Podcasts about corot

I denne RumNyt skal vi blandt andet høre om kæmpe solar flares, om kinesiske rum-computere, og om mulige kandidater til en ekstra planet i Solsystemet. Og i vores hovedhistorie sætter vi fokus på nogle af de mange nuværende og kommende missioner, der har fokus på at kigge efter exoplaneter og ikke mindst deres atmosfærer – fra CoRoT til Habitable Worlds Observatory. Vi sender også en særlig tanke til Nancy Grace Roman Space Telescope, der næsten er færdig, men måske bliver slagtet af Trump-administrationen... Lyt med

Convidado para expor no templo dos impressionistas, o Museu d'Orsay, em Paris, o artista plástico Lucas Arruda concebeu “Que importa a paisagem” como parte da Temporada França-Brasil 2025. Em suas paisagens, ele fala através de luzes, pinceladas, gestos e memória. Patrícia Moribe, em Paris“Fiquei muito feliz pelo convite”, conta Lucas Arruda, o primeiro artista brasileiro contemporâneo a exibir no Orsay. “Acho que também tive uma certa ansiedade, um certo nervosismo, um certo medo de ter algum aspecto pretensioso em estar aqui. Mas aí, aos poucos, eu fui achando essas relações [entre os quadros] e percebendo que daria para construir algo que não confrontasse, mas que sim, respeitasse e continuasse.”A ideia de trabalhar com Lucas Arruda já estava em pauta há algum tempo, conta o co-curador Nicolas Gausserrand. "Quando estamos diante de uma tela de Lucas Arruda, temos a impressão de que ela nos é familiar, e é o poder da paisagem de nos dar a sensação de que já a vimos", observa."Seja na realidade ou na pintura, as pinturas de Lucas Arruda parecem se inserir perfeitamente nessa continuidade, que é importante no Museu d'Orsay, ao mesmo tempo, trazendo uma contribuição nova, que é o fato de que ele não pinta, ao contrário dos impressionistas, diante da cena que vê. Todas essas telas são imaginadas e são totalmente ideais de paisagens feitas em sua mente.”“Há algo bastante didático na progressão da exposição, falando primeiro sobre paisagens, em um encontro que não é conflituoso, mas organizado de maneira bastante elegante, tanto para as obras das coleções - Rousseau, Corot, Boudin, Pissarro – como para as obras de Lucas Arruda”, explica Gausserrand.“Há também um deslocamento bastante excepcional do Mar Tempestuoso, de Courbet, para a galeria impressionista. E a conversa acontece de maneira bastante fluida com a paisagem como tema”, acrescenta Gausserrand.“Que importa a paisagem”, frase tirada de um poema de Manuel Bandeira, trafega por três salas. A primeira, com vários expoentes do impressionismo; depois, uma ala só com as séries de Arruda, que funciona como uma quebra e a continuidade do diálogo.Há mais de 15 anos, Lucas Arruda vem trabalhando paisagens em quadros de pequeno formato, da série Deserto-Modelo. O formato reduzido parece concentrar e, ao mesmo tempo, aumentar essa realidade virtual. O visitante precisa auscultar traços e matizes, guiado pelas luzes e memórias de Arruda.Depois, na sala de Claude Monet, cinco versões da catedral de Rouen inspiraram Arruda a buscar cinco imagens de florestas.“Tentei achar cinco matas que tivessem luzes diferentes, construções diferentes. Então foi tudo um pouco pensado, com o entorno, com algumas limitações”, explica.Ele fala sobre a influência dos impressionistas, mas sua obra vai além, com imagens que remetem a outras gerações de artistas, como William Turner, Joseph Constable, Mark Rothko, ou ainda as fotografias de Hiroshi Sugimoto.O artista explica ainda a admiração pelo trabalho de Alfredo Volpi, um dos grandes nomes do modernismo brasileiro. “A luz que vem de trás da têmpera do Volpi tem essa transparência, essa pincelada aberta, que não fecha, que não sela. É uma pincelada que, ao mesmo tempo em que ela deposita, ela também abre luz de trás.”“Que importa a paisagem”, de Lucas Arruda, fica em exposição no Museu d'Orsay, em Paris, até 20 de julho de 2025.

Deux livres suisses finalistes du Prix français des librairies. Un petit Corot au château de Gruyères. Paul McCartney raconte "Wings".

Mujer en el baño, de Roy Lichtenstein, habla con El baño de Diana (La fuente), de Jean-Baptiste-Camille Corot ¿Cómo se concebía la mujer, su cuerpo y su identidad en dos siglos diferentes? ¿Cómo se representaba su cuerpo en ambas épocas? ¿Qué mitos estaban más vigentes en la cultura y qué representaban? ¿En qué sociedad fueron pintadas la Diana de Corot y la Mujer en el baño de Lichtenstein? ¿Cómo la evolución de la cultura de masas convirtió la imagen de una fotonovela amorosa en una obra de arte? Para responder a estas preguntas escuchamos a las protagonistas de Mujer en el baño´, de Roy Lichtenstein, y `El baño de Diana (La fuente)´, de Jean-Baptiste-Camille Corot, además de contar con Eva García, educadora del museo, y con la colaboración de la nutricionista Raquel Lobatón.

Aujourd'hui, je vais vous parler de Corot, le peintre préféré des faussaires  Crédit image : Jeune fille albanaise, Camille Corot, Brooklyn MuseumTexte : Victor Voix : Odile Dussaucy Production, réalisation : MesSortiesCulture  Le texte de cet épisode, avec son visuel est sur TartinesDeCulture, ici.Abonnez-vous à nos podcasts, ici.   A bientôt pour un nouvel épisode!   Retrouvez nos #mardidevinette et #enigmeduvendredi sur Facebook et Instagram. Trouvez vos visites guidées sur MesSortiesCulture. Nourrissez votre curiosité avec TartinesDeCulture. Enchantez vos collaborateurs et vos clients avec MSCulture. Recevez votre Newsletter personnalisée.  Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

C'était jeudi dernier, nous étions partis, Pietro, Lisa et moi avec nos amis Alice et Toby à Trouville-sur-Mer, en Normandie. Nous avons profité du jour férié pour faire cette petite escapade à la mer. La petite ville de Trouville a été lancée à la fin du XIXe siècle par les peintres : Boudin, Courbet, Monet, Whistler, Corot, Bonnard, Degas, entre autres. Un peu plus au nord, se trouve Dieppe, sa concurrente de l'époque, qui elle avait été lancée par les Anglais. Dieppe doit aussi être la ville la plus présente sur ce podcast, après Paris parce que nous y sommes beaucoup allés en vacances.  À Trouville, c'est la grande plage qui était appréciée et c'est vrai qu'elle est vraiment belle. Marcel Proust a passé plusieurs étés à Trouville.  www.onethinginafrenchday.com  

Corot-7b: The Planet with Temperatures of 3,600°F

Pourquoi un conservateur ne doit pas être… conservateur. Au cours de son histoire, l'œuvre d'art matérielle connaît une série de transformations, aussi bien en raison de facteurs externes (modifications de format, vandalisme, accidents, contexte historique …), qu'internes, liés à l'évolution des matériaux utilisés. Pour les peintures anciennes, ce processus est souvent abordé sous le seul angle d'une dégradation inévitable, nous éloignant d'une origine fantasmée qui serait le moment de l'achèvement et qu'il conviendrait - autant que possible - de préserver. Les termes de « conservateur » et de « restaurateur » renvoient à cette conception fondée sur une temporalité figée, regardant principalement vers un passé irrémédiablement perdu. Sébastien Allard propose d'adopter un autre point de vue en considérant positivement les évolutions matérielles des œuvres, non pas comme une dégradation plus ou moins lente, mais comme la marque de leur vitalisme, comme des métamorphoses successives qu'il s'agit, pour le conservateur, d'accompagner, voire d'anticiper. Il y a là un point essentiel qui implique un changement radical de positionnement, la conservation devant intégrer mieux la sédimentation des temporalités, celle de l'œuvre et la nôtre, et assumer la dialectique entre notre propre historicité et l'état de l'œuvre à un moment donné. Il ne s'agit plus d'essayer – un peu vainement - de fixer une origine, de rétablir une achronie, mais de donner à voir la relation qu'une société donnée, à une époque donnée, entretient avec les œuvres du passé, la façon dont elles peuvent encore s'adresser à nous aujourd'hui. Normalien, diplômé de l'Institut d'Etudes politiques de Paris et conservateur général du Patrimoine, Sébastien Allard est le Directeur du département des Peintures du musée du Louvre. Dix-neuviémiste, il s'est tout particulièrement consacré au romantisme et à l'œuvre de Delacroix, d'Ingres et de Corot. Il a été le commissaire de nombreuses expositions internationales, dont, en 2018, la grande rétrospective consacrée à Eugène Delacroix au musée du Louvre et au Metropolitan Museum de New York et l'exposition « Corot. Le peintre et ses modèles » au musée Marmottan Monet. Il est actuellement le commissaire de « Naples à Paris. Le Louvre invite le musée de Capodimonte » et prépare une exposition consacrée à Jacques-Louis David. Son ouvrage, coécrit avec M.-Cl. Chaudonneret, Le Suicide de Gros. Les Peintres de l'Empire et la génération romantique avait obtenu, en 2011, le prix de l'essai de l'Académie française. Il travaille à un ouvrage sur l'enjeu du biographique dans l'œuvre des artistes. Encourageant la présence de l'art contemporain et du spectacle vivant au musée du Louvre, il a été, en 2010, le commissaire de l'invitation au Louvre de Patrice Chéreau et a, en 2022, conseillé scientifiquement le spectacle Forêt d'Anne-Teresa De Keersmaeker et Némo Flouret. Conférence organisée dans le cadre du partenariat entre le Musée du Louvre et les Beaux-Arts de Paris. Penser le Présent est réalisé avec le soutien de Société Générale. Amphithéâtre des Loges Jeudi 16 novembre 2023 Crédit photo : © c-2018musee-du-Louvre_AntoineMongodin

durée : 00:02:29 - Le peintre Camille Corot

“Graver la lumière”L'estampe en 100 chefs-d'oeuvre, de Dürer à Picassoau musée Marmottan Monet, Parisdu 5 juillet au 17 septembre 2023Interview de Florian Rodari, Conservateur de la Fondation William Cuendet & Atelier de Saint-Prex, et commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 4 juillet 2023, durée 19'16,© FranceFineArt.Communiqué de presse Commissariat :Florian Rodari, Conservateur de la Fondation William Cuendet & Atelier de Saint-Prex.Une exposition du musée Marmottan Monet en collaboration avec la Fondation William Cuendet & Atelier de Saint-Prex.Le musée Marmottan Monet présente du 5 juillet au 17 septembre 2023 une exceptionnelle collection de gravures, appartenant à la Fondation suisse William Cuendet & Atelier de Saint-Prex. À travers plus d'une centaine de chefs-d'oeuvre, le parcours donne à voir un ensemble du XVe au XXIe siècle : Dürer, Rembrandt, Piranèse, Goya, Corot, Manet, Degas, Bonnard, Vuillard… les oeuvres des plus grands maîtres sont mises en regard de créations d'artistes contemporains.En accueillant cette exposition consacrée à l'histoire de l'estampe et à ses techniques, le musée Marmottan Monet ouvre ses portes à l'un des moyens de communication qui fut, dès le XVe siècle, l'un des plus populaires jusqu'au jour où l'industrie du journal et la photographie sont venus le supplanter. Mais l'art du graveur est aussi l'un des arts les plus riches en inventions subtiles et en surprises. Pouvoir interpréter les prestiges de la lumière, en exprimer tous les secrets, tel fut l'effort conduit par les graveurs de toujours afin de parvenir à en traduire les nuances à l'aide du seul couple noir-et-blanc. À la fin du XIXe leurs réflexions sur le rendu de la lumière font ainsi écho aux approches de certains peintres impressionnistes pour signifier son passage rapide et vibrionnant dans leur peinture. Or des artistes comme Redon, Degas ou Monet, notamment, ne furent pas insensibles aux nouveaux procédés de restitution par le cuivre ou la pierre des effets lumineux. Une section particulière de l'exposition est consacrée à l'héliogravure, ce procédé d'impression qui a offert aux photographes de la fin du XIXe siècle la possibilité de graver la lumière — au moment même où l'impressionnisme s'attache à la peindre.Cette exposition se veut le reflet de la diversité constituant la collection de la Fondation William Cuendet & Atelier de Saint-Prex (déposée au Musée Jenisch Vevey en Suisse) aussi bien que de l'esprit de curiosité qui distingue ses animateurs. Issu de la patience de quelques collectionneurs privés ayant su réunir les grands noms de l'art de l'estampe et de la passion de créateurs contemporains regroupés autour de l'Atelier de Saint-Prex, cet ensemble de planches reflète l'histoire de l'estampe des premières impressions sur bois du XVe siècle aux inventions des XIXe et XXe siècles. Outre les chefs-d'oeuvre, le présent choix insiste sur des images emblématiques du fait de leur contenu ou de leur technique, et permet de représenter la richesse de cet ensemble apprécié à la fois par les collectionneurs et les artistes. Il s'agit de proposer non pas une chronologie mais une approche libre et sensible tendant à favoriser les affinités entre maîtres anciens et créateurs contemporains. [...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Talk Art is back!!! To kick off the new year 2023, we bring you an exclusive interview with artist JAKE GREWAL on the occasion of his major solo show of new paintings at Thomas Dane.In Jake Grewal's paintings and drawings nude figures, nearly always male and often based on the artist's own image, inhabit verdant forests and woodland landscapes. Unmoored from any specific time or place, Grewal's dream-like scenes are spaces of desire and projection, where the artist's exploration of self opens out into narratives surrounding the fractious relationship between human and nature, and the search for an idealised place of queer communion. Grewal's figures appear at once in harmonious cohabitation with their natural surroundings and seemingly on the verge of being consumed by them, an ambiguity that suffuses his works with an atmosphere of quiet uncertainty and longing.Drawing is central to Grewal's practice. In his charcoal and pencil sketches, images and narratives are slowly brought into focus, often through the insistent repetition of an idea made in different mediums, on varying grounds and scales. There is an intimacy and expediency offered by charcoal and graphite that Grewal harnesses and embeds in his work in order to lend his figures the quality of being just out of reach. The exhibition includes a number of small charcoal studies made in the studio and out of doors the close-cropped framing of bodies and natural forms makes them feel like fragments of much larger scenes.Sketching from Old Master paintings informs the way in which Grewal constructs many of his images, drawing from painters such as Constable, Corot, Degas, and Gauguin; artists for whom a deeply evocative relationship to the natural world was central. Close scrutiny of these works allows Grewal to extract formal passages and devices from a quintessentially European landscape idiom and transpose these onto the landscapes of his imagination. As stage sets for subjects cast in the image of his own body, Grewal's works challenge the entrenched white, heteronormativity of the Western canon of painting.Once Grewal finds an image that holds enough complexity or embodies a satisfying sense of evasiveness, he will explore the image in paint. Now I Know You I Am Older brings together a number of new works depicting single or double figures, though the multiplying of figures in Grewal's work can often be read as the observation of a single figure across time, a cubist interrogation of physical and psychological space, or like the unfolding of a filmic sequence. Grewal puts pathetic fallacy to dramatic effect, using twilight or dramatic sunsets to add a sense of drama or foreboding to an image. In If I Stay You'll Break Me (2021­–2022) a piercing orange light cleaves the canvas in two, turning a large tree into a dramatic tracery of shadowed forms across a brooding sky; two ghostly figures appear in the centre of the work but appear to have been erased. In another large-scale image two figures walk across a watery landscape that recedes into an infinite sublime. The open expanse and quiet movement of its protagonists present an open-ended scenario onto which the viewer is invited to project any number of narratives, their purposeful stride towards a place not yet discovered.Jake Grewal (b.1994). View Jake's show at Thomas Dane until 28th January 2023, free entry. View at https://www.thomasdanegallery.com/ Follow @JakeGrewal on Instagram and their website: http://www.jakegrewal.com/ Hosted on Acast. See acast.com/privacy for more information.

