Podcasts about chevreul

Dans cet épisode d'ArtEcoVert, intitulé « En fait, rien n'a de couleur », nous avons le plaisir d'accueillir Pauline Leroux, ingénieure agronome et passionnée de couleur végétale. Avec une approche bienveillante et pédagogique, Pauline nous plonge dans l'univers fascinant de la couleur à travers la lumière et la perception visuelle. Elle nous rappelle que la couleur, en réalité, n'existe que par notre perception, révélant ainsi une facette souvent méconnue de notre interaction avec le monde qui nous entoure.Saviez-vous que nos yeux sont dotés de capteurs de lumière, appelés cônes, qui détectent trois longueurs d'onde principales : rouge, vert et bleu ? Grâce à cette capacité, nous pouvons percevoir une multitude de couleurs, dont celles issues de la teinture végétale. Dans cet épisode, Pauline aborde l'importance cruciale de la lumière dans la perception des couleurs, en illustrant comment les objets, qu'ils soient teintés avec des colorants biosourcés comme l'indigo ou la garance, réfléchissent ou absorbent différentes longueurs d'onde. Au fil de la discussion, elle nous fait découvrir des concepts fondamentaux tels que le spectre de la lumière, les couleurs primaires et secondaires, ainsi que des référentiels de couleur utilisés dans divers domaines, tels que le CMJN pour l'impression et le RVB pour les écrans. Ces notions sont essentielles pour quiconque s'intéresse à la couleur végétale et à ses applications, que ce soit dans l'agriculture tinctoriale, la création d'encre végétale ou la coloration capillaire végétale.Pauline partage également des anecdotes historiques captivantes sur des figures emblématiques comme Isaac Newton et Michel-Eugène Chevreul, illustrant comment notre compréhension des couleurs a évolué au fil du temps. "La couleur est un dialogue entre la lumière et l'œil", nous rappelle-t-elle, une citation qui résonne tout au long de cet épisode riche en informations et en découvertes.Que vous soyez un passionné de plantes tinctoriales, un amateur de fibres naturelles, ou simplement curieux d'en savoir plus sur le monde des pigments végétaux, cet épisode d'ArtEcoVert est fait pour vous. Préparez-vous à explorer les couleurs de plantes et à comprendre comment elles influencent notre perception et notre quotidien.Pour en savoir plus sur la teinture végétale et découvrir des ressources utiles, n'hésitez pas à consulter les liens que nous avons préparés pour vous. Belle écoute à tous et à toutes, et merci de vous joindre à nous pour ce voyage au cœur de la couleur végétale avec Pauline !

Steve Richards shows you how you can communicate with your own unconscious through ideo-motor phenomena, relayed through Chevreul's Pendulum. Steve is a depth psychologist with 40 years clinical experience, and the co-founder of Psycho-Systems Analysis, a school of Depth Psychology that was supported by Franz Jung (Carl Jung's son) in his father's house. ⚔️ Our cutting-edge suite of Individuation Tools ⚔️ ✅ Join our Discord server ✅ Submit questions for our podcasts ✅ Book a consultation https://www.patreon.com/jungtoliveby ✅ Integrate your Shadow with the most advanced guide ever written on the topic - completely free! https://mailchi.mp/b88a956828b8/jungtoliveby ✅ Visit our bookshop, for professional and personal development manuals, and mythic Jungian fiction! https://gumroad.com/jungtoliveby --- Instagram: @JungToLiveBy https://www.instagram.com/jungtoliveby Twitter: @JungToLiveBy https://twitter.com/JungToLiveBy Facebook: @JungToLiveByPodcast https://www.facebook.com/JungToLiveByPodcast --- Music by Mike Bastow and Luke Jennings: 'The Valiant of Albion'

