarsi nel processo creativo dell'artista e apprezzare l'ecletticità e l'approccio estetico di questo grande maestro del ‘900.Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Michelangelo Merisi, Il Caravaggio, fue un genio que revolucionó la pintura. Hoy sigue siendo una figura que despierta un extraordinario interés. Y por eso le dedicamos muchos minutos en este Club. Jaime de los Santos, escritor, político e historiador del arte, ha volcado toda su pasión para escribir El evangelio según Caravaggio.Carla Gracia nos presenta un libro muy original, una novela sobre el poder de las flores para reconstruir nuestra vida. Se titula El jardín dormido. La novela ha sido publicada por Espasa. En la sección de Audiolibros, Orgullo y prejuicio, el clásico de Jane Austen. Sin olvidar a Jack London, que amaba el boxeo. Además, entre las novedades inminentes, la nueva novela de Juan Gómez-Jurado, fuera del universo Reina Roja.

Puntata #364 - Giovedì 15 Gennaio 2026 In questa nuova puntata del podcast rispondo ad una domanda delicata e inquietante: oggi è ancora possibile parlare di sacrifici di sangue? Ovvero di veri e propri sacrifici rituali dietro ad atti criminosi, omicidi o eventi dolosi? Qual è il senso del "sacrificio umano"? Si tratta di una superstizione primitiva o di una convinzione ancora oggi esistente e praticata da certe sedi di potere? Ma è reale? O è un semplicemente un delirio?  Per informazioni: www.carlodorofatti.com  Immagine: "Il Sacrificio di Isacco" - Michelangelo Merisi, detto il Caravaggio (1571 – 1610). Gli Uffizi.  

While more than 7 million people visit the Vatican Museums each year, few of them realize there is much more to this extraordinary collection than just the Raphael Rooms and the Sistine Chapel. The Pinacoteca, or "painting gallery," of the Vatican Museums opened in 1932 and includes masterpieces by Giotto, Raphael, Leonardo da Vinci, Caravaggio, and Bernini. 

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Located in the beautiful Baroque Barberini Palace, the National Gallery of Ancient Art contains works of art produced before the year 1800. It includes masterpieces by Andrea del Sarto, Bronzino, Canaletto, Titian, and Tintoretto. But the collection's most important works are Caravaggio's "Judith and Holofernes," Bernini's "Bust of Pope Urban VIII," and Pietro da Cortona's spectacular ceiling fresco "The Allegory of Divine Providence and Barberini Power." 