Photo: No known restrictions on publication. CoRoT-7b @Batchelorshow 1/2: #Bestof2022: Searching for living exoplanets: 1/2: #Exoplanets: James "Q"  Lovelock and the search for astrobiology evidence.  Oliver Morton, Economist. (Originally posted September 22, 2021) https://www.economist.com/schools-brief/2021/09/04/finding-living-planets The idea that Earth is in some way alive, or can be treated as if it were, is common to many mythologies and sensibilities, and has been a theme in science for centuries. Its modern form, though, dates from the 1960s and the insights of James Lovelock, a British scientist then working at jpl, a laboratory in California that is responsible for most of America's planetary science.

In this episode, Madeline Shepley chats with Fr. Paul Gabor, SJ, a Jesuit exoplanet astronomer working for the Vatican observatory. During this conversation, they chat about what it was like to grow up in communist Czechoslovakia, the importance of knowing history, what inspired him to become a priest and become a Jesuit, his journey from merely intellectual to personal faith, his typical day to day, his exoplanet work, doing science as a dialog with God, intellectual humility, and much more!During the course of their conversation, they make many references which you can explore. Some of these references include the Footprints in the Sand poem, The Unreasonable of Mathematics in the Natural Sciences by Eugene Wigner, the CoRoT 7b exoplanet, and part 2 of a 2016 interview he did.Feel free to like, subscribe, and share the episode! Follow us on Instagram! @sbltfpodcastDon't forget to go out there, and be a light to this world!

Actualités Locales : - Dégradation au cimetière Corot, les familles invitées à se présenter- Manifestation des travailleurs portuaires hier, premier tour de chauffe- Les travaux de la 3ème phase d'aménagement de l'entrée de ville vont bon train- Le Havrais Gérard Hatton vient de signer un premier roman historique "Les Emeutiers du Grand Quay"- Aujourd'hui, c'est le lancement d'un tout nouveau festival de danse : "Plein Phare"On parle aussi du Havre de Vers et des premiers noms à l'affiche du festival BeauregardBonne écoute !

Minggu lalu kedua-dua peserta Singapura GV berada di antara tangga terbawah. Komposer Mayuni Omar memberikan pandangannya tentang apa yang boleh dilakukan untuk memantapkan prestasi merekaSee omnystudio.com/listener for privacy information.

“Dessins français du XIXe siècle Fondation Custodia“à la Fondation Custodia, Parisdu 8 octobre 2022 au 8 janvier 2023Interview de Laurence Lhinares, conservateur, chargée de recherche à la Fondation Custodia,par Anne-Frédérique Fer, à Paris, le 7 octobre 2022, durée 19'08.© FranceFineArt.https://francefineart.com/2022/10/08/3319_dessins-francais-19e_fondation-custodia/Communiqué de presse Commissariat :Ger Luijten, directeur de la Fondation Custodia, Collection Frits Lugt, ParisLaurence Lhinares, conservateur, chargée de recherche à la Fondation CustodiaDepuis plusieurs années, la Fondation Custodia contribue à la redécouverte d'un autre XIXe siècle, loin des grands noms et des sentiers battus : Georges Michel (Le Paysage sublime, 2017-2018) ou encore la pratique du paysage en plein air (Sur le motif, 2021-2022), deux expositions qui ont remporté un vif succès auprès du public. À l'automne 2022, elle poursuit son exploration en dévoilant la poésie des oeuvres de Léon Bonvin (1834 – 1866) dont elle publie aussi le catalogue raisonné. Parallèlement, elle met en lumière son propre fonds en montrant un florilège de ses dessins français du XIXe siècle et en le rendant accessible à tous sur sa base de données en ligne Collection Online.L'exposition Dessins français du XIXe siècle de la Fondation Custodia présente des oeuvres d'artistes majeurs de l'art français (Ingres, Delacroix, Corot, Rosa Bonheur) et remet à l'honneur des talents célèbres en leur temps, injustement oubliés de nos jours (Achille Benouville, Eugène Buttura, Lionel Le Couteux) ou totalement méconnus (Caroline de Fontenay, Charles Eustache).La majorité des dessins sont exposés au public pour la première fois car seul un petit nombre d'entre eux avaient été montrés à l'occasion de l'exposition de nos dessins français De Watteau à Degas en 2010. Ils sont dévoilés ici suivant un fil chronologique qui souligne tour à tour diverses thématiques. Ce survol du siècle est ponctué de focus sur des artistes dont la Fondation conserve un ensemble important.Cette exposition témoigne de la vitalité de la collection. Initié par Frits Lugt (1884 – 1970), fondateur de la Fondation Custodia, le fonds XIXe est au départ constitué de feuilles isolées significatives (la Jeune glaneuse de Millet, le Portrait de Victor Hugo sur son lit de mort de Ribot). Les différents directeurs qui lui ont succédé se sont ensuite attachés à l'enrichir avec discernement année après année. Suivant le goût de Frits Lugt, ils ont principalement favorisé le genre du paysage, souvent dénué de présence humaine, et notamment les notations directes de la nature. Ils ont su aussi acquérir quelques touchants portraits ou encore des études pour des compositions célèbres.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

CoRoT-TESS eclipsing binaries with light-travel-time effect by T. Hajdu et al. on Monday 05 September Identifying long-period eclipsing binaries with space-based photometry is still a challenge even in the century of space telescopes due to the relatively short observation sequences and short lifetime of these missions. The Transiting Exoplanet Survey Satellite (TESS) space telescope is an appropriate tool to supplement previous space-based observations. In this paper we report the first results of the eclipse timing variation (ETV) analyses of eclipsing binaries (EBs) measured by CoRoT and TESS space telescopes. Among the 1428 EB candidates we found 4 new potential triple candidates, for which ETV was analysed and fitted by the well-known light-travel-time effect (LTTE). One of them shows significant phase shift in its folded light curve which required extra care. In this paper we also present some other systems showing significant ETV signals that could be explained by mass transfer or apsidal motion. arXiv: http://arxiv.org/abs/http://arxiv.org/abs/2209.01142v1

All this month, Donald Macleod takes a fresh look at this much loved composer as part of Radio 3's 'Vaughan Williams Today' season, celebrating the 150th anniversary of his birth. He'll unpack Vaughan Williams' life story in fascinating detail over the course of four weeks and leading authorities on the composer will join him to share their new perspectives. They'll be exploring some of the overlooked aspects of his life and music, as well as the qualities that have left such an enduring imprint on British cultural life. This week Donald chronicles Vaughan Williams' life through the years 1914 to 1930. When War was declared, although he was 42 Vaughan Williams immediately joined up. He was accepted as an ambulance orderly with the rank of private. Throughout the War, wherever he was posted throughout Europe, he made music with anyone and everyone. He spent much of his spare time starting up a singing class, training a choir, getting together whoever was available, whenever they had a break in their duties. Even though he didn't “compose” during the war years, his own music did stir. He said of his 3rd Symphony, “a great deal of it incubated when I used to go up night after night with the ambulance wagon at Ecoivres and we went up a steep hill and there was a wonderful Corot-like landscape in the sunset – it's not really lambkins frisking at all, as most people take for granted.” Music Featured: A Cotswold Romance (The Men of Cotsall) Lord Thou Hast Been Our Refuge Symphony No 3 "Pastoral Symphony" - IV. Lento Motion and Stillness (4 Poems by Fredegond Shove) 'Four Nights' and 'The New Ghost' (4 Poems by Fredegond Shove) The Lark Ascending O Clap Your Hands Concerto Accademico Piano Suite in G Major (excerpt) Mass in G minor In Windsor Forest (Falstaff And The Fairies) The Pilgrim's Progress - Act IV Scene 2 “The Shepherds of the Delectable Mountains' (excerpt) The Pilgrim's Progress - Act III Scene 1 “I buy the truth!” (excerpt) Riders to the Sea (Where is she?) Riders to the Sea (They are all gone now) Job – A Masque for Dancing (excerpt) Valliant for Truth Old King Cole Sancta Civitas Merciless Beauty, Three Rondels by Geoffrey Chaucer Flos Campi O vos omnes Job – A Masque for Dancing 3 Poems by Walt Whitman (Nocturne) 3 Choral Hymns Sir John in Love (excerpt) Presented by Donald Macleod Produced by Rosie Boulton For full track listings, including artist and recording details, and to listen to the pieces featured in full (for 30 days after broadcast) head to the series page https://www.bbc.co.uk/programmes/m0016rjd And you can delve into the A-Z of all the composers we've featured on Composer of the Week here: http://www.bbc.co.uk/programmes/articles/3cjHdZlXwL7W41XGB77X3S0/composers-a-to-z

Rubrique:histoire Auteur: frantz-funck-brentano Lecture: Daniel LuttringerDurée: 13min Fichier: 10 Mo Résumé du livre audio: Une courte biographie de l'illustre paysagiste Camille Corot (1796-1875), dont on connaît notamment les admirables futaies hautes et vaporeuses sous lesquelles dansent des nymphes légères. Cet enregistrement est mis à disposition sous un contrat Creative Commons.