Giovane pittore affascinato dalle leggi dell'ottica e della percezione visiva, Georges Seurat è considerato uno dei massimi esponenti del Puntinismo, una tecnica pittorica che consiste nell'accostamento di puntini di colore puro complementari tra loro, i quali attraverso la mescolanza ottica si fondono direttamente nell'occhio dell'osservatore. Nato nel 1859 da una famiglia benestante, si iscrisse all'École des Beaux-Arts dove studiò i grandi maestri del passato: Delacroix, Paolo Veronese, Piero della Francesca. Fu l'incontro con gli Impressionisti che diede un impulso maggiore allo nascita del suo personalissimo stile. Protagonisti delle opere di Seurat sono uomini e donne, appartenenti a diverse classi sociali ritratti in scene di vita parigina dove il tempo sembra essersi fermato. Un Edward Hopper ante litteram che con le sue opere riesce ad esprimere un senso di solitudine e di sospensione.link "Bagnanti ad Asnières": https://bit.ly/2UOMhiJlink "Una domenica pomeriggio sull'isola della Grande-Jatte" Google Art and Culture https://g.co/arts/8T5ejUjzA7pu3zc3Alink "Lo Chahut": https://bit.ly/2N3rQdSlink Chevreul: https://bit.ly/3d6THEzmusic by Giorgio di CampoBossa Blue for you https://bit.ly/2DCsxH3Doxie in the club https://bit.ly/2TilubI

Maggie Adler is Curator at the Amon Carter Museum of American Art in Fort Worth, Texas, where she organizes exhibitions that explore the breadth of American art that exists within and outside of the museum’s collection. A native of rural New York, she received her higher education at Williams College in Williamstown, Massachusetts where she obtained a BA in classical languages and art history and a Masters in art history. Prior to the Amon Carter, Maggie held positions at Williams College Museum of Art and the Addison Gallery of American Art at Phillips Academy, as well as a fellowship at the Philadelphia Museum of Art. In addition to her curatorial duties, she also serves as co-chair for the Association for the Historians of American Art. Though her research focuses on nineteenth-century art, she is also passionate about collaborating with contemporary artists to create large-scale commissions and has worked with Jenny Holzer, Pepon Osorio, and Gabriel Dawe on site-specific installations. She is currently planning a major commission with artist Mark Dion and collaborating on a traveling exhibition pairing Winslow Homer and Frederic Remington. I recently sat down with Maggie in the main gallery of the Amon Carter where we discussed her attraction to Williams College, her love of Winslow Homer, the color theory of Michel Eugène Chevreul, her winding career path, what makes the Amon Carter unique, and finding contemporary work that fits within the museum’s narrative.

Maggie Adler is Curator at the Amon Carter Museum of American Art in Fort Worth, Texas, where she organizes exhibitions that explore the breadth of American art that exists within and outside of the museum’s collection. A native of rural New York, she received her higher education at Williams College in Williamstown, Massachusetts where she obtained a BA in classical languages and art history and a Masters in art history. Prior to the Amon Carter, Maggie held positions at Williams College Museum of Art and the Addison Gallery of American Art at Phillips Academy, as well as a fellowship at the Philadelphia Museum of Art. In addition to her curatorial duties, she also serves as co-chair for the Association for the Historians of American Art. Though her research focuses on nineteenth-century art, she is also passionate about collaborating with contemporary artists to create large-scale commissions and has worked with Jenny Holzer, Pepon Osorio, and Gabriel Dawe on site-specific installations. She is currently planning a major commission with artist Mark Dion and collaborating on a traveling exhibition pairing Winslow Homer and Frederic Remington. I recently sat down with Maggie in the main gallery of the Amon Carter where we discussed her attraction to Williams College, her love of Winslow Homer, the color theory of Michel Eugène Chevreul, her winding career path, what makes the Amon Carter unique, and finding contemporary work that fits within the museum’s narrative.