What happens when your voice is built through visuals, not volume? In this Unstoppable Mindset episode, I talk with photographer and storyteller Mobeen Ansari about growing up with hearing loss, learning speech with support from his family and the John Tracy Center, and using technology to stay connected in real time. We also explore how his art became a bridge across culture and faith, from documenting religious minorities in Pakistan to chronicling everyday heroes, and why he feels urgency to photograph climate change before more communities, heritage sites, and ways of life are lost. You'll hear how purpose grows when you share your story in a way that helps others feel less alone, and why Mobeen believes one story can become a blueprint for someone else to navigate their own challenge. Highlights: 00:03:54 - Learn how early family support can shape confidence, communication, and independence for life. 00:08:31 - Discover how deciding when to capture a moment can define your values as a storyteller. 00:15:14 - Learn practical ways to stay fully present in conversations when hearing is a daily challenge. 00:23:24 - See how unexpected role models can redefine what living fully looks like at any stage of life. 00:39:15 - Understand how visual storytelling can cross cultural and faith boundaries without words. 00:46:38 - Learn why documenting climate change now matters before stories, places, and communities disappear. About the Guest: Mobeen Ansari is a photographer, filmmaker and artist from Islamabad, Pakistan. Having a background in fine arts, he picked up the camera during high school and photographed his surroundings and friends- a path that motivated him to be a pictorial historian. His journey as a photographer and artist is deeply linked to a challenge that he had faced since after his birth.  Three weeks after he was born, Mobeen was diagnosed with hearing loss due to meningitis, and this challenge has inspired him to observe people more visually, which eventually led him to being an artist. He does advocacy for people with hearing loss.  Mobeen's work focuses on his home country of Pakistan and its people, promoting a diverse & poetic image of his country through his photos & films. As a photojournalist he focuses on human interest stories and has extensively worked on topics of climate change, global health and migration. Mobeen has published three photography books. His first one, ‘Dharkan: The Heartbeat of a Nation', features portraits of iconic people of Pakistan from all walks of life. His second book, called ‘White in the Flag' is based on the lives & festivities of religious minorities in Pakistan. Both these books have had two volumes published over the years. His third book is called ‘Miraas' which is also about iconic people of Pakistan and follows ‘Dharkan' as a sequel. Mobeen has also made two silent movies; 'Hellhole' is a black and white short film, based on the life of a sanitation worker, and ‘Lady of the Emerald Scarf' is based on the life of Aziza, a carpet maker in Guilmit in Northern Pakistan. He has exhibited in Pakistan & around the world, namely in UK, Italy, China Iraq, & across the US and UAE. His photographs have been displayed in many famous places as well, including Times Square in New York City. Mobeen is also a recipient of the Swedish Red Cross Journalism prize for his photography on the story of FIFA World Cup football manufacture in Sialkot. Ways to connect with Mobeen**:** www.mobeenansari.com Facebook: www.facebook.com/mobeenart  Linkedin: https://www.linkedin.com/in/mobeenansari/ Instagram: @mobeenansariphoto X: @Mobeen_Ansari About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog. Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards. https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/ accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/ Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can subscribe in your favorite podcast app. You can also support our podcast through our tip jar https://tips.pinecast.com/jar/unstoppable-mindset . Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts. Transcription Notes: Michael Hingson  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us. Michael Hingson  01:20 Well, hi everyone, and welcome to another episode of unstoppable mindset. I am your host. Michael Hingson, we're really glad that you are here, and today we are going to talk to Mobeen Ansari, and Mobeen is in Islamabad. I believe you're still in Islamabad, aren't you? There we go. I am, yeah. And so, so he is 12 hours ahead of where we are. So it is four in the afternoon here, and I can't believe it, but he's up at four in the morning where he is actually I get up around the same time most mornings, but I go to bed earlier than he does. Anyway. We're really glad that he is here. He is a photographer, he speaks he's a journalist in so many ways, and we're going to talk about all of that as we go forward. Mobin also is profoundly hard of hearing. Uses hearing aids. He was diagnosed as being hard of hearing when he was three weeks old. So I'm sure we're going to talk about that a little bit near the beginning, so we'll go ahead and start. So mo bean, I want to welcome you to unstoppable mindset. We're really glad that you're here. Mobeen Ansari  02:32 It's a pleasure to be here, and I'm honored to plan your show. Thank you so much. Michael Hingson  02:37 Well, thank you very much, and I'm glad that we're able to make this work, and I should explain that he is able to read what is going on the screen. I use a program called otter to transcribe when necessary, whatever I and other people in a meeting, or in this case, in a podcast, are saying, and well being is able to read all of that. So that's one of the ways, and one of the reasons that we get to do this in real time. So it's really kind of cool, and I'm really excited by that. Well, let's go ahead and move forward. Why don't you tell us a little about the early Beau beam growing up? And obviously that starts, that's where your adventure starts in a lot of ways. So why don't you tell us about you growing up and all that. Mobeen Ansari  03:22 So I'm glad you mentioned the captions part, because, you know, that has been really, really revolutionary. That has been quite a lifesaver, be it, you know, Netflix, be it anywhere I go into your life, I read captions like there's an app on my phone that I use for real life competitions, and that's where I, you know, get everything. That's where technology is pretty cool. So I do that because of my hearing does, as you mentioned, when I was three weeks old, I had severe meningitis due to it, had lost hearing in both my ear and so when my hearing loss were diagnosed, it was, you know, around the time we didn't have resources, the technology that we do today. Michael Hingson  04:15 When was that? What year was that about? Mobeen Ansari  04:19 1986 okay, sorry, 1987 so yeah, so they figured that I had locked my hearing at three weeks of age, but didn't properly diagnose it until I think I was three months old. So yeah, then January was my diagnosis, okay. Michael Hingson  04:44 And so how did you how did you function, how did you do things when you were, when you were a young child? Because at that point was kind of well, much before you could use a hearing aid and learn to speak and so on. So what? Mobeen Ansari  05:00 You do. So my parents would have a better memory of that than I would, but I would say that they were, you know, extra hard. They went an extra mile. I mean, I would say, you know, 100 extra mile. My mother learned to be a peace therapist, and my father. He learned to be he learned how to read audiogram, to learn the audiology, familiarize himself with hearing a technology with an engineer support. My parents work around me. David went to a lot of doctors, obviously, I was a very difficult child, but I think that actually laid the foundation in me becoming an artist. Because, you know, today, the hearing is it fits right into my ear so you cannot see it, basically because my hair is longer. But back then, hearing aids used to be almost like on a harness, and you to be full of quiet, so you would actually stick out like a sore thumb. So, you know, obviously you stand out in a crowd. So I would be very conscious, and I would often, you know, get asked what this is. So I would say, this is a radio but for most part of my childhood, I was very introverted, but I absolutely love art. My grandmother's for the painter, and she was also photographer, as well as my grandfather, the hobbyist photographer, and you know, seeing them create all of the visuals in different ways, I was inspired, and I would tell my stories in form of sketching or making modified action figures. And photography was something I picked up way later on in high school, when the first digital camera had just come out, and I finally started in a really interacting with the world. Michael Hingson  07:13 So early on you you drew because you didn't really use the camera yet. And I think it's very interesting how much your parents worked to make sure they could really help you. As you said, Your mother was a speech you became a speech therapist, and your father learned about the technologies and so on. So when did you start using hearing aids? That's Mobeen Ansari  07:42 a good question. I think I probably started using it when I was two years old. Okay, yeah, yeah, that's gonna start using it, but then, you know, I think I'll probably have to ask my parents capacity, but a moment, Mobeen Ansari  08:08 you know, go ahead, I think they worked around me. They really improvised on the situation. They learned at the went along, and I think I learned speech gradually. Did a lot of, you know, technical know, how about this? But I would also have to credit John Troy clinic in Los Angeles, because, you know, back then, there was no mobile phone, there were no emails, but my mother would put in touch with John Troy center in LA and they would send a lot of material back and forth for many years, and they would provide a guidance. They would provide her a lot of articles, a lot of details on how to help me learn speech. A lot of visuals were involved. And because of the emphasis on visuals, I think that kind of pushed me further to become an artist, because I would speak more, but with just so to Michael Hingson  09:25 say so, it was sort of a natural progression for you, at least it seemed that way to you, to start using art as a way to communicate, as opposed as opposed to talking. Mobeen Ansari  09:39 Yeah, absolutely, you know, so I would like pass forward a little bit to my high school. You know, I was always a very shy child up until, you know, my early teens, and the first camera had just come out, this was like 2001 2002 at. It. That's when my dad got one, and I would take that to school today. You know, everyone has a smartphone back then, if you had a camera, you're pretty cool. And that is what. I started taking pictures of my friends. I started taking pictures of my teachers, of landscapes around me. And I would even capture, you know, funniest of things, like my friend getting late for school, and one day, a friend of mine got into a fight because somebody stole his girlfriend, or something like that happened, you know, that was a long time ago, and he lost the fight, and he turned off into the world court to cry, and he was just sort of, you're trying to hide all his vulnerability. I happened to be in the same place as him, and I had my camera, and I was like, should I capture this moment, or should I let this permit go? And well, I decided to capture it, and that is when human emotion truly started to fascinate me. So I was born in a very old city. I live in the capital of Islamabad right now, but I was born in the city of travel to be and that is home to lots of old, you know, heritage sites, lots of old places, lots of old, interesting scenes. And you know, that always inspired you, that always makes you feel alive. And I guess all of these things came together. And, you know, I really got into the art of picture storytelling. And by the end of my high school graduation, everybody was given an award. The certificate that I was given was, it was called pictorial historian, and that is what inspired me to really document everything. Document my country. Document is people, document landscape. In fact, that award it actually has in my studio right now been there for, you know, over 21 years, but it inspired me luck to this day. Michael Hingson  12:20 So going back to the story you just told, did you tell your friend that you took pictures of him when he was crying? Mobeen Ansari  12:32 Eventually, yes, I would not talk. You're familiar with the content back then, but the Catholic friend, I know so I mean, you know everyone, you're all kids, so yeah, very, yeah, that