Công chúng tại Pháp là những người may mắn được lần lượt chiêm ngưỡng trong vòng 5 năm hai bộ sưu tập những kiệt tác của nhiều danh họa Pháp nhưng lại được bảo quản ở Nga. Sau triển lãm bộ sưu tập của Serguei Shchukin, Fondation Louis Vuitton (Paris) tổ chức triển lãm Bộ sưu tập Morozov (La Collection Morozov), quý tộc giầu có Matxcơva đầu thế kỷ XX, từ ngày 22/09/2021 đến 22/02/2022. Mắt thẩm mỹ, nhà sưu tập tiên phong Anh em nhà Morozov không phải là họa sĩ mà là nhà sưu tập có mắt nghệ thuật, có kiến thức phê bình hội họa và « chịu chi ». Trả lời RFI ngày 17/09/2021, bà Souria Sadekoda, bảo tàng Nghệ thuật Shchukin, đồng phụ trách Triển lãm La Collection Morozov tại Fondation Louis Vuitton, giải thích : « Hai nhà sáng lập bộ sưu tập là những doanh nhân Nga, gốc Matxcơva. Phải nhấn mạnh đến điểm này vì Matxcơva và Saint-Petersburg là hai thế giới khác nhau. Hai anh em Morozov xuất thân từ gia đình quý tộc giầu có Nga kinh doanh trong ngành vải sợi. Cả hai được mẹ là Varvara dạy học, bà là doanh nhân và cũng là phụ nữ đấu tranh cho nữ từ rất sớm. Chính bà là người thuê hai gia sư là họa sĩ để dạy về hội họa cho Mikhail và Ivan. Nhờ đó mà bà tôi luyện được con mắt họa sĩ, kiến thức hội họa cho hai nhà sưu tập tương lai. Mikhail là người bắt đầu sưu tập trước tiên, rồi Ivan theo bước cho đến lúc Mikhail qua đời sớm và Ivan trở thành một trong những nhà sưu tập lớn nhất thời đó ». Cả hai cùng quan tâm đầu tư vào nền hội họa đang hình thành ở Paris trong đầu thế kỷ XX. Tại sao lại là Paris ? Theo bà Anne Baldassari, phụ trách triển lãm, « vì mọi chuyện đều phải qua Paris. Paris là thủ đô nghệ thuật thời đó ». « Họ có sự nhạy bén mà chỉ họ mới có vì cần nhớ rằng vào thời đó, những tác phẩm mà họ mua đều mới được hoàn thiện và xuất xưởng là đã được treo trong phòng khách nhà Morozov. Ví dụ, tác phẩm đầu tiên của Matisse mà họ mua đã được treo trong phòng khách ngay năm 1907 và còn đậm mùi nhựa thông. Cần phải nhấn mạnh đến điểm này, vì lúc đó một nền hội họa đang được hình thành với các trường phái, các nhánh khác nhau. Những vấn đề có vẻ là hàn lâm với chúng ta hiện nay, thậm chí là nhàm chán, thì vào giai đoạn đó lại là cả một cuộc chiến, với những cuộc tranh cãi nảy lửa ở Paris ». Bộ sưu tập toàn kiệt tác Người anh Mikhail Morozov (sinh năm 1870) bắt đầu sưu tập ngay từ rất trẻ, vào năm 1890. Mikhail xấu số qua đời năm 1903 để lại bộ sưu tập gồm 44 tác phẩm hội họa Nga và 39 tác phẩm đặt mua từ Pháp, của Manet, Corot, đến Monet, Toulouse-Lautrec hay Degas, Bonnard, Denis, Gauguin và Van Gogh. Họ sở hữu nhiều tác phẩm của một Renoir lúc đó đã nổi tiếng và cũng có một tác phẩm khởi nghiệp của Picasso, mua ở Paris chỉ với giá 300 franc. Ivan (sinh năm 1871) tiếp bước anh trai để lập một bộ sưu tập nghệ thuật hiện đại Pháp. Cuối năm 1903, Ivan bắt đầu quan tâm đến trường phái ấn tượng. Chính những tác phẩm của Cézanne mà ông khám phá năm 1907 đã khiến Ivan đầu như nhiều hơn vào bộ sưu tập. Bà Souria Sadekoda giải thích : « Tôi nghĩ là cả hai đều có khiếu nghệ sĩ, như lẽ ra họ đã trở thành nghệ sĩ. Và tâm hồn nghệ sĩ của họ đã biến thành hiện thực khi họ sưu tập những tác phẩm nghệ thuật đẹp nhất thời đại họ. Tôi nghĩ là Mikhail mạo hiểm hơn, chính ông là người mang về Nga tác phẩm hội họa đầu tiên của Van Gogh vào năm 1903. Chính ông cũng là người mua tác phẩm của Munch và hiện giờ đây vẫn là tác phẩm duy nhất của Munch có ở Nga. Ivan thì cổ điển hơn một chút. Ông không đi trước thời đại mà theo đúng nhịp thời đại của mình. Ông tái hiện không khí Paris trong lâu đài riêng ở Matxcơva. Ông thường xuyên đến Paris và làm quen với các nhà sưu tập lớn, các nghệ sĩ thời đó. Ông cũng tính toán rất nhiều chứ không phải là người sẵn sàng mua chỉ vì chợt thích. Ông từng bước hình thành bộ sưu tập, tìm những tác phẩm cụ thể theo hướng bộ sưu tập mà ông muốn. Trong kho lưu trữ của chúng tôi có những cuốn sổ ghi chép của Ivan, ghi lại những tác phẩm ông đã xem, ông muốn mua gì với giá như nào. Đúng là ông trả giá đắt cho những tác phẩm, nhưng ông tính toán ». Gu thẩm mỹ tinh tế, tinh thần tiên phong là những yếu tố giúp Bộ sưu tập Morozov phong phú và chỉ gồm những kiệt tác, tiêu biểu như tác phẩm Acrobate à la boule (tạm dịch : Người nhào lộn giữ thăng bằng trên quả bóng) của Picasso, với phong cách đặc trưng Maroc hoặc La Ronde de nuit (Tạm dịch : Tuần đêm) của Van Gogh… Có quá nhiều kiệt tác nổi tiếng thế giới, nhưng điều bất ngờ ít ai biết đến, đó là những tác phẩm này lại nằm trong bộ sưu tập của một người. Cùng với bộ sưu tập của Serguei và Pavel Tretiakov, của Shchukin và anh em nhà Morozov, Nga sở hữu những kiệt tác hội họa Pháp kéo dài từ thời David đến Matisse. Bộ sưu tập Morozov có gần 300 tác phẩm, trong đó 165 tác phẩm được triển lãm tại Fondation Louis Vuitton, cùng với vài chục tác phẩm của các tác giả Nga. Đây là lần đầu tiên Bộ sưu tập Morozov được triển lãm riêng, sau triển lãm Bộ sưu tập Shchukin, cũng tại Fondation Louis Vuitton năm 2016. Bà Souria Sadekoda tỏ ra hài lòng vì « cuối cùng, sau suốt một thế kỷ, công chúng có thể hiểu được bộ sưu tập Morozov là như thế nào », vì cho đến giờ, « người ta vẫn nói gộp bộ sưu tập Shchukin-Morozov » : « Sau cuộc Cách Mạng, hai bộ sưu tập nghệ thuật đương đại lớn nhất Shchukin và Morozov bị quốc hữu hóa. Đây là nền móng để người Xô Viết thành lập bảo tàng Nghệ thuật Hiện đại ở Matxcơva và tồn tại đến năm 1948. Sau đó là thời kỳ lưu lạc của hai bộ sưu tập vì năm 1948, Stalin ra lệnh giải thể bảo tàng này. Tất các các tác phẩm được chuyển sang bảo tàng Shchukin. Bảo tàng của chúng tôi có rất nhiều bộ sưu tập nhưng diện tích lại quá nhỏ, không đủ chỗ để chứa hết cả hai bộ sưu tập lớn Shchukin và Morozov với tổng cộng gần 600 tác phẩm. Vì thế ban giám đốc bảo tàng Shchukin đã gọi điện cho giám đốc bảo tàng Hermitage thời đó để đề xuất chia bộ sưu tập. Vì thế, bộ sưu tập bị xé lẻ. Nhưng phải nói đây là giải pháp tốt nhất vào thời đó bởi vì sau khi bảo tàng Nghệ thuật Hiện đại bị Stalin giải thể, người ta đã lo là những kiệt tác đó sẽ bị hủy. Cuối cùng, Stalin, với tất cả những sai lầm mà chúng ta thấy, cũng hiểu ra nghệ thuật là gì. Dù ông không muốn thấy những tác phẩm đó nhưng ông cũng hiểu đó là những tác phẩm rất có giá trị. Vì thế chúng được giữ trong kho, dù không được trưng bày, và được bảo quản tốt cho đến ngày nay. Chỉ sau khi Stalin qua đời, những tác phẩm trong hai bộ sưu tập Shchukin và Morozov dần được giới thiệu đến công chúng ». Fondation Louis Vuitton : Nhà tài trợ hào phóng Bộ sưu tập Morozov lần đầu tiên được triển lãm ở Fondation Louis Vuitton, mà thực ra lần đầu tiên trên quy mô lớn như vậy ở bên ngoài nước Nga. Hai phòng triển lãm lớn nhất dành cho những tác phẩm của Gauguin và Cézanne. Khách tham quan còn được ngắm những tác phẩm khổ lớn của Pierre Bonnard. Bà Anne Baldassari, người từng thu hút hơn 1,3 triệu khách tham quan đến triển lãm Bộ sưu tập Shchukin năm 2016, giải thích : « Đúng thế, thậm chí là cả ở Nga, vì bộ sưu tập này chưa bao giờ được hội tụ ở Nga dù năm 2019 đã có một triển lãm ở Saint-Petersburg, nhưng quy mô nhỏ hơn nhiều. Chưa bao giờ bộ sưu tập Morozov được quy tụ các kiệt tác lớn như vậy ở cùng một địa điểm kể từ khi các tác phẩm bị phân tán vào cuối những năm 1930. Vì thế, đây là thời điểm rất được trông đợi ở Nga, cũng như ở Pháp và ở châu Âu. Sự trở lại của những tác phẩm tuyệt vời như này luôn là khoảnh khắc rất thú vị bởi chúng giúp người xem cảm nhận được bộ sưu tập được đánh giá như thế nào vào thời kỳ đó với đúng nghĩa sức mạnh mới, một cú sốc vừa về thẩm mỹ lẫn cảm xúc do chính những tác phẩm vừa mới được hoàn thiện tạo nên, trong đó có những tác phẩm được đặt hàng vẽ tại chỗ ». Hiếm khi nào tập giới thiệu một triển lãm lại được hai tổng thống Nga và Pháp viết chung lời nói đầu. Tối 21/09, đích thân tổng thống Emmanuel Macron khai mạc triển lãm, được đánh giá mang tính ngoại giao trong bối cảnh quan hệ giữa Matxcơva và phương Tây không ngừng xấu đi trong những năm gần đây. Còn đối với Nga, đây là một kiểu « quyền lực mềm ». Thành công của triển lãm còn dựa vào mối quan hệ lâu năm, vào sự tin tưởng lẫn nhau giữa hai người phụ nữ Suzanne Pagé, giám đốc nghệ thuật của Fondation Louis Vuitton và Anne Baldassari, phụ trách triển lãm Shchukin và tiếp theo là Morozov với những đồng nghiệp Nga. Bà Souria Sadekoda, bảo tàng Nghệ thuật Shchukin tại Nga, giải thích : « Chúng tôi chuẩn bị cho triển lãm này trong khoảng bốn năm. Công việc khoa học được hai nhóm chuyên gia của Fondation Louis Vuitton và các bảo tàng Nga đảm nhiệm. Nhờ trợ giúp của Fondation Louis Vuitton, những chuyên gia, những nhà phục chế nổi tiếng, có tay nghề lão luyện đã đến bảo tàng của chúng tôi. Chúng tôi đã cùng nhau lập danh sách các tác phẩm. Anne Baldasari đã lập một danh mục thật tuyệt vời, bà tra cứu trong lưu trữ và có nhiều khám phá thú vị. Đúng là đằng sau triển lãm tuyệt vời này là cả một khối lượng lớn công việc của rất nhiều người ». Tổng chi phí được Fondation Louis Vuitton đài thọ vẫn là một bí mật. Riêng những tác phẩm quá mong manh để vận chuyển thì ở lại Nga vì « trong Thế Chiến II, chúng được bảo quản ở Siberi trong cái lạnh -40°C nên một số tranh đã bị hư hỏng rất nhiều ». Theo bà Anne Baldassari, hiện vẫn chưa có những công cụ cần thiết để phục chế.

ful vaksin maíjja Australian ar deri naí nelifaribo hono corot sara.

ful vaksin maíjja Australian ar deri naí nelifaribo hono corot sara.

Philippe Plasson (LESIA-Observatoire de Paris-Meudon) et Vanderlei Cunha Parro (Instituto Mauá) évoquent les collaborations scientifiques qu'ils ont mis en œuvre pour la réalisation de systèmes embarqués destinés aux observatoires spatiaux COROT et PLATO.

Cet enregistrement est une interprétation du texte "L'industriel" extrait de L'Enfant Océan, un roman jeunesse de Jean-Claude Mourlevat, interprété par les 6èmes du collège Corot suite à des ateliers de mise en voix mencés par Irina Solano de la Cie Zone Franche. "Jean-Claude Mourlevat, à la découverte d'un auteur" est un projet d'action culturelle de la médiathèque Jean-Pierre Vernant en partenariat avec le Théâtre de Chelles. Chaque année, les médiathèques de Paris - Vallée de la Marne mettent à l'honneur l'univers d'un auteur ou illustrateur jeunesse. L'année scolaire 2020 – 2021 est consacrée à Jean-Claude Mourlevat, auteur reconnu, primé et dont les œuvres sont au programme de l'Education nationale. Ce projet est conçu en partenariat avec le Théâtre de Chelles et s'articule largement autour du spectacle L'enfant océan, et du roman éponyme. 10 classes de Chelles, Vaires-sur-Marne, Courtry et Brou-sur-Chantereine participent à ce projet. Le projet proposé aux classes : Lire les livres de la malle prêtée par la médiathèque Voir le spectacle « L'enfant Océan » au Théâtre de Chelles ou en captation vidéo Rencontrer l'auteur à la médiathèque et l'écouter lire des extraits de ses romans en musique Travailler avec des comédiens pour apprendre à lire à haute voix Lire à haute voix devant un public lors du Festival « Juste Avant » du Théâtre de Chelles Rencontrer et interviewer l'auteur à la médiathèque Exposer à la médiathèque   

Cet enregistrement est une interprétation du texte "L'étudiante" extrait de L'Enfant Océan, un roman jeunesse de Jean-Claude Mourlevat, interprété par les 6èmes du collège Corot suite à des ateliers de mise en voix mencés par Margaret Zenou de la Cie Zone Franche. "Jean-Claude Mourlevat, à la découverte d'un auteur" est un projet d'action culturelle de la médiathèque Jean-Pierre Vernant en partenariat avec le Théâtre de Chelles. Chaque année, les médiathèques de Paris - Vallée de la Marne mettent à l'honneur l'univers d'un auteur ou illustrateur jeunesse. L'année scolaire 2020 – 2021 est consacrée à Jean-Claude Mourlevat, auteur reconnu, primé et dont les œuvres sont au programme de l'Education nationale. Ce projet est conçu en partenariat avec le Théâtre de Chelles et s'articule largement autour du spectacle L'enfant océan, et du roman éponyme. 10 classes de Chelles, Vaires-sur-Marne, Courtry et Brou-sur-Chantereine participent à ce projet. Le projet proposé aux classes : Lire les livres de la malle prêtée par la médiathèque Voir le spectacle « L'enfant Océan » au Théâtre de Chelles ou en captation vidéo Rencontrer l'auteur à la médiathèque et l'écouter lire des extraits de ses romans en musique Travailler avec des comédiens pour apprendre à lire à haute voix Lire à haute voix devant un public lors du Festival « Juste Avant » du Théâtre de Chelles Rencontrer et interviewer l'auteur à la médiathèque Exposer à la médiathèque   

Cet enregistrement est une interprétation du texte "L'assistante sociale" extrait de L'Enfant Océan, un roman jeunesse de Jean-Claude Mourlevat, interprété par les 6èmes du collège Corot suite à des ateliers de mise en voix menés par Irina Solano de la Cie Zone Franche. "Jean-Claude Mourlevat, à la découverte d'un auteur" est un projet d'action culturelle de la médiathèque Jean-Pierre Vernant en partenariat avec le Théâtre de Chelles. Chaque année, les médiathèques de Paris - Vallée de la Marne mettent à l'honneur l'univers d'un auteur ou illustrateur jeunesse. L'année scolaire 2020 – 2021 est consacrée à Jean-Claude Mourlevat, auteur reconnu, primé et dont les œuvres sont au programme de l'Education nationale. Ce projet est conçu en partenariat avec le Théâtre de Chelles et s'articule largement autour du spectacle L'enfant océan, et du roman éponyme. 10 classes de Chelles, Vaires-sur-Marne, Courtry et Brou-sur-Chantereine participent à ce projet. Le projet proposé aux classes : Lire les livres de la malle prêtée par la médiathèque Voir le spectacle « L'enfant Océan » au Théâtre de Chelles ou en captation vidéo Rencontrer l'auteur à la médiathèque et l'écouter lire des extraits de ses romans en musique Travailler avec des comédiens pour apprendre à lire à haute voix Lire à haute voix devant un public lors du Festival « Juste Avant » du Théâtre de Chelles Rencontrer et interviewer l'auteur à la médiathèque Exposer à la médiathèque  

Cet enregistrement est une interprétation du chapitre 14 de L'Enfant Océan, un roman jeunesse de Jean-Claude Mourlevat, interprété par les 6èmes du collège Corot suite à des ateliers de mise en voix menés par Margaret Zenou de la Cie Zone Franche. "Jean-Claude Mourlevat, à la découverte d'un auteur" est un projet d'action culturelle de la médiathèque Jean-Pierre Vernant en partenariat avec le Théâtre de Chelles. Chaque année, les médiathèques de Paris - Vallée de la Marne mettent à l'honneur l'univers d'un auteur ou illustrateur jeunesse. L'année scolaire 2020 – 2021 est consacrée à Jean-Claude Mourlevat, auteur reconnu, primé et dont les œuvres sont au programme de l'Education nationale. Ce projet est conçu en partenariat avec le Théâtre de Chelles et s'articule largement autour du spectacle L'enfant océan, et du roman éponyme. 10 classes de Chelles, Vaires-sur-Marne, Courtry et Brou-sur-Chantereine participent à ce projet. Le projet proposé aux classes : Lire les livres de la malle prêtée par la médiathèque Voir le spectacle « L'enfant Océan » au Théâtre de Chelles ou en captation vidéo Rencontrer l'auteur à la médiathèque et l'écouter lire des extraits de ses romans en musique Travailler avec des comédiens pour apprendre à lire à haute voix Lire à haute voix devant un public lors du Festival « Juste Avant » du Théâtre de Chelles Rencontrer et interviewer l'auteur à la médiathèque Exposer à la médiathèque   

Conor Jordan is Deputy Chairman of the Impressionist and Modern Department. Conor joined Christie's in London in 1996 in the Modern British and Heritage & Taxation departments, where he was instrumental in the sale to the Tate gallery of a major Mondrian. This led to a specialist role in the Impressionist & Modern art department in 1998. Appointed a Director of Christie's London in 2002, Conor was responsible for twice-yearly major sales of paintings and sculpture ranging from Corot to Picasso. In May 2006, he joined the New York team as a Senior Specialist supporting all areas of the team's business getting activities and in 2009 was appointed Head of the department, a role he fulfilled through 2011. Conor graduated from the University of Birmingham with a degree in Medieval and Modern History. Brought to you by the British Consulate General, New York. Follow us on Twitter and Instagram.