Forever the Hypnotist Will Be Connected to the “Hypnotist’s Pendulum” and There Is Nothing We Can Do About It, So Let’s Have Some Fun Also Known as the Chevreul’s Pendulum, Used Properly, It Can Be Useful with Some Clients Cal … Continue reading → The post Hypnosis Training Video #514: 4-Part Series – Part 4; The Fun and Interesting Hypnotist’s Pendulum (Chevreul’s Pendulum) appeared first on Hypnosis Training by Cal Banyan Including Live Training, Videos & More.

Forever the Hypnotist Will Be Connected to the “Hypnotist’s Pendulum” and There Is Nothing We Can Do About It, So Let’s Have Some Fun Click here to view the video for this podcast The post Hypnosis Training Video #514: 4-Part Series – Part 4; The Fun and Interesting Hypnotist’s Pendulum (Chevreul’s Pendulum) appeared first on Free Hypnosis and Hypnotherapy Training Videos.

La capacidad de realizar movimientos ideodinámicos existe en el ser humano.

Reflections on chemistry by Michel Eugene Chevreul on the occasion of his 100th birthday.

Female Nude Reading 1915 Size: 54 in. x 42 3/8 in. (137.2 cm x 107.6 cm) Museum purchase through the Earle W. Grant Acquisition Fund, 1979:20 Robert Delaunay, 1885–1941 Single-minded in his pursuit of a pure pictorial language based on bold chromatic contrasts, Delaunay turned away from the muted Cubist palette of Picasso and Braque and looked instead to the lessons of Matisse and his followers, who had pioneered an expressive and deliberately dissonant use of color. The critic Guillaume Apollinaire used the term “Orphic,” a poetic label meant to evoke the work’s “cosmic” character, to describe Delaunay’s language of luminous, abstract forms. Much of Delaunay’s work is more purely abstract, but this painting belongs to the series of female nudes – exceptional among Delaunay’s oeuvre – executed in Spain and Portugal, where the artist and his wife had withdrawn during World War I. The overlapping constellation of circular motifs at the edges of the composition are more typical of his work and recalls the so-called color wheels of Michel Eugène Chevreul, the nineteenth century chemist whose theory of simultaneous color contrasts had also been a touchstone of Impressionism.

Here we see a field of lucerne, the green crop infiltrated by red poppies. Along the skyline is strung a series of pale sheds and outbuildings under a silvery sky. In the distance is Saint-Denis, a suburb ten kilometres north of central Paris, which was industrialising rapidly in the last decades of the nineteenth century. The painting has a very high horizon line: Seurat depicts the plants as eighty per cent of the canvas. On the right against the sky is a small tree, and in the foreground a darker mass results from the shadow cast by a large tree behind the artist and the viewer. The luscious intensity of Seurat’s paintings is achieved by pure colour and his application of paint in small, organised strokes. The colour wheel was first elaborated by the chemist Chevreul in 1839, with red, blue and yellow being primary, and the mixtures violet, green and orange secondary colours. Each resulting hue can be lightened or darkened by white or black. Colour theory is based on the spectator’s changing perceptions, each colour being affected by surrounding ones. Instead of pre-mixing paints, Divisionist or Neo-Impressionist artists like Seurat placed patches of pure colour alongside each other, so that the eye would blend them. In Lucerne, Saint-Denis the bright green of the lucerne is produced by Seurat’s short, straight strokes of blue and yellow, criss-crossed to produce the animated field. Joyous interruptions of red, white and pink occur when flowers emerge from the crop. The shade from the tree in the right front is produced by darker blue, with less yellow. Beyond the fence, paintstrokes become horizontal, calming the view and lightening in tone towards the distant horizon and sky. Seurat employs these radical strategies to produce an all-over effect, so characteristic of art after the first Impressionist experiments in the 1860s and 1870s. There is no story to tell here, no incident to draw conclusions from, only the reproduction of visual effects as perceived by the artist. The nature of beauty has changed, as the painter makes new and different choices of subject and technique, so that the content and meaning of art are transformed. Christine Dixon