was a very normal circumstance. But yeah, you know, Michael Hingson  12:52 how did he react when you told him, Mobeen Ansari  12:56 Oh, he was fine. It's pretty cool about it, okay, but I should probably touch base with him. I haven't spoken to him for many years that Yeah, Michael Hingson  13:08 well, but as long as Yeah, but obviously you were, you were good friends, and you were able to continue that. So that's, that's pretty cool. So you, your hearing aids were also probably pretty large and pretty clunky as well, weren't they? Mobeen Ansari  13:26 Yeah, they were. But you know, with time my hearing aid became smaller. Oh sure. So hearing aid model that I'm wearing right now that kind of started coming in place from 1995 1995 96 onwards. But you know, like, even today, it's called like BDE behind the ear, hearing it even today, I still wear the large format because my hearing loss is more it's on the profound side, right? Just like if I take my hearing, it off. I cannot hear but that's a great thing, because if I don't want to listen to anybody, right, and I can sleep peacefully at night. Michael Hingson  14:21 Have you ever used bone conduction headphones or earphones? Mobeen Ansari  14:30 But I have actually used something I forgot what is called, but these are very specific kind of ear bone that get plugged into your hearing it. So once you plug into that, you cannot hear anything else. But it discontinued that. So now they use Bluetooth. Michael Hingson  14:49 Well, bone conduction headphones are, are, are devices that, rather than projecting the audio into your ear, they actually. Be projected straight into the bone and bypassing most of the ear. And I know a number of people have found them to be useful, like, if you want to listen to music and so on, or listen to audio, you can connect them. There are Bluetooth versions, and then there are cable versions, but the sound doesn't go into your ear. It goes into the bone, which is why they call it bone conduction. Mobeen Ansari  15:26 Okay, that's interesting, I think. Michael Hingson  15:29 And some of them do work with hearing aids as well. Mobeen Ansari  15:34 Okay, yeah, I think I've experienced that when they do the audio can test they put, like at the back of your head or something? Michael Hingson  15:43 Yeah, the the most common one, at least in the United States, and I suspect most places, is made by a company called aftershocks. I think it's spelled A, F, T, E, R, S, H, O, k, s, but something to think about. Anyway. So you went through high school mostly were, were your student colleagues and friends, and maybe not always friends? Were they pretty tolerant of the fact that you were a little bit different than they were. Did you ever have major problems with people? Mobeen Ansari  16:22 You know, I've actually had a great support system, and for most part, I actually had a lot of amazing friends from college who are still my, you know, friend to the dead, sorry, from school. I'm actually closer to my friend from school than I am two friends of college difficulties. You know, if you're different, you'll always be prone to people who sort of are not sure how to navigate that, or just want, you know, sort of test things out. So to say, so it wasn't without his problems, but for most part of it's surprisingly, surprisingly, I've had a great support system, but, you know, the biggest challenge was actually not being able to understand conversation. So I'm going to go a bit back and forth on the timeline here. You know, if so, in 2021, I had something known as menus disease. Menier disease is something, it's an irregular infection that arises from stress, and what happens is that you're hearing it drops and it is replaced by drinking and bathing and all sorts of real according to my experience, it affects those with hearing loss much more than it affects those with regular, normal hearing. It's almost like tinnitus on steroids. That is how I would type it. And I've had about three occurrences of that, either going to stress or being around loud situations and noises, and that is where it became so challenging that it became difficult to hear, even with hearing it or lip reading. So that is why I use a transcriber app wherever I go, and that been a lifesaver, you know. So I believe that every time I have evolved to life, every time I have grown up, I've been able to better understand people to like at the last, you know, four years I've been using this application to now, I think I'm catching up on all the nuances of conversation that I've missed. Right if I would talk to you five years ago, I would probably understand 40% of what you're saying. I would understand it by reading your lips or your body language or ask you to write or take something for me, but now with this app, I'm able to actually get to 99% of the conversation. So I think with time, people have actually become more tired and more accepting, and now there is more awareness. I think, awareness, right? Michael Hingson  19:24 Well, yeah, I was gonna say it's been an only like the last four years or so, that a lot of this has become very doable in real time, and I think also AI has helped the process. But do you find that the apps and the other technologies, like what we use here, do you find that occasionally it does make mistakes, or do you not even see that very much at all? Mobeen Ansari  19:55 You know it does make mistakes, and the biggest problem is when there is no data, when there is no. Wide network, or if it runs out of battery, you know, because now I kind of almost 24/7 so my battery just integrate that very fast. And also because, you know, if I travel in remote regions of Pakistan, because I'm a photographer, my job to travel to all of these places, all of these hidden corners. So I need to have conversation, especially in those places. And if that ad didn't work there, then we have a problem. Yeah, that is when it's problem. Sometimes, depending on accidents, it doesn't pick up everything. So, you know, sometimes that happens, but I think technology is improving. Michael Hingson  20:50 Let me ask the question. Let me ask the question this way. Certainly we're speaking essentially from two different parts of the world. When you hear, when you hear or see me speak, because you're you're able to read the transcriptions. I'm assuming it's pretty accurate. What is it like when you're speaking? Does the system that we're using here understand you well as in addition to understanding me? Mobeen Ansari  21:18 Well, yes, I think it does so like, you know, I just occasionally look down to see if it's catching up on everything. Yeah, on that note, I ought to try and improve my speech over time. I used to speak very fast. I used to mumble a lot, and so now I become more mindful of it, hopefully during covid. You know, during covid, a lot of podcasts started coming out, and I had my own actually, so I would, like brought myself back. I would look at this recording, and I would see what kind of mistakes I'm making. So I'm not sure if transcription pick up everything I'm saying, but I do try and improve myself, just like the next chapter of my life where I'm trying to improve my speech, my enunciation Michael Hingson  22:16 Well, and that's why I was was asking, it must be a great help to you to be able to look at your speaking through the eyes of the Translate. Well, not translation, but through the eyes of the speech program, so you're able to see what it's doing. And as you said, you can use it to practice. You can use it to improve your speech. Probably it is true that slowing down speech helps the system understand it better as well. Yeah, yeah. So that makes sense. Well, when you were growing up, your parents clearly were very supportive. Did they really encourage you to do whatever you wanted to do? Do they have any preconceived notions of what kind of work you should do when you grew up? Or do they really leave it to you and and say we're going to support you with whatever you do? Mobeen Ansari  23:21 Oh, they were supportive. And whatever I wanted to do, they were very supportive in what my brother had gone to do I had to enter brothers. So they were engineers. And you know what my my parents were always, always, you know, very encouraging of whatever period we wanted to follow. So I get the a lot of credit goes to my my parents, also, because they even put their very distinct fields. They actually had a great understanding of arts and photography, especially my dad, and that really helped me have conversations. You know, when I was younger to have a better understanding of art. You know, because my grandmother used to paint a lot, and because she did photography. When she migrated from India to Pakistan in 1947 she took, like, really, really powerful pictures. And I think that instilled a lot of this in me as well. I've had a great support that way. Michael Hingson  24:26 Yeah, so your grandmother helps as well. Mobeen Ansari  24:32 Oh yeah, oh yeah. She did very, very ahead of her time. She's very cool, and she made really large scale painting. So she was an example of always making the best of life, no matter where you are, no matter how old you are. She actually practiced a Kibana in the 80s. So that was pretty cool. So, you know. Yeah, she played a major part in my life. Michael Hingson  25:05 When did you start learning English? Because that I won't say it was a harder challenge for you. Was a different challenge, but clearly, I assume you learned originally Pakistani and so on. But how did you go about learning English? Mobeen Ansari  25:23 Oh, so I learned about the languages when I started speech. So I mean to be split the languages of Urdu. You are, be you. So I started learning about my mother tongue and English at the same time. You know, basically both languages at work to both ran in parallel, but other today, I have to speak a bit of Italian and a few other regional languages of Pakistan so and in my school. I don't know why, but we had French as a subject, but now I've completely forgotten French at Yeah, this kind of, it kind of helped a lot. It's pretty cool, very interesting. But yeah, I mean, I love to speak English. Just when I learned speech, what Michael Hingson  26:19 did you major in when you went to college? Mobeen Ansari  26:24 So I majored in painting. I went to National College of Arts, and I did my bachelor's in fine arts, and I did my majors in painting, and I did my minor in printmaking and sculpture. So my background was always rooted in fine arts. Photography was something that ran in parallel until I decided that photography was the ultimate medium that I absolutely love doing that became kind of the voice of my heart or a medium of oppression and tougher and bone today for Michael Hingson  27:11 did they even have a major in photography when you went to college? Mobeen Ansari  27:17 No, photography was something that I learned, you know, as a hobby, because I learned that during school, and I was self taught. One of my uncles is a globally renowned photographer. So he also taught me, you know, the art of lighting. He also taught me on how to interact with people, on how to set up appointments. He taught me so many things. So you could say that being a painter helped me become a better photographer. Being a photographer helped me become a better painter. So both went hand in hand report co existed. Yeah, so photography is something that I don't exactly have a degree in, but something that I learned because I'm more of an art photographer. I'm more of an artist than I am a photographer, Michael Hingson  28:17 okay, but you're using photography as kind of the main vehicle to display or project your art, absolutely. Mobeen Ansari  28:30 So what I try to do is I still try to incorporate painting into my photography, meaning I try to use the kind of lighting that you see in painting all of these subtle colors that Rembrandt of Caravaggio use, so I tried to sort of incorporate that. And anytime I press my photograph, I don't print it on paper, I print it on canvas. There's a paint really element to it, so so that my photo don't come up as a challenge, or just photos bottles or commercial in nature, but that they look like painting. And I think I have probably achieved that to a degree, because a lot of people asked me, Do you know, like, Okay, how much I did painting for and create painting. So I think you know, whatever my objective was, I think I'm probably just, you know, I'm getting there. Probably that's what my aim is. So you have a photography my main objective with the main voice that I use, and it has helped me tell stories of my homeland. It has helped me to tell stories of my life. It has helped me tell stories of people around Michael Hingson  29:49 me, but you're but what you do is as I understand you, you're, you may take