Le origini del dipingere en plein air si collocano alla fine del Settecento, quando gli artisti abbandonarono gli atelier per immergersi nella natura. Questo accade essenzialmente in Italia, nell'incontro con la luce e le geometrie del nostro paesaggio, che gli artisti inglesi, francesi, tedeschi, danesi interpretano e ricreano. I territori dipinti infatti hanno stralciato dalla realtà immagini a tal punto memorabili da plasmare l'idea del paesaggio italiano. Paradossalmente si potrebbe dire che Poussin, Thomas Jones e Corot abbiano contribuito a costruire quel luogo dell'immaginazione e della memoria che da allora tutti noi, credendo di conoscerlo da sempre, chiamamo Italia.

Johnson’s work draws on a vastness of experience and a persistent desire to make paintings that explain the world through color and shape. He has always moved seamlessly between abstraction and representation and the art historian Peter Selz described Johnson as an artist who makes “realist paintings that are basically abstract paintings and abstract paintings that are figurative.”   Mitchell Johnson moved to California from New York City in 1990 to work for the artist, Sam Francis. In New York, Johnson studied at Parsons School of Design with former students of Hans Hofmann: Jane Freilicher, Leland Bell, Nell Blaine, Paul Resika, Larry Rivers and Robert De Niro, Sr. Johnson adopted their reverence for art history and their emphasis on drawing and painting from life as the source of a personal direction.   Beginning in the 1990s Johnson embarked on long painting expeditions to Italy, France and New Mexico with rolls of canvas packed in a golf bag like a modern day Corot. Wading through unfamiliar landscapes, often on foot, he worked to understand the ever complex geometry of land and sky. He prevailed not to capture some ideal sense of place, but to see better and to go deeper into painting.    Johnson has been a visiting artist at The American Academy in Rome, Borgo Finocchieto, The Josef and Anni Albers Foundation and Castle Hill in Truro, MA. In addition to attending Parsons, Johnson studied painting and drawing at Staten Island Academy, Randolph-Macon College, The Washington Studio School, The Santa Fe Institute of Fine Arts and The New York Studio School. His paintings are in the permanent collections of 29 museums and over 700 private collections. Johnson is the subject of three monographs: Mitchell Johnson (2004, Terrence Rogers Fine art), Doppio Binario (2007, Musei Senesi) and Color as Content (2014 Bakersfield Museum of Art). A fourth monograph, Where The Colors Are, will be published in summer 2021. ​ Johnson's paintings have appeared in numerous feature films, mostly Nancy Meyers projects, including The Holiday (2006), Crazy Stupid Love (2011), and It's Complicated (2009).       TAKEAWAYS FROM THIS EPISODE:   -current exhibition at Pamela Walsh  -the large paintings did not happen overnight, it took time to cultivate -Working with people from 9th Street Women -Working with Leland Bell - Introduced to the questions he would spend his career working on -Working for Frank Stella & Sol LeWitt -Traveling through Italy and France -Digital Photography -Color -Smaller paintings and bigger paintings are different problems -”What does the painting want?” -Freedom - Abstraction and Representation -”Make the painting feel special” -Keep enjoying the struggle -curious about transformation -On some level the paintings must sustain you on an emotional level    LINKS:  https://www.mitchelljohnson.com/ https://pamelawalshgallery.com/artists/mitchell-johnson/artworks/striped-chair-sideways https://www.artforum.com/spotlight/mitchell-johnson-85170   I Like Your Work Links:   Exhibitions Studio Visit Artists I Like Your Work Podcast Instagram Submit Work Observations on Applying to Juried Shows Studio Planner

Au programme ce mercredi ! Découvrez la montagne avec les peintres et les dessinateurs de BD. Parcourez les chemins enneigés, marchez sous les sapins et regardez la blancheur éternelle des sommets alpins sur les toiles d'Hodler, Hokusaï, Corot.   Les musiques de l’émission : Thème de In the mood for love, Yumeji's theme de Shigeru Umebayashi Manic Episode de Vincent Leibovitz Duo de Philippe Katerine, Angèle et Chilly Gonzales XX Intro par Kate Simko et le London Electronic Orchestra Les Flocons de l'été d'Etienne Daho   Illustration : Rimini par le photographe Luigi Ghirri  

Au programme ce mercredi ! Découvrez la montagne avec les peintres et les dessinateurs de BD. Parcourez les chemins enneigés, marchez sous les sapins et regardez la blancheur éternelle des sommets alpins sur les toiles d'Hodler, Hokusaï, Corot. Les musiques de l’émission : Thème de In the mood for love, Yumeji's theme de Shigeru UmebayashiManic Episode de Vincent LeibovitzDuo de Philippe Katerine, Angèle et Chilly GonzalesXX Intro par Kate Simko & le London Electronic OrchestraLes Flocons de l'été d'Etienne Daho

Au programme ce mercredi ! Découvrez la montagne avec les peintres et les dessinateurs de BD. Parcourez les chemins enneigés, marchez sous les sapins et regardez la blancheur éternelle des sommets alpins sur les toiles d'Hodler, Hokusaï, Corot. Les musiques de l'émission : Thème de In the mood for love, Yumeji's theme de Shigeru Umebayashi Manic Episode de Vincent Leibovitz Duo de Philippe Katerine, Angèle et Chilly Gonzales XX Intro par Kate Simko & le London Electronic Orchestra Les Flocons de l'été d'Etienne Daho Illustration : Rimini par le photographe Luigi Ghirri

Au programme ce mercredi ! Découvrez la montagne avec les peintres et les dessinateurs de BD. Parcourez les chemins enneigés, marchez sous les sapins et regardez la blancheur éternelle des sommets alpins sur les toiles d'Hodler, Hokusaï, Corot. Les musiques de l'émission : Thème de In the mood for love, Yumeji's theme de Shigeru Umebayashi Manic Episode de Vincent Leibovitz Duo de Philippe Katerine, Angèle et Chilly Gonzales XX Intro par Kate Simko & le London Electronic Orchestra Les Flocons de l'été d'Etienne Daho Illustration : Rimini par le photographe Luigi Ghirri

Découvrez la montagne avec les peintres et les dessinateurs de BD. Parcourez les chemins enneigés, marchez sous les sapins et regardez la blancheur éternelle des sommets alpins sur les toiles d'Hodler, Hokusaï, Corot. Les musiques de l'émission : Thème de In the mood for love, Yumeji's theme de Shigeru Umebayashi Manic Episode de Vincent Leibovitz Duo de Philippe Katerine, Angèle et Chilly Gonzales XX Intro par Kate Simko & le London Electronic Orchestra Les Flocons de l'été d'Etienne Daho

Only nine times in his seventy-eight years did Jean-Baptiste-Camille Corot paint on anything other than canvas, paper, and panel. On one occasion, offended by the crude wooden lunchbox carried by his friend Alfred Robaut, Corot had a new one constructed, which he decorated with a plein air painting, "Fraîcheurs matinales" ("Morning Freshness"). It’s a mini-masterpiece made all the more charming by its humble setting, a breezy landscape of trees and hills awash with sunlight and enlivened by one of Corot’s favorite motifs: a flash of red, the hat of a small figure coming over a rise. Host Ben Miller gets the story from the dealer who sold it, Jill Newhouse, and the collector who bought it, Ray Vickers.

Canons et tableaux Le voici donc Emil Georg Bührle. Il pose en 1953 au milieu de sa collection, entouré de ses chers et coûteux tableaux, de tous ces peintres qu’il admirait tant. En quelques années seulement, il a constitué une collection privée sans égal. Toute la fierté du propriétaire. À juste titre? Grâce à l'argent de la vente d'armes de son usine de machines-outils d'Oerlikon 1944, qui fait monter sa fortune de 140’000 francs à 127 millions, Bührle a acheté de l'art français provenant principalement d'anciens propriétaires juifs. Entre 1934 et 1945, peu après la prise du pouvoir par les nationaux-socialistes et jusqu'à la fin de la guerre, il revient à sa passion de jeunesse, les beaux-arts. Durant ces douze années dévastatrices, avec leur 50 à 80 millions de morts dus à la guerre et à la Shoah, il a acquis des dizaines d'œuvres de Daumier, Corot, Courbet, Manet, Pissarro, Monet, van Gogh, Gauguin, Cézanne, Toulouse-Lautrec, Modigliani et Picasso. Dimanche 28 février à 23h00 sur RTS Deux, vous pourrez découvrir "Le marché de l'art sous l’occupation" un documentaire de Vassili Silovic (France, 2020). Résumé: Sous l’Occupation, le marché de l’art en France a été florissant. Près de deux millions d’objets d’art furent échangé entre 1940 et 1944. Enquête historique sur le gigantesque trafic d’œuvres d’art organisé depuis Paris et qui a largement profité aux marchands et collectionneurs suisses. Photo: Emil Georg Bührle en 1953, entouré par quelques unes des pièces de sa collection. 

How do you know that just because something is a bit of a struggle that it isn't there for your highest good? When are you forcing and when is it just a growth space for your flow state? We touch on all this in this episode, talking about my experiences and recommendations on how to recognize and know when to lean in and when it is not meant for you and your soul's purpose.  **Book Reference: "The great work of your Life" by Stephen Cope. French painter Corot, painted the "View from the Farnese Gardens" If you enjoyed this episode I would love if you would Leave a Review and share your biggest takeaway from the episode.

¿Todos los paisajes que vemos en lienzos se pintaron al aire libre? Si esto no es así, ¿por qué? ¿qué tienen que ver los pigmentos en el asunto? ¿Cómo se pintaba por la noche? Acompáñanos a lo largo del programa por un viaje por el mundo de la historia del arte junto con Manuel Fernández, cofundador de Los Laberintos del Arte. En esta ocasión conoceremos cómo se pintaban los paisajes en todas las épocas y qué elementos se pueden destacar de cada una de ellas. No faltarán a la cita . Canaletto, Patinir, Durero, Velázquez, Corot y Veermeer, Monet, entre otros. Durante el programa en directo creamos un hilo en nuestra cuenta de twitter en el que puedes ver los lienzos: https://twitter.com/cafelluvia/status/1301221357984919562?s=20 -Orden de intervenciones: Editorial: 4:55 Plenarismo con Manuel Fernández: 11:33 ¡Te necesitamos! Hazte socio/a de El Café de la Lluvia para permitir que nuestro medio de comunicación sea sostenible en el tiempo. Descubre todos los beneficios que tiene hacerse miembro de nuestra comunidad en: https://elcafedelalluvia.com/hazte-socio-a-de-el-cafe-de-la-lluvia/ -- Todo esto y mucho más en mucho más en nuestra web: https://elcafedelalluvia.com/ Síguenos en twitter: @cafelluvia | Facebook: Cafedelalluvia |Instagram: elcafedelalluvia - Enlace de telegram: https://t.me/cafelluvia - Newsletter: https://elcafedelalluvia.com/suscripcion-newsletter/ ¿Eres empresa, institución o autónomo/a? ¿Quieres colaborar con nosotros? Hemos lanzado Anuncia Café. Descubre sus ventajas en: https://elcafedelalluvia.com/anunciate-con-nosotros/

Today we celebrate an English poet who was good friends with Alexander Pope. We'll also learn about the French painter, famous for his landscapes. We celebrate the co-creator of a new hybrid of popcorn called "snowflake." We also celebrate some of the flowers of the July garden with some poetry. We Grow That Garden Library™ with a book that helps us explore the world of botanical fragrance. And then we'll wrap things up with a story about a legendary Indiana botanist. But first, let's catch up on some Greetings from Gardeners around the world and today's curated news.   Subscribe Apple | Google | Spotify | Stitcher | iHeart   Gardener Greetings To participate in the Gardener Greetings segment, send your garden pics, stories, birthday wishes and so forth to Jennifer@theDailyGardener.org And, to listen to the show while you're at home, just ask Alexa or Google to play The Daily Gardener Podcast. It's that easy.   Curated News 9 Hanging Garden Ideas That Will Turn Any Small Space Into a Lush Indoor Jungle | Tehrene Firman | WellandGood.com If you're living in a small apartment, there's really not a whole lot of room to make your greenery dreams come true. Unless you take things vertically, that is. 1. Plant wall 2. Hanging Bottles 3. Kokedama 4. Upcycled Stick 5. Wall Containers 6. Above-the-Bed Shelf 7. Doorway Garden 8. Wire Wall Grid 9. Scrap Wood   Did you know Tarragon is an artemisia?   Alright, that's it for today's gardening news. Now, if you'd like to check out my curated news articles and blog posts for yourself, you're in luck, because I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community. There's no need to take notes or search for links - the next time you're on Facebook, search for Daily Gardener Community and request to join. I'd love to meet you in the group.   Important Events 1730   Today is the anniversary of the death of the English writer and poet Elijah Fenton. His tomb is ornamented with a pair of sleeping angels. Alexander Pope composed his epitaph. The first two lines are inspired by the poet Richard Crashaw. At Easthamstead, Berks, 1729 THIS modest stone, what few vain marbles can, May truly say, Here lies an Honest Man; A Poet blessed beyond the Poet's fate, Whom Heav'n kept sacred from the proud and great; Foe to loud Praise, and friend to learned Ease, 5 Content with Science in the vale of peace. Calmly he looked on either life, and here Saw nothing to regret, or there to fear; From Nature's temperate feast rose satisfied, Thank'd Heav'n that he had lived, and that he died.   Elijah Fenton is remembered for working with Alexander Pope and William Broome to translate the Greek epic poem The Odyssey. Pope had specifically asked Elijah for his help with the major undertaking. Elijah is credited with many wonderful verses: Wedded love is founded on esteem.   Beware of flattery, 'tis a weed Which oft offends the very idol--vice, Whose shrine it would perfume.   O blissful poverty! Nature, too partial to thy lot, assigns Health, freedom, innocence, and downy peace.   In a book about Elijah Fenton, it says, “It is late justice, to Fenton, to point out how often the footsteps of the greater poet may be tracked to his garden plots; how the tones, and something more, of his verses, are echoed in strains which give them their best chance of immortality. Pope was accustomed to say that Fenton's “Ode to Spring” addressed to Lord John Gower, was the best Ode in the English language since Dryden’s Cecilia.”   O'er winter's long inclement sway, At length the lusty Spring prevails; And swift to meet the smiling May, Is wafted by the Western gales. Around him dance the rosy Hours, And damasking the ground with flowers, With ambient sweets perfume the morn; With shadowy verdure flourished high, A sudden youth the groves enjoy, Where Philomel laments forlorn. — Elijah Fenton, Ode to Spring   Nature permits for various gifts to fall On various climes, nor smiles alike on all. The Latian eternal verdure wear, And flowers spontaneous crown the smiling year; But who manures a wild Norwegian Hill To raise the Jasmine or the coy Jonquil? Who finds the peach among the savage sloes Or in black Scythia sees the blushing Rose? Here golden grain waves over the teeming fields And they're the vine her racy purple yields; Rich on the cliff the British Oak ascends Proud to survey the seas her power defends; Her sovereign title to the flag she proves Scornful of softer India's spicy Groves. — Elijah Fenton, Variety of Nature   1796  It's the birthday of the artist Camille Corot ("CAH-MEEL CAH-row"), born in Paris. Corot was a French painter, famous for his landscapes, and he inspired the landscape painting of the Impressionists. Corot's quotes about painting are inspiring to gardeners. Here's a little sample of his sensitive perspective on the natural world: "Beauty in art is truth bathed in an impression received from nature. I am struck upon seeing a certain place. While I strive for conscientious imitation, I yet never for an instant, lose the emotion that has taken hold of me."   Here are some of Corot's words about Nature at the end of the day: "...Everything is vague, confused, and Nature grows drowsy. The fresh evening air sighs among the leaves - the birds, these voices of the flowers are saying their evening prayer."   Imagine sitting beside Corot as he wrote, "I hope with all my heart there will be painting in heaven."   Gardeners would reply, "I hope there is a garden."     1907   On this day, Orville Redenbacher was born. Orville was a USDA scientist and the co-creator of a new hybrid of popcorn called "snowflake." It was lighter and fluffier than traditional popped kernels, and Orville became a household name with his commercials for his popcorn. To this day, Orville Redenbacher is the number one selling popcorn in the world. Nebraska produces more popcorn than any other state in the country.   Unearthed Words Today we celebrate some of the flowers of the July garden.   We like people not just because they are good, kind, and pretty but for some indefinable spark, usually called “chemistry,” that draws us to them and begs not to be analyzed too closely. Just so with plants. In that case, my favorite has to be Physoplexis comosa. This is not merely because I am writing at the beginning of July when the plant approaches maximum attractiveness. — Geoffry B. Charlesworth, garden author, On the Physoplexis comosa or the Devil's Claw or Tufted Horned Rampion   Light love in a mist, by the midsummer moon misguided, Scarce seen in the twilight garden if gloom insist, Seems vainly to seek for a star whose gleam has derided Light love in a mist. All day in the sun, when the breezes do all they list. His soft blue raiment of cloudlike blossom abided Unrent and unwithered of winds and of rays that kissed. Blithe-hearted or sad, as the cloud or the sun subsided, Love smiled in the flower with a meaning whereof none wist Save two that beheld, as a gleam that before them glided. Light love in a mist. — Algernon Charles Swinburne, English poet, Love in a Mist   The marigold, whose courtier’s face Echoes the sun, and doth unlace Her at his rise, at his full stop Packs and shuts up her gaudy shop. — John Cleveland, English poet, The Marigold   Grow That Garden Library Scentual Garden By Ken Druse This book came out in October of 2019, and the subtitle is Exploring the World of Botanical Fragrance. The author Joe Lamp'l said, "A brilliant and fascinating journey into perhaps the most overlooked and under-appreciated dimension of plants. Ken's well-researched information, experience, and perfect examples, now have me appreciating plants, gardens, and designs in a fresh and stimulating way." Ken Druse is a celebrated lecturer and an award-winning author and photographer who has been called "the guru of natural gardening" by the New York Times. He is best known for his 20 garden books published over the past 25 years. And, after reading this book, I immediately began to pay much more attention to fragrance in my garden. The book is 256 illustrated pages of 12 categories of scented plant picks and descriptions for the garden - from plants to shrubs and trees. You can get a copy of Scentual Garden By Ken Druse and support the show, using the Amazon Link in today's Show Notes for around $40.   Today's Botanic Spark 1987    Today in 1987, The Indianapolis Star announced the release of the biography of the legendary turn-of-the-century Indiana botanist Charles Clemon Deam who went by "Charlie". This biography of Charlie was written by Robert C. Kriebel, editor of the Lafayette Journal and Courier. Charlie Deam was a self-taught botanist, and he also served the state of Indiana as a forester. And there's a little story about Charlie in this article from The Indianapolis Star that I thought you would enjoy: In his home herbarium, Charlie kept a loaded pistol in a desk drawer. One time, Charlie was hosting a guest in his home. Charlie brought his guest into the herbarium, and they began chatting about plants and taxonomy. Charlie gave his guest quite fright when, without warning, he opened the desk drawer, pulled out the gun, and fired two or three shots through the open window. And all the while, Charlie uttered some disparaging comments about the "canine ancestry of a rabbit," that had been terrorizing his garden.

Il Realismo in Francia e in Italia: da Corot ai Macchiaioli di Ivana Corsetti, supervisione di Monica D'Onofrio, regia di Valerio Giannetti.

Cette exposition aurait dû s'ouvrir fin mars, au musée des Impressionnismes de Giverny, près de Paris. Seulement, la Covid-19 est passée par là, et tout a été annulé. Mais la voilà qui existe depuis une semaine de façon virtuelle, sur Google Arts and Culture, et YouTube. La page de l'exposition « Plein Air. De Corot à Monet » sur le site internet Musée des impressionnismes de Giverny.

Love poems By D H Lawrence Presented by Voices of Today In 1912 D.H. Lawrence fell in love with Frieda Weekley and the couple left for Germany and Italy, where they spent the next two years. While he was away from England, Lawrence completed and published the novel Sons and Lovers and his first volume of poetry, Love Poems and others. Mostly autobiographical, the collection explores a young man's feelings on the joys and frustrations of sex and love. The thirty poems in the collection include the memorable short poem, Bei Hennef, as well as four longer narrative poems written in Lawrence's Nottinghamshire dialect. Featuring the voices of Erin Louttit, Linda Barrans, Phil Benson and Ron Altman. This recording may be freely downloaded and distributed, provided that Voices of Today is credited as the author. It can be edited and used for the development of derivative material as long as the new recording is issued under an equivalent Creative Commons licence. It may not be used for commercial purposes. For further information about Voices of Today please visit: https://www.voicesoftoday.org/

In today's episode, Tim and Marie (with some nosy intrusion from producer Nick Richards) talk to friend and plein air artist Jay Brooks.  Jay discusses his experience at Cape Ann Plein Air and Plein Air Easton, the challenges and surprises of participating in intense painting competitions, and how his art style has evolved since getting back out of the studio. Growing up on 90 acres of farmland in Pavilion NY, Jay Brooks has always had the landscape as an integral part of his life and art. At the young age of 14, Brooks began painting under the classical apprenticeship of John Piesley and the plain - aire instruction of Charles Movalli, a disciple of the late Emile Gruppe. Brooks was also introduced to the pre-impressionist styles of Corot, George Inness and Asher B. Durand. In 1988, Brooks received his B.F.A. from Carnegie-Mellon University and in 1990 he received his M.F.A. from Columbia University. Being removed from his familiar bucolic surroundings, Brooks studied and painted the industrial environments of Pittsburgh and New York City. After teaching art in New York City, Brooks moved back to upstate NY in 1993. Here, Brooks is surrounded by countless varieties of scenes from around the northeastern US. His paintings include a variety of images from depictions of the New England shore to the countryside and small towns of upstate New York. www.jaybrooksartist.com This episode is sponsored by JFM Enterprises, providing distinctive ready-made and custom frames & mouldings to the trade since 1974. Music in this episode was generously provided by Blue Dot Sessions and Podington Bear.

Nell'ottocento i quadri di paesaggio assumono una propria autonomia e l'artista è sempre più motivato a descrivere i fenomeni che regolano lo spettacolo della natura. Questo è quel che accade nel bosco di Fontainebleau, nel paese di Barbizon.Tutte le immagini su https://quellodiarte.com/2019/11/08/il-paesaggio-cosi-come-corot-e-barbizon/Vuoi rimanere aggiornato su tutte le novità su Quello di Arte? Iscriviti alla mailing list di Quello di Arte cliccando su questo link https://mailchi.mp/e5da93e9fc36/mailinglistPlaylistMichelangelo Mammoliti, Walkman Main, 2019

Did you know Tarragon is an artemisia? Like all plants in the Artemisia genus, Tarragon is gray and silvery. Artemisia's were sacred to Artemis and there are over 180 species - all of them ornamental, most are medicinal, and of course, a small few are culinary. Tarragon is quite agraceful plant when it is fully grown. Never demanding, Tarragon can stand some shade and a heavier soil. French tarragon has a subtler aroma and flavor compared to Russian tarragon.Tarragon has its own peculiar sweet taste recalling anise.  Tarragon is an integral part of dijon mustard. Tender, fresh stems of Russian tarragon can be cooked and consumed as asparagus. The tea stimulates the appetite, especially when it has been lost because of illness. Drinking the tea before bedtime is helpful because Tarragon compounds are mildly anesthetic and sedative.  The tea can also help with hyperactivity. And, here's something valuable to remember about tarragon: the flowers generally do not produce viable seed. So, tarragon propagates via root cuttings, rhizome sprouts and stem division. As an example, the French tarragon commercial growers dig it upin the fall after all the foliage has been harvested. Then they cut the roots into short pieces.     Brevities   #OTD It's the birthday of Camille Corot born in 1796 in Paris. Corot was a French painter, famous for his landscapes and he inspired the landscape painting of the Impressionists. Corot's quotes about painting are inspiring to gardeners. Here's a little sample of his inspiring perspective on the natural world: "Beauty in art is truth bathed in an impression received from nature. I am struck upon seeing a certain place. While I strive for conscientious imitation, I yet never for an instant lose the emotion that has taken hold of me." Here are some of Corot's words about the end of the day: "...everything is vague, confused, and Nature grows drowsy. The fresh evening air sighs among the leaves - the birds, these voices of the flowers are saying their evening prayer."   Imagine sitting beside Corot as he wrote, "I hope with all my heart there will be painting in heaven." Gardeners would reply, "I hope there is a garden."     #OTD   Today in 1907, Orville Redenbacher, was born. Redenbacher was a U.S. agricultural scientist and the co-creator of a new hybrid of popcorn called "snowflake." It was lighter and fluffier than traditional popped kernels and Redenbacher became a household name with his commercials for his popcorn. To this day, Orville Redenbacher is the number one selling popcorn in the world. Nebraska produces more popcorn than any other state in the country.   Unearthed Words Rachel Peden was a popular environmentalist, newspaper columnist, and author.  Peden had a profound appreciation for the minutia in the natural world and she was very funny. She wrote,  "The serene philosophy of the pink rose is steadying.  Its fragrant, delicate petals open fully and are ready to fall, without regret or disillusion, after only a day in the sun.  It is so every summer.  One can almost hear their pink, fragrant murmur as they settle down upon the grass: 'Summer, summer, it will always be summer.'"       Today's book recommendation: Good Planting by Rosemary Verey Verey is regarded as the "Queen of the Traditional English Country Garden." Verey was known for creating gardens with a amix traditional elements and beautiful plantings. The gardens she created are timeless. Verey's practical reference book covers planting throughout the seasons.  This book is a classic for your garden library.  The best part about this book is that it offers advice for successful planting and utilizing difficult areas of the garden.      Today's Garden Chore Get serious about planting blueberries.  Blueberries provide more than just fruit; they can be an effective screen, they can add greenery to the walls of your house. They provide massive interest during three seasons in the garden:  In spring, the beautiful white flowers to kick off the growing season, there's blue berries during the summer (of course), and they offer gorgeous fall coloring. Don't forget that blueberries need full sun. They require acidic soil. Blueberry plants grow slowly and reach full size in 8 to 10 years.     Something Sweet  Reviving the little botanic spark in your heart   Today in 1987, The Indianapolis Star announced that the biography of Charles Clemon Deam, the legendary turn-of-the-century Indiana botanist and author had been published. The book was written by Robert C. Kriebel, editor of the Lafayette Journal and Courier. Charlie Deam was a self-taught botanist and served as state forester for Indiana.  In his home herbarium, Deam kept a loaded pistol in his desk drawer  One time, Deam and a guest were discussing something about taxonomy. Suddenly, Deam quickly opened the drawer, pulled out the gun, and fired two or three shots through the open window making some disparaging comments about the "canine ancestry of a rabbit" which had been terrorizing his garden.   Thanks for listening to the daily gardener, and remember: "For a happy, healthy life, garden every day."