pictures. You may capture the images. With a camera, but then you put them on canvas. Mobeen Ansari  30:05 Yeah, I just every time I have an exhibition or a display pictures which are present in my room right now, I always print them on Canvas, because when you print them on Canvas, the colors become more richer, right, Michael Hingson  30:22 more mentally. But what? But what you're doing, but what you're putting on Canvas are the pictures that you've taken with your camera. Mobeen Ansari  30:31 Oh, yeah, yeah, okay. But occasionally, occasionally, I tried to do something like I would print my photos on Canvas, and then I would try to paint on them. It's something that I've been experimenting with, but I'm not directly quite there yet. Conceptually, let's see in the future when these two things make properly. But now photographs? Michael Hingson  31:02 Yeah, it's a big challenge. I i can imagine that it would be a challenge to try to be able to print them on cameras and then canvas, and then do some painting, because it is two different media, but in a sense, but it will be interesting to see if you're able to be successful with that in the future. What would you say? It's easier today, though, to to print your pictures on Canvas, because you're able to do it from digital photographs, as opposed to what you must have needed to do, oh, 20 years ago and so on, where you had film and you had negatives and so on, and printing them like you do today was a whole different thing to do. Mobeen Ansari  31:50 Oh yeah, it's same to think good yesterday, somebody asked me if I do photography on an analog camera, and I have a lot of them, like lots and lots of them, I still have a lot of black and white film, but the problem is, nobody could develop them. I don't have that room. So otherwise I would do that very often. Otherwise I have a few functional cameras that tend to it. I'm consciously just thinking of reviving that. Let's see what happens to it. So I think it's become very difficult. You know also, because Pakistan has a small community of photographers, so the last person who everybody would go to for developing the film or making sure that the analog cameras became functional. He unfortunately passed away a few years ago, so I'm sort of trying to find somebody who can help me do this. It's a very fascinating process, but I haven't done any analog film camera photography for the last 15 years now, definitely a different ball game with, you know, typical cameras, yeah, the pattern, you could just take 36 pictures, and today you can just, you know, take 300 and do all sorts of trial and error. But I tried, you know, I think I'm a bit of a purist when it comes to photography, so I kind of try and make sure that I get the shots at the very first photograph, you know, because that's how my dad trained me on analog cameras, because back then, you couldn't see how the pictures are going to turn out until you printed them. So every time my dad took a picture, he would spend maybe two or three minutes on the setting, and he would really make the person in front of him wait a long time. And then you need to work on shutter speed or the aperture or the ISO, and once you would take that picture is perfect, no need to anything to it, Michael Hingson  34:09 but, but transposing it, but, but transferring it to from an analog picture back then to Canvas must have been a lot more of a challenge than it is today. Mobeen Ansari  34:24 No back then, working canvas printing. Canvas printing was something that I guess I just started discovering from 2014 onwards. So it would like during that this is laid up, Michael Hingson  34:38 but you were still able to do it because you just substituted Canvas for the the typical photographic paper that you normally would use is what I hear you say, Mobeen Ansari  34:50 Oh yeah, Canvas printing was something that I figured out much later on, right? Michael Hingson  34:59 Um. But you were still able to do it with some analog pictures until digital cameras really came into existence. Or did you always use it with a digital camera? Mobeen Ansari  35:11 So I basically, when I started off, I started with the handle camera. And obviously, you know, back in the 90s, if somebody asked you to take a picture, or we have to take a picture of something, you just had the analog camera at hand. Yeah. And my grandparents, my dad, they all had, you know, analog cameras. Some of it, I still have it Michael Hingson  35:36 with me, but were you able to do canvas painting from the analog cameras? No, yeah, that's what I was wondering. Mobeen Ansari  35:43 No, I haven't tried, yeah, but I think must have been possible, but I've only tried Canvas printing in the digital real. Michael Hingson  35:53 Do you are you finding other people do the same thing? Are there? Are there a number of people that do canvas painting? Mobeen Ansari  36:02 I lot of them do. I think it's not very common because it's very expensive to print it on canvas. Yeah, because you know, once you once you test again, but you don't know how it's going to turn out. A lot of images, they turn out very rough. The pictures trade, and if can, with print, expose to the camera, sometimes, sorry, the canvas print exposed to the sun, then there's the risk of a lot of fading that can happen. So there's a lot of risk involved. Obviously, printing is a lot better now. It can withstand exposure to heat and sun, but Canvas printing is not as common as you know, matte paper printing, non reflective, matte paper. Some photographers do. It depends on what kind of images you want to get out? Yeah, what's your budget is, and what kind of field you're hoping to get out of it. My aim is very specific, because I aim to make it very Painterly. That's my objective with the canvas. Michael Hingson  37:17 Yeah, you want them to look like paintings? Mobeen Ansari  37:21 Yeah? Yeah, absolutely, Michael Hingson  37:23 which, which? I understand it's, it is a fascinating thing. I hadn't really heard of the whole idea of canvas painting with photograph or photography before, but it sounds really fascinating to to have that Yeah, and it makes you a unique kind of person when you do that, but if it works, and you're able to make it work, that's really a pretty cool thing to do. So you have you you've done both painting and photography and well, and sculpting as well. What made you really decide, what was the turning point that made you decide to to go to photography is kind of your main way of capturing images. Mobeen Ansari  38:12 So it was with high school, because I was still studying, you know, art as a subject back then, but I was still consistently doing that. And then, like earlier, I mentioned to you that my school gave me an award called pictorial historian. That is what inspired me to follow this girl. That is what set me on this path. That is what made me find this whole purpose of capturing history. You know, Pakistan is home to a lot of rich cultures, rich landscapes, incredible heritage sites. And I think that's when I became fascinated. Because, you know, so many Pakistanis have these incredible stories of resilience entrepreneurship, and they have incredible faces, and, you know, so I guess that what made me want to capture it really. So I think, yeah, it was in high school, and then eventually in college, because, you know, port and school and college, I would be asked to take pictures of events. I'll be asked to take pictures of things around me. Where I went to college, it was surrounded by all kinds of, you know, old temples and churches and old houses and very old streets. So that, really, you know, always kept me inspired. So I get over time. I think it's just always been there in my heart. I decided to really, really go for it during college. Well. Michael Hingson  40:00 But you've, you've done pretty well with it. Needless to say, which is, which is really exciting and which is certainly very rewarding. Have you? Have you done any pictures that have really been famous, that that people regard as exceptionally well done? Mobeen Ansari  40:22 I Yes, obviously, that's it for the audience to decide. But right, I understand, yeah, I mean, but judging from my path exhibitions, and judging from system media, there have been quite a few, including the monitor out of just last week, I went to this abandoned railway station, which was on a British colonial time, abandoned now, but that became a very, very successful photograph. I was pretty surprised to see the feedback. But yes, in my career, they have been about, maybe about 10 to 15 picture that really, really stood out or transcended barriers. Because coming out is about transcending barriers. Art is about transcending barriers, whether it is cultural or political, anything right if a person entered a part of the world views a portrait that I've taken in Pakistan, and define the connection with the subject. My mission is accomplished, because that's what I would love to do through art, to connect the world through art, through art and in the absence of verbal communication. I would like for this to be a visual communication to show where I'm coming from, or the very interesting people that I beat. And that is that sort of what I do. So I guess you know, there have been some portraits. I've taken some landscapes or some heritage sites, and including the subjects that I have photography of my book that acting have probably stood out in mind of people. Michael Hingson  42:14 So you have published three books so far, right? Yes, but tell me about your books, if you would. Mobeen Ansari  42:24 So my first book is called Harkin. I will just hold it up for the camera. It is my first book, and what is it called? It is called turken, and the book is about iconic people of Pakistan who have impacted this history, be it philanthropist, be it sports people, be it people in music or in performing arts, or be it Even people who are sanitation workers or electricians to it's about people who who have impacted the country, whether they are famous or not, but who I consider to be icons. Some of them are really, really, really famous, very well known people around the world, you know, obviously based in Pakistan. So my book is about chronicling them. It's about documenting them. It's about celebrating them. My second book without, okay, most Michael Hingson  43:29 people are going to listen to the podcast anyway, but go ahead. Yeah. Mobeen Ansari  43:35 So basically it's writing the flag is about the religious minorities of Pakistan, because, you know, Pakistan is largely a Muslim country. But when people around the world, they look at Pakistan, they don't realize that it's a multicultural society. There's so many religions. Pakistan is home to a lot of ancient civilizations, a lot of religions that are there. And so this book document life and festivities of religious minorities of Pakistan. You know, like I in my childhood, have actually attended Easter mass, Christmas and all of these festivities, because my father's best friend was a Christian. So we had that exposure to, you know, different faiths, how people practice them. So I wanted to document that. That's my second book. Michael Hingson  44:39 It's wonderful that you had, it's wonderful that you had parents that were willing to not only experience but share experiences with you about different cultures, different people, so that it gave you a broader view of society, which is really cool. Mobeen Ansari  44:58 Yeah. Absolutely, absolutely. So your third book? So my third book is a sequel to my first one, same topic, people who have impacted the country. And you know, with the Pakistan has a huge, huge population, it had no shortage of heroes and heroines and people who have created history in the country. So my first book has 98 people, obviously, which is not enough to feature everybody. So my second book, it features 115 people. So it features people who are not in the first book. Michael Hingson  45:41 Your third book? Yeah, okay, yeah. Well, there's, you know, I appreciate that there's a very rich culture, and I'm really glad that you're, you're making Chronicles or or records of all of that. Is there a fourth book coming? Have you started working on a fourth book yet? Mobeen Ansari  46:05 You know in fact, yes, there is. Whenever people hear about my book, they assume that there's going to be landscape or portraits or street photography or something that is more anthropological in nature. That's the photography I truly enjoy doing. These are the photographs that are displayed in my studio right now. So, but I would never really study for it, because Pakistan had, you know, we have poor provinces. And when I started these books, I hadn't really documented everything. You know, I come from the urban city, and, you know, I just, just only take taking pictures in