We've reached the end of Season 2! Thanks to everyone who came back and all the new listeners and subscribers who joined us. I appreciate your support! I'll be taking some time off for the holidays and to plan Season 3. The gallery has some fantastic shows up, so visit if you can! There's Corot's Women, a retrospective of Gordon Park's photography, the Birmingham Project by Dawoud Bey, the Rachel Whiteread retrospective and more. There are also a few more dates for senior lecturer David Gariff's The Christmas Story in Art a fascinating look at how the story we know came about. This is where I found out about the symbolism of rocks! You can catch up on any episodes you missed here or you can listen on Apple Podcasts, Google Podcasts, Soundcloud, TuneIn or your favorite podcast app. You can find links to some of these below. I'll be posting updates here, so check back.  And as always, thanks for joining me! SHOW NOTES “A Long Look” theme is Ascension by Ron Gelinas Exhibitions information https://www.nga.gov/exhibitions/current.html The Christmas Story in Art schedule and live stream The post End of Season 2 appeared first on A Long Look.

Il romanticismo ha reso il paesaggio un genere indipendente e carico di emozioni. C’è però chi si appassiona alla natura così com’è. Oggi a StArt parleremo di Corot e della Scuola di Barbizon.Tutte le immagini su https://quellodiarte.com/2018/10/24/corot-e-la-scuola-di-barbizon/

This week David talks to Charlie about how the liturgy and not socio-economic factors is the most powerful influence on the culture. And how it is the beauty of an authentic liturgical culture that is the driving force. We quote John Paul II from his encyclical Centesimus Annus[...I]t is not possible to understand man on the basis of economics alone, nor to define him simply on the basis of class membership. Man is understood in a more complete way when he is situated within the sphere of culture through his language, history, and the position he takes towards the fundamental events of life, such as birth, love, work, and death. At the heart of every culture lies the attitude man takes to the greatest mystery: the mystery of God. Different cultures are basically different ways of facing the question of the meaning of personal existence. When this question is eliminated, the culture and moral life of nations are corrupted., and Pope Pius XII who wrote the encyclical Mediator Dei on the liturgy, and included reference to sacred art. We refer to the following passage:"195. What We have said about music, applies to the other fine arts, especially to architecture, sculpture and painting. Recent works of art which lend themselves to the materials of modern composition, should not be universally despised and rejected through prejudice. Modern art should be given free scope in the due and reverent service of the church and the sacred rites, provided that they preserve a correct balance between styles tending neither to extreme realism nor to excessive "symbolism," and that the needs of the Christian community are taken into consideration rather than the particular taste or talent of the individual artist. Thus modern art will be able to join its voice to that wonderful choir of praise to which have contributed, in honor of the Catholic faith, the greatest artists throughout the centuries. Nevertheless, in keeping with the duty of Our office, We cannot help deploring and condemning those works of art, recently introduced by some, which seem to be a distortion and perversion of true art and which at times openly shock Christian taste, modesty and devotion, and shamefully offend the true religious sense. These must be entirely excluded and banished from our churches, like "anything else that is not in keeping with the sanctity of the place."And consider the following pictures. From the Baroque period of the 17th century: St Jerome Reading by Georges De La Tours, French 17th century A portrait painted by St Anthony Van Dyck when a teenager and a student of Rubens. Flemish, 17th century. Landscape by Corot, French, 19th centuryAnd we consider the following buildings in our discussion of the Victorian Neo-Gothic St Mary's Catholic Cathedral, designed by AW Pugin, Newcastle-upon-Tyne, england, 19th century. St Mary's Newcastle-upon-Tyne, interior. The Anglican Cathedral, Liverpool, England, designed by Sir Giles Gilbert-Scott, begun early 20th century, completed 1978. Paddy's Wigwam - the Catholic Cathedral, Liverpool, start and completed in the 1960s. The K-2 telephone box, designed by Sir Giles Gilbert Scott, with Queen Elizabeth Tower housing Big Ben, in the background, designed by AW Pugin. Street furniture that is derived from and points to the liturgical culture. Icons of the English landscape - the red letter box and the red phone box.

Il Novecento e le avanguardie artistiche hanno gradualmente disgregato il protagonista principale dell’arte, ovvero il soggetto. Oggi a Quello di Arte Blog Radio Podcast vi voglio raccontare questo lento passaggio in direzione un’arte che va verso l’astratto, che va verso l’assoluto.Tutte le immagini su https://quellodiarte.com/2018/06/13/freestyle-3-la-scomparsa-del-sogget

Come cambia la rappresentazione del paesaggio nella storia dell’arte? Il paesaggio diventa territorio di sviluppo delle tecnologie dell’arte, dalla prospettiva, al colore a olio e non solo, si trasforma fino a diventare astratto.Tutte le immagini su https://quellodiarte.com/2018/06/12/freestyle-2-paesaggismi/

"AndDirk actually gave it him, " said his wife indignantly."I wasso taken aback. I didn't like to refuse. He put the money in his pocket, justnodded, said 'Thanks, ' and walked out. "Dirk Stroeve,telling the story, had such a look of blank astonishment on his round, foolishface that it was almost impossible not to laugh."Ishouldn't have minded if he'd said my pictures were bad, but he said nothing --nothing. ""And youwill tell the story, Dirk, " Said his wife.It waslamentable that one was more amused by the ridiculous figure cut by theDutchman than outraged by Strickland's brutal treatment of him."I hopeI shall never see him again, " said Mrs. Stroeve.Stroevesmiled and shrugged his shoulders. He had already recovered his good-humour."Thefact remains that he's a great artist, a very great artist. ""Strickland?"I exclaimed. "It can't be the same man. ""A bigfellow with a red beard. Charles Strickland. An Englishman. ""He hadno beard when I knew him, but if he has grown one it might well be red. The manI'm thinking of only began painting five years ago. ""That'sit. He's a great artist. ""Impossible.""Have Iever been mistaken?" Dirk asked me. "I tell you he has genius. I'mconvinced of it. In a hundred years, if you and I are remembered at all, itwill be because we knew Charles Strickland. "I wasastonished, and at the same time I was very much excited. I remembered suddenlymy last talk with him."Wherecan one see his work?" I asked. "Is he having any success? Where ishe living?""No; hehas no success. I don't think he's ever sold a picture. When you speak to menabout him they only laugh. But I know he's a great artist. After all, theylaughed at Manet. Corot never sold a picture. I don't know where he lives, butI can take you to see him. He goes to a cafe in the Avenue de Clichy at seveno'clock every evening. If you like we'll go there to-morrow. ""I'm notsure if he'll wish to see me. I think I may remind him of a time he prefers toforget. But I'll come all the same. Is there any chance of seeing any of hispictures?""Notfrom him. He won't show you a thing. There's a little dealer I know who has twoor three. But you mustn't go without me; you wouldn't understand. I must showthem to you myself. ""Dirk,you make me impatient, " said Mrs. Stroeve. "How can you talk likethat about his pictures when he treated you as he did?" She turned to me."Do you know, when some Dutch people came here to buy Dirk's pictures hetried to persuade them to buy Strickland's? He insisted on bringing them hereto show. ""Whatdid you think of them?" I asked her, smiling."Theywere awful. ""Ah,sweetheart, you don't understand. ""Well,your Dutch people were furious with you. They thought you were having a joke withthem."Dirk Stroevetook off his spectacles and wiped them. His flushed face was shining withexcitement."Whyshould you think that beauty, which is the most precious thing in the world,lies like a stone on the beach for the careless passer-by to pick up idly?Beauty is something wonderful and strange that the artist fashions out of thechaos of the world in the torment of his soul. And when he has made it, it isnot given to all to know it. To recognize it you must repeat the adventure ofthe artist. It is a melody that he sings to you, and to hear it again in yourown heart you want knowledge and sensitiveness and imagination. ""Why didI always think your pictures beautiful, Dirk? I admired them the very firsttime I saw them. "Stroeve'slips trembled a little."Go tobed, my precious. I will walk a few steps with our friend, and then I will comeback. "“戴尔克居然把钱给他了，”他的妻子气愤地说。“我听了他这话吓了一跳。我不想拒绝他。他把钱放在口袋里，朝我点了点头，说了声‘谢谢'，扭头就走了。”说这个故事的时候，戴尔克·施特略夫的一张傻里傻气的胖脸蛋上流露着那么一种惊诧莫解的神情，不由得你看了不发笑。“如果他说我画得不好我一点也不在乎，可是他什么都没说——一句话也没说。”“你还挺得意地把这个故事讲给人家听，戴尔克，”他的妻子说。可悲的是，不论是谁听了这个故事，首先会被这位荷兰人扮演的滑稽角色逗得发笑，而并不感到思特里克兰德这种粗鲁行为生气。“我再也不想看到这个人了，”施特略夫太太说。施特略夫笑起来，耸了耸肩膀。他的好性子已经恢复了。“实际上，他是一个了不起的画家，非常了不起。”“思特里克兰德？”我喊起来。“咱们说的不是一个人。”“就是那个身材高大、生着一把红胡子的人。查理斯·思特里克兰德。一个英国人。”“我认识他的时候他没留胡子。但是如果留起胡子来，很可能是红色的。我说的这个人五年以前才开始学画。”“就是这个人。他是个伟大的画家。”“不可能。”“我哪一次看走过眼？”戴尔克问我。“我告诉你他有天才。我有绝对把握。一百年以后，如果还有人记得咱们两个人，那是因为我们沾了认识查理斯·思特里克兰德的光儿。”我非常吃惊，但与此同时我也非常兴奋。我忽然想起我最后一次同他谈话。“在什么地方可以看到他的作品？”我问，“他有了点儿名气没有？他现在住在什么地方？”“没有名气。我想他没有卖出过一幅画。你要是和人谈起他的画来，没有一个不笑他的。但是我知道他是个了不起的画家。他们还不是笑过马奈？柯罗也是一张画没有卖出去过。我不知道他住在什么地方，但是我可以带你去找到他。每天晚上七点钟他都到克利舍路一家咖啡馆去。你要是愿意的话，咱们明天就可以去。”“我不知道他是不是愿意看到我。我怕我会使他想起一段他宁愿忘掉的日子。但是我想我还是得去一趟。有没有可能看到他的什么作品？”“从他那里看不到。他什么也不给你看。我认识一个小画商，手里有两三张他的画。但是你要是去，一定得让我陪着你；你不会看懂的。我一定要亲自指点给你看。”“戴尔克，你简直叫我失去耐性了，”施特略夫太太说。“他那样对待你，你怎么还能这样谈论他的画？”她转过来对我说：“你知道，有一些人到这里来买戴尔克的画，他却劝他们买思特里克兰德的。他非让思特里克兰德把画拿到这里给他们看不可。”“你觉得思特里克兰德的画怎么样？”我笑着问她。“糟糕极了。”“啊，亲爱的，你不懂。”“哼，你的那些荷兰老乡简直气坏了。他们认为你是在同他们开玩笑。”戴尔克·施特略夫摘下眼镜来，擦了擦。他的一张通红的面孔因为兴奋而闪着亮光。“为什么你认为美——世界上最宝贵的财富——会同沙滩上的石头一样，一个漫不经心的过路人随随便便地就能够捡起来？美是一种美妙、奇异的东西，艺术家只有通过灵魂的痛苦折磨才能从宇宙的混沌中塑造出来。在美被创造出以后，它也不是为了叫每个人都能认出来的。要想认识它，一个人必须重复艺术家经历过的一番冒险。他唱给你的是一个美的旋律，要是想在自己心里重新听一遍就必须有知识、有敏锐的感觉和想象力。”“为什么我总觉得你的画很美呢，戴尔克？你的画我第一次看到就觉得好得了不得。”施特略夫的嘴唇颤抖了一会儿。“去睡觉吧，宝贝儿。我要陪我的朋友走几步路，一会儿就回来。”

"AndDirk actually gave it him, " said his wife indignantly."I wasso taken aback. I didn't like to refuse. He put the money in his pocket, justnodded, said 'Thanks, ' and walked out. "Dirk Stroeve,telling the story, had such a look of blank astonishment on his round, foolishface that it was almost impossible not to laugh."Ishouldn't have minded if he'd said my pictures were bad, but he said nothing --nothing. ""And youwill tell the story, Dirk, " Said his wife.It waslamentable that one was more amused by the ridiculous figure cut by theDutchman than outraged by Strickland's brutal treatment of him."I hopeI shall never see him again, " said Mrs. Stroeve.Stroevesmiled and shrugged his shoulders. He had already recovered his good-humour."Thefact remains that he's a great artist, a very great artist. ""Strickland?"I exclaimed. "It can't be the same man. ""A bigfellow with a red beard. Charles Strickland. An Englishman. ""He hadno beard when I knew him, but if he has grown one it might well be red. The manI'm thinking of only began painting five years ago. ""That'sit. He's a great artist. ""Impossible.""Have Iever been mistaken?" Dirk asked me. "I tell you he has genius. I'mconvinced of it. In a hundred years, if you and I are remembered at all, itwill be because we knew Charles Strickland. "I wasastonished, and at the same time I was very much excited. I remembered suddenlymy last talk with him."Wherecan one see his work?" I asked. "Is he having any success? Where ishe living?""No; hehas no success. I don't think he's ever sold a picture. When you speak to menabout him they only laugh. But I know he's a great artist. After all, theylaughed at Manet. Corot never sold a picture. I don't know where he lives, butI can take you to see him. He goes to a cafe in the Avenue de Clichy at seveno'clock every evening. If you like we'll go there to-morrow. ""I'm notsure if he'll wish to see me. I think I may remind him of a time he prefers toforget. But I'll come all the same. Is there any chance of seeing any of hispictures?""Notfrom him. He won't show you a thing. There's a little dealer I know who has twoor three. But you mustn't go without me; you wouldn't understand. I must showthem to you myself. ""Dirk,you make me impatient, " said Mrs. Stroeve. "How can you talk likethat about his pictures when he treated you as he did?" She turned to me."Do you know, when some Dutch people came here to buy Dirk's pictures hetried to persuade them to buy Strickland's? He insisted on bringing them hereto show. ""Whatdid you think of them?" I asked her, smiling."Theywere awful. ""Ah,sweetheart, you don't understand. ""Well,your Dutch people were furious with you. They thought you were having a joke withthem."Dirk Stroevetook off his spectacles and wiped them. His flushed face was shining withexcitement."Whyshould you think that beauty, which is the most precious thing in the world,lies like a stone on the beach for the careless passer-by to pick up idly?Beauty is something wonderful and strange that the artist fashions out of thechaos of the world in the torment of his soul. And when he has made it, it isnot given to all to know it. To recognize it you must repeat the adventure ofthe artist. It is a melody that he sings to you, and to hear it again in yourown heart you want knowledge and sensitiveness and imagination. ""Why didI always think your pictures beautiful, Dirk? I admired them the very firsttime I saw them. "Stroeve'slips trembled a little."Go tobed, my precious. I will walk a few steps with our friend, and then I will comeback. "“戴尔克居然把钱给他了，”他的妻子气愤地说。“我听了他这话吓了一跳。我不想拒绝他。他把钱放在口袋里，朝我点了点头，说了声‘谢谢'，扭头就走了。”说这个故事的时候，戴尔克·施特略夫的一张傻里傻气的胖脸蛋上流露着那么一种惊诧莫解的神情，不由得你看了不发笑。“如果他说我画得不好我一点也不在乎，可是他什么都没说——一句话也没说。”“你还挺得意地把这个故事讲给人家听，戴尔克，”他的妻子说。可悲的是，不论是谁听了这个故事，首先会被这位荷兰人扮演的滑稽角色逗得发笑，而并不感到思特里克兰德这种粗鲁行为生气。“我再也不想看到这个人了，”施特略夫太太说。施特略夫笑起来，耸了耸肩膀。他的好性子已经恢复了。“实际上，他是一个了不起的画家，非常了不起。”“思特里克兰德？”我喊起来。“咱们说的不是一个人。”“就是那个身材高大、生着一把红胡子的人。查理斯·思特里克兰德。一个英国人。”“我认识他的时候他没留胡子。但是如果留起胡子来，很可能是红色的。我说的这个人五年以前才开始学画。”“就是这个人。他是个伟大的画家。”“不可能。”“我哪一次看走过眼？”戴尔克问我。“我告诉你他有天才。我有绝对把握。一百年以后，如果还有人记得咱们两个人，那是因为我们沾了认识查理斯·思特里克兰德的光儿。”我非常吃惊，但与此同时我也非常兴奋。我忽然想起我最后一次同他谈话。“在什么地方可以看到他的作品？”我问，“他有了点儿名气没有？他现在住在什么地方？”“没有名气。我想他没有卖出过一幅画。你要是和人谈起他的画来，没有一个不笑他的。但是我知道他是个了不起的画家。他们还不是笑过马奈？柯罗也是一张画没有卖出去过。我不知道他住在什么地方，但是我可以带你去找到他。每天晚上七点钟他都到克利舍路一家咖啡馆去。你要是愿意的话，咱们明天就可以去。”“我不知道他是不是愿意看到我。我怕我会使他想起一段他宁愿忘掉的日子。但是我想我还是得去一趟。有没有可能看到他的什么作品？”“从他那里看不到。他什么也不给你看。我认识一个小画商，手里有两三张他的画。但是你要是去，一定得让我陪着你；你不会看懂的。我一定要亲自指点给你看。”“戴尔克，你简直叫我失去耐性了，”施特略夫太太说。“他那样对待你，你怎么还能这样谈论他的画？”她转过来对我说：“你知道，有一些人到这里来买戴尔克的画，他却劝他们买思特里克兰德的。他非让思特里克兰德把画拿到这里给他们看不可。”“你觉得思特里克兰德的画怎么样？”我笑着问她。“糟糕极了。”“啊，亲爱的，你不懂。”“哼，你的那些荷兰老乡简直气坏了。他们认为你是在同他们开玩笑。”戴尔克·施特略夫摘下眼镜来，擦了擦。他的一张通红的面孔因为兴奋而闪着亮光。“为什么你认为美——世界上最宝贵的财富——会同沙滩上的石头一样，一个漫不经心的过路人随随便便地就能够捡起来？美是一种美妙、奇异的东西，艺术家只有通过灵魂的痛苦折磨才能从宇宙的混沌中塑造出来。在美被创造出以后，它也不是为了叫每个人都能认出来的。要想认识它，一个人必须重复艺术家经历过的一番冒险。他唱给你的是一个美的旋律，要是想在自己心里重新听一遍就必须有知识、有敏锐的感觉和想象力。”“为什么我总觉得你的画很美呢，戴尔克？你的画我第一次看到就觉得好得了不得。”施特略夫的嘴唇颤抖了一会儿。“去睡觉吧，宝贝儿。我要陪我的朋友走几步路，一会儿就回来。”

Schwerpunkt: Ansgar Reiners von der Universität Göttingen erklärt, wie sich Planeten außerhalb unseres Sonnensystems aufspüren lassen und was man bisher über diese fernen Welten weiß || Nachrichten: Ozonloch schließt sich langsamer als bisher angenommen | Neuer Sternentyp entdeckt | Flüssiges Wasser kommt in zwei Varianten vor

The 14th Hintze Biannual Lecture 4th May 2017 delivered by Professor Conny Aerts - Director, Institute of Astronomy KU Leuven Thanks to the recent space missions CoRoT and Kepler, a new era of stellar physics has dawned. Asteroseismology, the observation and interpretation of starquakes, has produced a number of surprises about the deep interiors of stars. These results have altered our view of the lifecycle of stars including the generations of stars that preceded the Sun. Starquakes allow us to estimate the distances and ages of stars with unprecedented precision. Asteroseismology from space has revealed radically different physics in the heart of massive stars compared to the Sun. These massive stars are the chemical factories of the Universe, forcing us to rethink the output from the manufacturing sector of our Galaxy. Furthermore asteroseismology has paved the way for archaeological studies of our own Milky Way. After reviewing these developments I will look to the future projects that can address the new open questions posed by starquakes.

När den amerikanska tonsättaren Ruth Crawford Seeger är mellan 29 och 31 år komponerar hon de verk som långt senare ger henne en rättmätig plats i musikhistorien som en nyskapande tonsättare. Ruth Crawford föds i Ohio 1901 och utvecklar en kompositions­stil som ingen an­nan i världen har gjort tidigare. Efter ett Guggenheim-stipendium i Europa reser hon hem och gifter sig med den 14 år äldre musikvetaren Charles Seeger. Hon föder fyra barn: Mike, Peggy, Penny och Barbara och tar även hand om tre barn från Charles Seegers första äktenskap, bl a den le­genda­riske folksånga­ren Pete Seeger. Även Mike och Peggy Seeger är välkända folkmusiker.Det trista är att hon sam­tidigt slutar tonsätta sin egen mu­sik. När hon dör 1953, endast 52 år gammal, har hon just börjat komponera igen. Det gör tra­giken ännu större och kvinnan Ruth Crawford Seeger en utmaning att försöka förstå.Hennes man gör först klart sitt förakt för kvinnliga tonsättare: "Din lilla kvinnosjäl som du kuvar genom att vara den mest manlige av konstnärer - musikern". För sina barn för­klarar Charles See­ger barn att "kvinnor inte kan komponera symfonier".Senare blir dock Charles Seeger Ruth Craw­fords starkaste stöd och de arbetar in­ten­sivt till­sammans med idéunderlaget till hen­nes komposi­tioner. Ruth Crawford går inte sällan emot hans teore­tiska este­tik. Trots att han varnar henne för att skriva för stråkar ger hon sig i kast med den stråkkvartett som kommer att bli hennes främsta komposition.Ett annat märkligt och vackert stycke, banbrytande med sitt pulserande kluster, är  To A Kind God av den då 29-åriga Ruth Crawford.  Hon tonsatte stycket redan 1930 - 20 år innan denna tek­nik skulle få sitt genombrott i Tyskland i det vi idag kallar en fullständig serialism. Verket skriver Ruth Crawford faktiskt i Berlin som den första kvinnliga tonsät­taren att erhålla ett Guggenheim-stipendium. Först 60 år senare får To A Kind God sin ur­premiär, nämligen 1994 vid Aldeburghfestivalen.Vad är det då som gör detta stycke musik så enastående för sin tid? Jo, själv kal­lade hon det dissonant musik. Ruth Crawford hade aldrig hört ös­ter­ländsk mu­sik, t e x buddistiska munkars meditationer, men hade fått dem be­skrivna av Charles Seeger som "ett komplext dis­sonant ljud-flor". Hon skriver här en slags världsmusik och hon vill an­vända ord ur nå­gon en­gelsk över­sättning av den indiska Bhagavad Ghita, men hon finner ingen och löser upp­gif­ten genom att skapa egna ord. Hon uppfin­ner både kon­so­nanter och voka­ler. I To A Kind God skri­ver Ruth Crawford in 12 rös­ter, en för varje ton i den väster­länd­ska skalan, och i styc­kets klimax hörs alla to­nerna samtidigt. En slags sam­mansatt mass-tonart.I ett brev till tonsättarkollegan Vivian Fine samma år som hon skrev To A Kind God - 1930 alltså - uttrycker Ruth Crawford sin besvikelse över romantik, neoklassi­cism, amerikansk mainstream-symfonisk jazz och tolvtonsättaren Arnold Schönbergs cerebrala övningar: "Här i Europa hoppas jag finna en stor tonsät­tare som frodas ur en mylla av både konsonans och dis­sonans. En mäktig musik som inte enbart är torrt in­tellektuell utan även bär en djup enkelhet - en känsla om man vill använda det ordet - som knyter an till vanliga män­niskor lika myc­ket som till de intel­lektuella".Denna dröm-tonsättare skulle bli Ruth Crawford själv som med några få verk, komponerade mellan 1930 och 1932, skriver in sig i musikhisto­rien, inte enbart som en av USA:s främsta tonsät­tare utan även på en central plats inom hela 1900-talets musi­kaliska litteratur. Stråk­kvartetten från 1931 räknas som hennes mästerverk.Sin tidiga musik beskrev Ruth Crawford som ett "träd av ljud och klangfärger". Nu ville hon ha horisontella linjer, "reda ut tilltrass­lade nystan och finna en tråd i en hög av rot­lösa, trädlösa löv". I formen bäddade hon in rika mönster vilka hon jämförde med komplext designade persiska mattor. Men liksom det i dessa mattor vävdes in små defekter och förskjut­ningar kom­po­nerade Ruth Crawford in en och annan asymmetri. Hon var noga med att beskriva skill­na­den mellan sin "dissonanta kontrapunktik" och den samtida euro­peiska seria­lis­men. Hon listade sina ideal: skriv klara me­lodiska linjer, undvik ihopklibbande rytmer, använd ryt­misk självständighet mellan de­larna, skapa en känsla av tonalt och rytmiskt cen­trum och expe­ri­mentera med varierande typer av disso­nanser.Hennes mor, Clara Crawford, hade tagit Ruth till hennes första pia­nolektion och blev hennes starkaste supporter och tuffaste kritiker. Modern tillhörde den tidiga vå­gen av femi­nister som strävade efter, och slutligen uppnådde, ekonomisk oav­hän­gighet. Ruths mor var pionjär - en av de första kvinnliga stenogra­ferna och var t ex irriterad över att Robert Schumann "blev bossen i huset när Clara Wieck gift sig med ho­nom".Men Crawfords levde i en tid då det, precis som under Clara Schumanns liv - 70 år tidigare - ansågs att "den känslomässiga delen av kvin­nan stred mot den krea­tiva pro­cessen i musikska­pandet". Ruth Crawford kallade sig al­drig någonsin för kvinnlig tonsättare och var inte medlem i The Society of American Women Composers. Kollegan Charles Ives skrev att "en god dissonans är som en man". Och tidigt ansåg kritiker att hennes musik hade manliga kvaliteter: djärv och viril. Men i sin dagbok skrev hon ti­digt ner sin mammas råd (Mamas Advice): "dölj all­tid dina stygga tan­ker, var stolt över din blyghet och se till att andra har det bra i ditt sällskap, lägg dig inte i grannens bu­si­ness, vi le­ver för andras skull och ta hänsyn till andras käns­lor." I dagböc­kerna be­skri­ver Ruth Crawford "brännande, irriterande och otåliga" käns­lor. Senare sina de­pressi­oner.Ruth Crawford föredrog målaren Corot framför den idylliske ljus­skil­draren Monet. Hon skriver: "I en målning måste finnas balans mellan skugga och sol; inte en­bart ly­ses mörkret upp av lju­set utan genom denna kontrast bestrålar mör­kret även ljuset."Music for Small Orchestra från 1926 skall spelas långsamt, grubblande. Med tritonus- och kvartsintervall relate­rade till Scriabin och fagott-fragment ur Stravinskijs Våroffer. Hennes vän, tonsätta­ren och astrologen Dane Rudyar, talade om symboliken i en enda ton "som en levande cell där makro­kosmos speglas i mikrokosmos; en enda cell som kan avslöja alla univer­sums myste­rier". Från öster­ländsk musik stammade denna idé. Och Ruth Crawford anammade det eso­teriska och my­tiska. I Chicago upplevde hon ett andligt och spiri­tuellt svärmeri för sin pia­nolära­rinna Djane Lavoie Hertz och 27 år gammal dedicerade hon sina pianopre­ludier till "Djane, min inspiration." Genom henne kom Ruth Crawford i närmare kon­takt med ryske tonsät­taren Scrabins teosofi, mysticism och spiritualism, som funge­rade som ett slags pre-freu­dianskt sätt att få kontakt med sitt undermedvetna. Tyvärr upp­fördes al­drig Music for Small Orchestra under Ruth Crawfords livstid.1928 var Ruth Crawford med och startade Chicagoavdelningen av Inter­national Society for Contemporary Music och hennes Three Songs med texter Carl Sandburg representerade USA 1933 vid ISCM:s festival i Amsterdam.Ruth Crawford klipper sitt hår kort, flyttar till New York och inleder en tät vänskap med tonsättaren Marion Bauer, den första amerikanska eleven hos Nadja Boulan­ger i Paris. Marion Bauer stöttar henne och gör klart för Ruth Craword vilken stor ta­lang hon är. "Min kära underbara Marion" börjar ett brev. "Marion har befriat mig", ett annat. "Jag skriver igen och jag komponerar". Med Marion disku­terar hon ska­pande och sexualitet. Ruth är oskuld och lever i celibat trots att hon när­mar sig de 30. "Visst kan du sublimera", säger Marion, "men den fysiska akten kan full­bordas på ett vackert sätt, som en symbol."Senare funderar Ruth på arten av henne och Marions relation. I Ber­lin hade Ruth upplevt den helt öppet homosexuella kultu­ren under Weimarre­publikens sista skäl­vande dagar och nätter och skriver: "Med Marion var det som att bli förälskad. Vår förbindelse hade kommit mycket nära ett erotiskt uttryck, men vi delade på oss istället för att starta detta lesbiska pro­jekt."I New York bosätter sig Ruth på gångavstånd till Carnegie Hall och Metropolitanoperan. Hon kommer i kontakt med den nyaste musiken av Copeland, Gershwin, Varèse, Duke Elling­ton och Bessie Smith. Hon går på konserter med verk av Rachmaninov, Hindemith, Schönberg, Brahms, Wagner, Bach, Béla Bártok, Carl Ruggles och mannen som uppfann en av de första synthesizrarna - Leon Theremin.Snart enga­gerar sig hennes make Charles Seeger i "musiken som ett va­pen i klasskampen" och förlorar in­tresset för mod­ernismen. Han komponerar revo­lu­tionär musik, antar pseudonymet Carl Sands och är mest på marxistiska möten. För Ruth är det omöjligt att ersätta deras tidiga musika­liska intimitet med den proletära kultur­rörelsen. Hon förlorar sin musa. Hon kompo­nerar inte längre.1952 skriver Ruth Crawford Seeger sitt sista verk, Suite for Wind Quintet, vars inledande ostinato återkallar början på andra satsen av det verk hon 1932 brände originalnoterna till: Sonat för violin och piano. Ruth Crawford Seeger insjuknar och dör i magcancer precis som hennes mamma gjort. Och resten är en öronbedövande tystnad.Programmet är inspirerat av Judith Tick's stora biografi Ruth Crawford Seeger - A Composer's Search for American Music från 1997. Judith Tick är professor emerita vid Northeastern University i Boston, USA. Musiklista:Rose, Rose and Up She RisesRuth Crawford, sång White MoonRuth CrawfordDawn Upshaw, sopranMargo Garret, pianoNONESUCH 7559 79364 2 To A Kind GodRuth CrawfordAmanda Pitt, sopranJeanette Ager, AltJames Wood, dirigentNew London Chamber Choir, damkörRuth Crawford Seeger: PortraitDeutsche Grammophon 449 925-2, 1997 String Quartet 1931, Sats 3, AndanteRuth CrawfordInstrumentalister ur Schönberg EnsembleRuth Crawford Seeger: PortraitDeutsche Grammophon 449 925-2, 1997 Andante for StringsRuth CrawfordChristoph Von Dohnanyi, dirigentCleveland Orchestra String Quartet 1931, Sats 1 Rubato AssaiRuth CrawfordInstrumentalister ur Schönberg EnsembleRuth Crawford Seeger: PortraitDeutsche Grammophon 449 925-2, 1997 Music for Small Orchestra IIRuth CrawfordOliver Knussen, dirigentMedlemmar Ur Schönberg EnsembleRuth Crawford Seeger: PortraitDeutsche Grammophon 449 925-2, 1997 Rat Riddles, ur "Three Songs" med texter Carl SandburgRuth CrawfordOliver Knussen, dirigentLucy Shelton, sopranInstrumentalister ur Schönberg EnsembleRuth Crawford Seeger: PortraitDeutsche Grammophon 449 925-2, 1997 To An Angel, för kvinnokör och sopransoloRuth CrawfordAmanda Pitt, sopranJeanette Ager, AltJames Wood, dirigentNew London Chamber Choir, damkörRuth Crawford Seeger: PortraitDeutsche Grammophon 449 925-2, 1997 Piano Study in Mixed AccentsRuth CrawfordReinbert De Leeuw, PianoRuth Crawford Seeger: PortraitDeutsche Grammophon 449 925-2, 1997 String Quartet 1931, sats 4Ruth CrawfordInstrumentalister ur Schönberg EnsembleRuth Crawford Seeger: PortraitDeutsche Grammophon 449 925-2, 1997 Suite for Wind Quintet, sats 1 (Svit för blåsarensemble)Ruth CrawfordInstrumentalister ur Schönberg EnsembleRuth Crawford Seeger: PortraitDeutsche Grammophon 449 925-2, 1997