main cities at that time. But now I have taken pictures everywhere. I've been literally to every nook and cranny in the country. So now I have a better understanding, a better visual representation. So a fourth book, it may be down the line, maybe five years, 10 years, I don't know yet. Michael Hingson  47:13 Well, one thing that I know you're interested in, that you've, you've at least thought about, is the whole idea behind climate change and the environment. And I know you've done some work to travel and document climate change and the environment and so on. Tell us, tell us more about that and where that might be going. Mobeen Ansari  47:36 So on tape, note, Michael, you know there's a lot of flooding going on in Pakistan. You know, in just one day, almost 314 people died, but many others you had missing. You had some of the worst flooding test time round. And to be reeling from that, and we had some major flooding some teachers back in. Well, climate change is no longer a wake up call. We had to take action years ago, if not, you know, yesterday and till right now, we are seeing effects of it. And you know, Pakistan has a lot of high mountain peaks. It has, it is home to the second highest mountain in the world, Ketu, and it has a lot of glaciers. You know, people talk about melting polar ice caps. People talk about effects of climate change around the world, but I think it had to be seen everywhere. So in Pakistan, especially, climate change is really, really rearing space. So I have traveled to the north to capture melting glacier, to capture stories of how it affects different communities, the water supply and the agriculture. So that is what I'm trying to do. And if I take pictures of a desert down south where a sand dune is spreading over agricultural land that it wasn't doing up until seven months ago. So you know climate change is it's everywhere. Right now, we are experiencing rains every day. It's been the longest monsoon. So it has also affected the way of life. It has also affected ancient heritage sites. Some of these heritage sites, which are over 3000 years old, and they have bestowed, you know, so much, but they are not able to withstand what we are facing right now. Um, and unfortunately, you know, with unregulated construction, with carbon emissions here and around the world, where deforestation, I felt that there was a strong need to document these places, to bring awareness of what is happening to bring awareness to what we would lose if we don't look after mother nature, that the work I have been doing on climate change, as well as topics of global health and migration, so those two topics are also very close To My Heart. Michael Hingson  50:40 Have you done any traveling outside Pakistan? Mobeen Ansari  50:45 Oh, yeah. I mean, I've been traveling abroad since I was very little. I have exhibited in Italy, in the United States. I was just in the US debris. My brother lives in Dallas, so, yeah, I keep traveling because, because my workshop, because of my book events, or my exhibition, usually here and around the world. Michael Hingson  51:14 Have you done any photography work here in the United States? Mobeen Ansari  51:19 Yeah, I have, I mean, in the US, I just don't directly do photography, but I do workshop, because whatever tool that I captured from Pakistan, I do it there. Okay, funny thing is, a funny thing is that, you know, when you take so many pictures in Pakistan, you become so used to rustic beauty and a very specific kind of beauty that you have a hard time capturing what's outside. But I've always, always just enjoyed taking pictures in in Mexico and Netherlands, in Italy, in India, because they that rustic beauty. But for the first time, you know, I actually spent some time on photography. This year, I went to Chicago, and I was able to take pictures of Chicago landscape, Chicago cityscape, completely. You know, Snowden, that was a pretty cool kind of palette to work with. Got to take some night pictures with everything Snowden, traveling Chicago, downtown. So yeah, sometimes I do photography in the US, but I'm mostly there to do workshops or exhibitions or meet my brothers. Michael Hingson  52:34 What is your your work process? In other words, how do you decide what ideas for you are worthwhile pursuing and and recording and chronicling. Mobeen Ansari  52:46 So I think it depends on where their story, where there is a lot of uniqueness, that is what stands out to me, and obviously beauty there. But they have to be there. They have to be some uniqueness, you know, like, if you look at one of the pictures behind me, this is a person who used to run a library that had been there since 1933 his father, he had this really, really cool library. And you know, to that guy would always maintain it, that library would have, you know, three old books, you know, a philosophy of religion, of theology, and there was even a handwritten, 600 years old copy of the Quran with his religious book for Muslims. So, you know, I found these stories very interesting. So I found it interesting because he was so passionate about literature, and his library was pretty cool. So that's something that you don't get to see. So I love seeing where there is a soul, where there is a connection. I love taking pictures of indigenous communities, and obviously, you know, landscapes as well. Okay? Also, you know, when it comes to climate change, when it comes to migration, when it comes to global health, that's what I take picture to raise awareness. Michael Hingson  54:33 Yeah, and your job is to raise awareness. Mobeen Ansari  54:41 So that's what I try to do, if I'm well informed about it, or if I feel that is something that needed a light to be shown on it, that's what I do. Took my photograph, and also, you know. Whatever had this appeal, whatever has a beauty, whatever has a story that's in spur of the moment. Sometimes it determined beforehand, like this year, particularly, it particularly helped me understand how to pick my subject. Even though I've been doing this for 22 years, this year, I did not do as much photography as I normally do, and I'm very, very picky about it. Like last week I went to this abandoned railway station. I decided to capture it because it's very fascinating. It's no longer used, but the local residents of that area, they still use it. And if you look at it, it kind of almost looks like it's almost science fiction film. So, you know, I'm a big star. Was that Big Star Trek fan? So, yes, I'm in port the camps. So I also like something that had these elements of fantasy to it. So my work, it can be all over the place, sometimes, Michael Hingson  56:09 well, as a as a speaker, it's, it's clearly very important to you to share your own personal journey and your own experiences. Why is that? Why do you want to share what you do with others? Mobeen Ansari  56:28 So earlier, I mentioned to you that John Tracy center played a major, major role in my life. He helped my mother. They provided all the materials. You know, in late 80s, early 90s, and so I will tell you what happened. So my aunt, my mom's sister, she used to live in the US, and when my hearing loss were diagnosed, my mother jumped right into action. I mean, both my parents did. So my mother, she landed in New York, and to my aunt would live in New Jersey. So every day she would go to New York, and she landed in New York League of hard of hearing. And a lady over there asked my mom, do you want your child to speak, or do you want him to learn? Frank Lacher and my mother, without any hesitation, she said, I want my child to speak and to see what put in touch with John Troy center and rest with history, and they provided with everything that needed. So I am affiliated with the center as an alumni. And whenever I'm with the US, whenever I'm in LA, I visit the center to see how I can support parents of those with hearing loss, and I remember when I went in 2016 2018 I gave a little talk to the parents of those with hair in glass. And I got to two other place as well, where I spent my childhood joint. Every time I went there, I saw the same fears. I saw the same determination in parents of those with hearing loss, as I saw in my parents eyes. And by the end of my talk, they came up to me, and they would tell me, you know, that sharing my experiences helped them. It motivated them. It helped them not be discouraged, because having a child hearing loss is not easy. And you know, like there was this lady from Ecuador, and you know, she spoke in Spanish, and she see other translators, you know, tell me this, so to be able to reach out with those stories, to be able to provide encouragement and any little guidance, or whatever little knowledge I have from my experience, it gave me this purpose. And a lot of people, I think, you know, you feel less lonely in this you feel hurt, you feel seen. And when you share experiences, then you have sort of a blueprint how you want to navigate in one small thing can help the other person. That's fantastic. That's why I share my personal experiences, not just to help those with hearing loss, but with any challenge. Because you know when you. Have a challenge when you have, you know, when a person is differently able, so it's a whole community in itself. You know, we lift each other up, and if one story can help do that, because, you know, like for me, my parents told me, never let your hearing loss be seen as a disability. Never let it be seen as a weakness, but let it be seen as a challenge that makes you stronger and that will aspire to do be it when I get it lost all of my life, be it when I had the latest or many years, or anything. So I want to be able to become stronger from to share my experiences with it. And that is why I feel it's important to share the story. Michael Hingson  1:00:56 And I think that's absolutely appropriate, and that's absolutely right. Do you have a family of your own? Are you married? Do you have any children or anything? Not yet. Not yet. You're still working on that, huh? Mobeen Ansari  1:01:10 Well, so to say, Yeah, I've just been married to my work for way too long. Michael Hingson  1:01:16 Oh, there you are. There's nothing wrong with that. You've got something that you Mobeen Ansari  1:01:22 kind of get batting after a while, yeah. Michael Hingson  1:01:26 Well, if the time, if the right person comes along, then it, then that will happen. But meanwhile, you're, you're doing a lot of good work, and I really appreciate it. And I hope everyone who listens and watches this podcast appreciates it as well. If people want to reach out to you, how do they do that? Mobeen Ansari  1:01:45 They can send me an email, which is out there for everybody on my website. I'm on all my social media as well. My email is being.ansarima.com Michael Hingson  1:01:57 so can you spell that? Can you Yeah, M, o b e n, dot a do it once more, M O B, E N, Mobeen Ansari  1:02:07 M O B, double, e n, dot, a n, S, A R, i@gmail.com Michael Hingson  1:02:17 at gmail.com, okay, and your website is.com Mobeen Ansari  1:02:26 same as my name. Michael Hingson  1:02:27 So, okay, so it's mo bean.ansari@our.www.mo Michael Hingson  1:02:35 bean dot Ansari, or just mo Bean on, sorry, Mobeen Ansari  1:02:41 just moving on, sorry. We com, no.no. Michael Hingson  1:02:44 Dot between mobien and Ansari, okay, so it's www, dot mobile being on sorry, yeah, so it's www, dot, M, O, B, E, N, A, N, S, A, R, i.com Yes. Well, great. I have absolutely enjoyed you being with us today. I really appreciate your time and your insights, and I value a lot what you do. I think you represent so many things so well. So thank you for being here with us, and I want to thank all of you who are out there listening and watching the podcast today, I'd love to hear your thoughts. Please email me at Michael H, i@accessibe.com that's m, I, C, H, A, E, L, H, I at accessibe, A, C, C, E, S, S, i, b, e.com, and we appreciate it if you would give us a five star rating wherever you are observing the podcast. Please do that. We value that a great deal. And if you know anyone else who ought to be a guest, please let me know. We're always looking for people and mobeen you as well. If you know anyone else who you think ought to be a guest on the podcast, I would appreciate it if you would introduce us. But for now, I just want to thank you one more time for being here. This has been absolutely wonderful. Thank you for being on the podcast with us today. Mobeen Ansari  1:04:08 Thank you so much. It's been wonderful, and thank you for giving me the platform to share my stories. And I hope that it helps whoever watching this. Up to date. Michael Hingson  1:04:26 You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com . AccessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for Listening. Please come back and visit us again next week.

By Margot Cooney

SYRACUSE ARTIST WINS INTERNATIONAL ILLUSTRATION CONTEST Upcoming Hollywood Awards Event HOLLYWOOD, CA - Syracuse, Utah artist Tray Streeter is a winner in the L. Ron Hubbard Illustrators of the Future Contest earning him a trip to Hollywood for a week-long master-class workshop, an awards event and his illustration will be published in the international bestselling anthology, L. Ron Hubbard Presents Writers of the Future Volume 42. Tray Streeter grew up in Syracuse, Utah. Like many children, he spent much of his childhood drawing, though he was especially interested in still lifes. That fascination with technique deepened in his teenage years after he received a set of oil paints for Christmas, leading him to study the works of John Singer Sargent and Caravaggio. Portraiture became his passion, one that continues to influence his work today. It was not until adulthood, when he began working digitally, that he turned his attention to sci-fi and fantasy art. The genre offered him the freedom to create artworks that exist beyond reality. Influenced by artists like Frank Frazetta and Alex Ross, he aims to combine both the drama and technique of classical painting with the sleek, contemporary possibilities of digital art. Currently, Tray is attending Weber State University, pursuing a BFA in Art with a 2D emphasis. After graduation, he hopes to continue his studies at the School of the Art Institute of Chicago. Ultimately, he aspires to illustrate for Dungeons & Dragons, work on cover illustration for comics, and develop his own original concepts. The Writers of the Future Contest judges include Tim Powers (author of On Stranger Tides), Kevin J. Anderson and Brian Herbert (Dune prequel series), Robert J. Sawyer (The Oppenheimer Alternative), Brandon Sanderson (Mistborn series, The Stormlight Archive), Larry Niven (Ringworld), Orson Scott Card (Ender's Game), Nnedi Okorafor (Who Fears Death), Hugh Howey (Wool), and Katherine Kurtz (Deryni series) to name a few. The Illustrators of the Future Contest judges include, Bob Eggleton (11 Chesley Awards and 9 Hugo Awards), Larry Elmore (Dungeons & Dragons book covers), Echo Chernik (graphic designs for major corporations including Celestial Seasonings tea packaging), Rob Prior (art for Spawn, Heavy Metal comics and Buffy the Vampire Slayer), Ciruelo (Eragon Coloring Book). Following the 1982 release of his internationally acclaimed bestselling science fiction novel, Battlefield Earth, written in celebration of 50 years as a professional writer, L. Ron Hubbard created the Writers of the Future (writersofthefuture.com) in 1983 to provide a means for aspiring writers of speculative fiction to get that much-needed break. Due to the success of the Writers of the Future Contest, the companion Illustrators of the Future Contest was inaugurated five years later. In the 42 years of the Writers of the Future Contest, there have been 571 winners and published finalists. The past winners of the Writing Contest have published 2,000 novels and nearly 6,300 short stories. They have produced 36 New York Times bestsellers, and their works have sold over 60 million copies. In the 37 years of the Illustrators of the Future Contest, there have been 418 winners. The past winners of the Illustrating Contest have produced over 6,800 illustrations, 390 comic books, graced 700 books and albums with their art, and visually contributed to 68 television shows and 40 major movies. The Writers of the Future Award is the genre's most prestigious award of its kind and has now become the largest, most successful, and demonstrably most influential vehicle for budding creative talent in the world of speculative fiction. Since its inception, the Writers and Illustrators of the Future contests have produced 41 anthology volumes

Chiara Montani"Il destino di Sofonisba"Neri Pozza Editorewww.neripozza.it«Michelangelo la lodò, Vasari la celebrò, Caravaggio ne fu ispirato: fu la prima donna a imporsi tra i giganti del Rinascimento. Con voce limpida e intensa, Chiara Montani dipinge l'esistenza straordinaria di Sofonisba Anguissola: un romanzo che, pennellata dopo pennellata, prende vita come un quadro davanti ai nostri occhi, rivelando la storia di un talento che ha sfidato il destino e trasformato la vita in arte».Francesca DiotalleviCremona, 1546. È poco più di una bambina Sofonisba Anguissola quando riconosce l'unica cosa che possa renderla davvero felice: dipingere. La sua non è solo un'inclinazione, è una passione dirompente; lei non vuole riempirsi gli occhi con l'arte, vuole crearla. Sebbene la sua epoca non sia affatto generosa con le donne intraprendenti, il nobile Amilcare Anguissola decide di non frustrare le aspirazioni della figlia consentendole di prendere lezioni private, a patto che non vada a bottega, non venga a contatto con gli altri apprendisti, e che le vengano precluse geometria, prospettiva e anatomia. Sofonisba può dunque spingere l'ambizione oltre ciò che mai avrebbe creduto possibile. Nonostante le molte limitazioni, fin da subito dimostra di riuscire a fermare sulla tela le emozioni e i moti dell'anima più profondi di coloro che ritrae. È qualcosa che non si può insegnare, un talento naturale che si unisce al dominio quasi assoluto del mondo inafferrabile di pigmenti, oli, resine. Il suo dono straordinario la porta lontano dalla sua Cremona, a Milano e poi fino alla Spagna degli Asburgo, dove diventa, per quanto non ufficialmente, pittrice di corte. Ma ogni successo lascia un segno, come lo lascia ogni battaglia combattuta per vedere riconosciuto un ruolo appannaggio dei soli uomini. Una sorte avversa costringe Sofonisba a rinunciare al grande amore della vita e il monarca spagnolo Filippo II la obbliga a un matrimonio di convenienza. Nulla invece, nella sua lunga esistenza, la distoglierà mai dalla sua più grande opera d'arte: la costruzione del suo destino di artista libera, che lo scorrere dei secoli non ha scalfito.«Vedete, Sofonisba, se foste nata uomo, avrei fatto di tutto per avervi nella mia bottega… correndo anche il rischio che la vostra luce finisse per mettermi in ombra. Voi non avete realmente bisogno di me, né di nessun altro. Il dono che possedete è da sempre dentro di voi come una rara gemma, grezza ma già perfetta».Chiara Montani è nata a Milano. Dopo la laurea in Architettura ha lavorato nel mondo del design e della grafica. È specializzata in arteterapia e ama dedicarsi all'arte, soggetto principale anche delle sue opere letterarie. Con Garzanti ha pubblicato una trilogia (Il mistero della pittrice ribelle, La ritrattista, L'artista e il signore di Urbino) ed Enigma Tiziano. È autrice inoltre di Ciò che una donna può fare (UTET), storia dell'arte al femminile. I suoi libri sono tradotti in francese e in spagnolo. Diventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/

Waldy turns to art to help Bendy face his fears. Bendy catches up on the old master sales, while Waldy has a chat with Xavier Bray about Caravaggio's Cupid. And is Turner or Constable the better artist?   Show notes: COMING SOON Watch on YouTube here: https://youtu.be/pf2D5ojb9Mo

This week on Excelsior Journeys: The Road to Creativity, host & producer George Sirois sits down with acclaimed author, poet, and speaker Margaret Philbrick. Starting out in the literary world as a children's book author, she has extended her reach into fiction, non-fiction, and poetry. This brought about a great milestone in 2024 when her novel "House of Honor -The Heist of Caravaggio's Nativity" was named one of the Top 100 Indie Books of 2024. Learn more about Margaret by clicking HERE.Excelsior Journeys: The Road to Creativity exists primarily as a platform for creatives of all kinds (authors, filmmakers, stand-up comics, musicians, voice artists, painters, podcasters, etc) to share their journeys to personal success. It is very important to celebrate those voices as much as possible to not only provide encouragement to up-and-coming talent, but to say thank you to the established men & women for inspiring the current generation of artists.If you agree that the Excelsior Journeys podcast serves a positive purpose and would like to show your appreciation, you can give back to the show by clicking HERE.Excelsior Journeys: The Road to Creativity is now a proud member of the Podmatch Podcast Network, and you can access all shows in the network by clicking HERE.

Book Vs. Movie: Caravaggio in Print and on FilmKen Mora's “Caravaggio: A Light Before Darkness” and Derek Jarman's “Caravaggio”Today, we are joined by special guest co-host, author Ken Mora. We discuss the colorful, moving life of artist Michelangelo Caravaggio as portrayed in Mora's graphic biography, “Caravaggio: A Light Before Darkness,” and in Derek Jarman's 1986 film, “Caravaggio.”In this episode, we discuss:Caravaggio's tempestuous and short lifeThe differences between the book and the movie.Film debuts of Tilda Swinton and Sean BeanThe process of bringing this story to the page and the advantages of graphic storytelling Follow us on the socials!Ken Mora on InstagramKen Mora site“Caravaggio: A Light Before Darkness” on Bookshop.org*You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomama*Book Versus Movie is participating in the 2025 Economic Blackout. Please support your local booksellers or buy your books online at Bookshop.org, where proceeds support local, independent booksellers.

Book Vs. Movie: Caravaggio in Print and on FilmKen Mora's “Caravaggio: A Light Before Darkness” and Derek Jarman's “Caravaggio”Today, we are joined by special guest co-host, author Ken Mora. We discuss the colorful, moving life of artist Michelangelo Caravaggio as portrayed in Mora's graphic biography, “Caravaggio: A Light Before Darkness,” and in Derek Jarman's 1986 film, “Caravaggio.”In this episode, we discuss:Caravaggio's tempestuous and short lifeThe differences between the book and the movie.Film debuts of Tilda Swinton and Sean BeanThe process of bringing this story to the page and the advantages of graphic storytelling Follow us on the socials!Ken Mora on InstagramKen Mora site“Caravaggio: A Light Before Darkness” on Bookshop.org*You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomama*Book Versus Movie is participating in the 2025 Economic Blackout. Please support your local booksellers or buy your books online at Bookshop.org, where proceeds support local, independent booksellers.

This podcast takes you into the extraordinary building and collection of the Borghese Gallery in Rome, Italy. From the great hall with its beautiful ceiling fresco, ancient Roman floor mosaics depicting gladiators and beast hunters, and ancient/Baroque statue of "Marcus Curtius," to the adjoining Caravaggio room which houses six paintings by the great master, a visitor to the Borghese Gallery is immediately struck by the magnificence of the collection.   

Gustav Klimt's Portrait of Elisabeth Lederer (1914-16) sold for the second highest price ever realised at auction at Sotheby's in New York on Tuesday. It was the most notable of several big sales in the sold-out (or “white-glove”) auction of 24 works from the collection of the late billionaire Leonard Lauder, and has prompted some commentators to declare that the art market has turned a corner following a prolonged downturn. Ben Luke speaks to The Art Newspaper's senior art market editor in the Americas, Carlie Porterfield, about this week's auctions, and asks if they do mark a turning point in the art market's fortunes. Cop 30, the United Nations Climate Change Conference, is taking place in Belém, Brazil, and ends on Friday. To coincide with the conference, the Gallery Climate Coalition is publishing a Stocktake Report, in which it gives hard data on the efforts of its members to reduce their carbon emissions. The Art Newspaper's contemporary art correspondent in London, Louisa Buck, who is a co-founder of the coalition, tells Ben more. And this episode's Work of the Week is Victorious Cupid (1601-02) by Caravaggio, a landmark work by the artist, made at the height of his fame in Rome. The painting is making a rare journey from its home at the Gemäldegalerie in Berlin to the Wallace Collection in London, where it is at the centre of an exhibition opening next week. Ben talks to the collection's director, Xavier Bray, about the painting.Caravaggio's Cupid, Wallace Collection, London, 26 November-12 April 2026 Hosted on Acast. See acast.com/privacy for more information.

HT2446 - Caravaggio Ignored His Eyes Caravaggio, the Italian painter from the 16th century, is well known for his use of a technique called "foreshortening." Today we would call it " focus stacking." It's curious to me that this view of the world is impossible for the human eye. Essentially, Caravaggio had to ignore his eyes and what he saw in order to paint using this technique that seems so real. Show your appreciation for our free weekly Podcast and our free daily Here's a Thought… with a donation Thanks!

Built Not Born Podcast (Episode 179)- Enri Pjetri: Rome Revealed - Gladiators, Emperors & Michelangelo's Secrets ⚔️

From my opinion on the recently discovered paintings attributed to Caravaggio, to the influence of Hadrian's Villa on Borromini's architecture, to a possible connection between Caravaggio's "Burial of St. Lucy" and the movie "Schindler's List," to why Michelangelo's "David" is more famous than Bernini's, and much, much more - this episode answers the very questions that you ask me about the great art, artists, and history of the Italian Renaissance.

Located in the Doria Pamphilj Palace (where the Doria Pamphilj family still resides) on the Via del Corso in the heart of Rome, Italy, the gallery houses one of Italy's most important art collections. It includes portraits of Pope Innocent X by Velasquez and Bernini, as well as two of Caravaggio's earliest paintings – the "Penitent Magdalene" and the "Rest on the Flight into Egypt."

In late sixteenth-century Rome, artists found inspiration in bustling streets and taverns, depicting soldiers, Romani fortune tellers, sex workers and servants among the city's poorest inhabitants. Street Style: Art and Dress in the Time of Caravaggio (Reaktion, 2025) by Dr. Elizabeth Currie explores these hidden lives, uncovering how the stories of ordinary people are preserved through their clothing and appearances in art. Written records highlight the harsh conditions faced by marginalized groups, while prints and paintings often promoted visual stereotypes. With fresh interpretations of notable works by Caravaggio and his followers, this book reveals the complex social meanings of dress and the ways art captured and shaped the real-life struggles of early modern Italy's lower classes. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The Capitoline Museums are a group of art and archaeological museums located on top of the Capitoline Hill, which was the political and religious center of ancient Rome. Their collections focus on the history of Rome and include masterpieces such as the "Equestrian Statue of Marcus Aurelius," the "Capitoline Wolf, " the "Dying Gaul, " but also later masterpieces such as Caravaggio's "Fortune Teller" and Bernini's "Head of Medusa."

Part of the Ambrosian Library in Milan, Italy, the Ambrosian Art Gallery was founded along with the library by the celebrated Cardinal Federico Borromini in 1609 to house his extensive collection of manuscripts, books, and paintings. The collection today includes “The Portrait of a Musician” attributed by many to Leonardo da Vinci, the “Cartoon for the School of Athens” by Raphael, and “The Basket of Fruit” by Caravaggio. In addition to these great masterpieces, the Ambrosian Art Gallery is also home to the world largest collection of drawings and writings by Leonardo da Vinci, known as the Codex Atlanticus. 

Peter Doig talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Doig, who was born in Edinburgh in 1959 but grew up in Trinidad and Canada, has created a relentlessly inventive and evolving body of paintings over the past 40 years. Informed by memory, by Doig's own photographs and found images, by an intimate knowledge and interpretation of art history, by a profound response to place and architecture, and by images and moods evoking diverse cultural forms beyond visual art, his works possess a poetic and sonorous sense of feeling and atmosphere. Often realised over many years, each painting is unique rather than part of a series, even if it shares recurring iconography with other pieces. Fundamentally concerned with figuration, Doig draws on a vast range of painterly approaches from resonant stains to thick impasto, stretching his medium to its full expressive potential and into the realms of abstraction. He has said that he wants painting to be a world unto itself and perhaps no other artist of the past few decades has created such a distinctive language for achieving that aim. Indeed, so widespread is his influence that one might describe a painterly strand in recent art around the globe as Doigian. Across his career, Peter's work has been informed by a passionate engagement with music. He has said: “Music, being an invisible art form, is open to interpretation within the mind's eye, and reflections from the mind's eye are often what I'm attempting to depict in my work.” He achieves a particular tonality and ambience that evoke his aspiration to the condition of that artform, a factor emphasised in House of Music, the exhibition at the Serpentine South until 8 February 2026. He discusses several of the paintings in that show in depth, and reflects on his changing response to Trinidad, where he was based between 2002 and 2019, and his references in the paintings to the “residues of imperialism”. Among much else, he discusses the early influence of Edward Burra, his enduring fascination with Henri Matisse, his response to early graffiti art in New York, and his current fascination with Caravaggio's Beheading of St John the Baptist (1608). He talks about his friendship and collaboration with the poet Derek Walcott and the importance to his work of STUDIOFILMCLUB, the repertory cinema he founded in his Port of Spain studio with Che Lovelace. Plus, he gives insight into his life in the studio, and answers our usual questions, including the ultimate: “what is art for?”Peter Doig: House of Music, Serpentine South, London, until 8 February 2026. There are a number of Sound Service events on Sundays through the length of the exhibition, as well as other evening sessions. Visit serpentinegalleries.org to find out more. Hosted on Acast. See acast.com/privacy for more information.

Located in Milan, Italy, and inaugurated on Napoleon's birthday on August 15, 1812, the Pinacoteca di Brera (Brera Art Gallery) contains one of the world's most important collections of Italian Renaissance painting. This second episode explores masterpieces by Piero della Francesca, Raphael, and Caravaggio.