"El Sena parecía un cuadro de Corot". Dos atracadores aficionados quieren dar un golpe y para ello utilizan a la bella Odile. Un coche con dos aprendices de gángster se abre paso entre bobinas de cables y semáforos parpadeantes. París brumoso y vespertino, sus puentes, sus callejones,y los magníficos planos de la más radiante Anna Karina ya forman parte de la historia del cine. Antes de dejar atrás los aires de la Nouvelle Vague y comenzar su etapa radical ideologizada con La China y Weekend, Godard realizó Banda aparte, una revisión entre el desencanto y el desenfado del cine gangsteril de serie B americano. Godard consigue que los gestos de su musa Anna Karina sobrepasen la pantalla, la barrera entre el arte y la realidad desaparece. Odile canta una canción en el metro, mira a la cámara inocente y perpleja, como Jean Seberg en Al final de la escapada. Los tres jóvenes no parecen comprender nada de lo que les rodea, se aburren, y hasta comparten un minuto de silencio cinematográfico. Arthur, Franz, y Odile bailan en un café a las afueras de París, de pronto la música desaparece y la voz del narrador nos explica los pensamientos de cada uno de los personajes, y vuelve a sonar la música. Franz piensa en todo y en nada. No sabe si el sueño es un mundo, o el mundo un sueño. Odile marca los pasos con ritmo y emoción, pero se queda sola y el baile termina. El plano final con Franz y Odile en el descapotable no es un final de Hollywood. Al final sólo queda un hombre y una mujer, y un océano de sangre derramada, dice Godard en Masculino, Femenino. Franz ahora piensa en las medias de Anna Karina, y una larga carretera al sur. Raúl Gallego Esta noche en Radiópolis nos echamos una carrera por el Louvre sin reparar en los cuadros.... José Miguel Moreno a la dirección, Raúl Gallego, Manuel Broullón y Helio Salas.

AstronomyCast 364: COROT by Fraser Cain & Dr. Pamela Gay

Jean-Claude Givel, Sammler Eindrücke von 6 Persönlichkeiten aus der Schweizer Kultur zur Ausstellung Édouard Vuillard im Kunstmuseum Winterthur. (24.8. – 23.11.2014)

Conférence par Brigitte Léal, directrice adjointe du musée national d'art moderne au Centre Pompidou et commissaire de l'exposition. Figure de l'avant-garde en tant qu'initiateur du cubisme, Georges Braque (1882-1963) s'est ensuite recentré sur l'exploration du paysage et de la nature morte, s'inscrivant, en héritier de Chardin ou Corot, dans la grande tradition de la peinture française. A travers œuvres clés et variations thématiques, le parcours chronologique de la rétrospective insiste sur les temps forts de sa création, depuis le Fauvisme jusqu'aux séries ultimes des grands ateliers et des oiseaux.

Episódio 02, temporada 2014. Jorge Quillfeldt (Biofísica-UFRGS) conversa com Eduardo Janot Pacheco, integrante do comitê técnico-científico da Missão Franco-Brasileira COROT junto à ESA, de astrosismologia e caça a exoplanetas. Entrevista realizada durante o II Workshop Brasileiro de Astrobiologia, Guarujá (SP), em setembro de 2013.

Il s'agit de la révision d’un tableau de 1844 désormais dépouillé, avec l'allégorie de la musique (une violoncelliste avec ses compagnes) au sein d'un paysage avec basse ligne d'horizon et plan d'eau. Mme Garnier, conservatrice du Musée de Chantilly où est exposée l’œuvre, montre les raisons de ces modifications et souligne la découverte par Corot des paysages flamands. Ce tableau clôt la série de peintures paysagistes réunies par le duc d'Aumale.

L'oeuvre de Jean-Baptiste Corot (1796-1875) : description formelle de cette scène de genre , sujet, sens de la composition, contextes (dont : Corot et l'école réaliste), dans l’histoire des arts.

An appreciation of the tragically brief career of Richard Parkes Bonington, an English Romantic painter of the early 19th century who influenced many better-known painters, including Delacroix and Corot.

With an evident empathy for rural labouring life, and a nationalist message, this much-admired painting by a principal member of the Heidelberg group was painted close to the artist's Melbourne home, using his family as models. Key influences for Frederick McCubbin at this time included the academic naturalism of Bastien-Lepage and the new focus on everyday subjects by leading French Barbizon school artists Corot and Millet. The title of the painting - 'On the wallaby track' - was a term used for itinerant workers roaming the bush on the fringes of properties looking for work.

In recent years, astronomers have found hundreds of planets orbiting stars other than our Sun.

French artist Jean-Baptist Corot was a leading member of the Barbizon School, a group that championed Realism and whose plein air studies of nature anticipated the work of the Impressionists.

On sait que le Soleil vibre, résonne comme sous l'effet d'un battant de cloche. Aujourd'hui, et grâce aux observations du satellite CoRot, nous savons que les étoiles émettent elles aussi des vibrations détectables depuis l'espace. Ces oscillations stellaires, qui renseignent les astronomes sur les mouvements complexes se déroulant à l'intérieur des étoiles, ont été observées dans la lumière de trois étoiles proches, et ce, avec une finesse sans précédent. La découverte par CoRot d'une très grosse exoplanète, « un objet sans précédent » affirment les astronomes, souligne la qualité d'une recherche idéale : trouver quelque chose que l'on n'attendait pas ! En compagnie de Annie Baglin 1e diffusion le 23/10/2008

On sait que le Soleil vibre, résonne comme sous l'effet d'un battant de cloche. Aujourd'hui, et grâce aux observations du satellite CoRot, nous savons que les étoiles émettent elles aussi des vibrations détectables depuis l'espace. Ces oscillations stellaires, qui renseignent les astronomes sur les mouvements complexes se déroulant à l'intérieur des étoiles, ont été observées dans la lumière de trois étoiles proches, et ce, avec une finesse sans précédent. La découverte par CoRot d'une très grosse exoplanète, « un objet sans précédent » affirment les astronomes, souligne la qualité d'une recherche idéale : trouver quelque chose que l'on n'attendait pas ! En compagnie de Annie Baglin 1e diffusion le 23/10/2008

Although a genius, Courbet was certainly a magnet for trouble. No other artist in nineteenth-century France so often found himself surrounded by controversy, apart from Edouard Manet – although Manet extricated himself, while Courbet seemed constantly enmeshed in scandal and uproar. But he was also firmly connected to the best artists working in the middle decades of the century, from Corot to Whistler, and Cézanne to Monet – he was even the witness at Monet’s wedding in 1870. Courbet remains the most radical painter of his time, while his work marks the rupture from Romanticism via Realism that produced modern art. A deep attachment to his native region inspired Courbet throughout his life, and is demonstrated in his art. He knew the farms near Ornans, the town and its people, and gloried in the rugged beauty of the Jura mountains in his eastern province of Franche-Comté. The rivers of the Jura, the Loue and the Lison, their limestone cliffs, grottoes, waterfalls and vegetation, provided a never-ending subject for the artist. In Paris, Courbet played the coarse peasant new to the city, but there was a serious purpose in his stout defence of regions against the centre. Throughout the century the French state tried to centralise all power to the capital and government institutions, artistically as well as politically, and Courbet was a rebel by conviction. Most of his landscapes of the 1860s – made after the scandals of the Salon and before the catastrophic defeat of the Paris Commune, his imprisonment, and self-exile – concentrate on a limited, almost claustrophobic vocabulary of motifs. As well as enclosed forest scenes with deer and views of hunting, there are Courbet’s Source paintings. Stone, water and darkness are enlivened by rushing currents, decorated with green moss, spring growth or autumn foliage. Apart from over-determined, psychoanalytic readings (grotto = wish for a return to the womb), the Jura works display broad and vigorous handling as well as local particularity based on plein-air observation. In Source of the Lison, as in his other Jura landscapes, Courbet cuts off the sky or any conventional vista, and medium or long views. We are forced close to the rocky cliffs and mysterious cave, confronted with cold, green–brown water pouring from its geological origin, the rising of the river. Paint is mainly brown, with white, bright green and orange highlights. It is applied thickly, pushed around with palette knife and spatula, to accentuate the materiality of the subject. The canvas is vertical, and Courbet accentuates the height of the cliffs by forcing movement down the cliff-face and over the splashing waterfall. Cézanne’s cubes, spheres and pyramids owe some of their genesis to Courbet’s admiring yet brusque painterly treatment of his native landscape. Christine Dixon

Corot was modest and chaste. He never married, in company was nearly always overlooked, the Salon ‘treated him rudely,’ and the only painting by him to enter the Luxembourg Museum was ‘bought almost accidentally by the state in 1851’.1Yet the great Charles Baudelaire was one of many who admired the qualities of simplicity and sureness in Corot’s art and personality – traits that were at the opposite extreme to Baudelaire’s flamboyance. Corot, he wrote, exerted complete control over his compositions, guaranteeing that every element would be well seen, well observed, well understood and well imagined.2 In Bridge on the Saône River at Mâcon the paint has been laid on directly and unaffectedly. This gives the small work a deceptive look of Impressionism. With their festive and casual appearance, Impressionist paintings were to make a holiday of looking. But Corot’s washerwomen on the river bank are not Monet’s or Manet’s holidaymakers lolling about and enjoying the sun. Likewise, Corot in front of nature seems a disciplinarian rather than a sensualist. The date 1834 is not at all early for an outdoor sketch – which this possibly is – yet it does seem early for such a masterly exercise in facing down nature for the sake of form. Nature has here been translated by rule and measure, scale and calculation. One takes pleasure in the composition of four symmetrical rectangles and repeated arcs, the enveloping, sand-coloured light and well-managed paint textures. Selective accents of shape, tone and texture stand out by virtue of their difference. Paint strokes that seem spontaneous are, in fact, controlled. The ground from mid-way has been fastened down in solid, creamy earth colours. Above and to the sides, the semi-transparent blues and greens of sky, foliage and water vaporise against the underlying earth colours. Rough against smooth, a small area of mottled dabs describes shallow water near the bank and, on the other side of the picture, striations of green paint across the grain of the support ruffle the foliage as if simulating a breeze. Visual sensation had a place when it suited Corot’s purpose. In memorable early paintings he downplayed the figurative subject through using lively visual effects. The light in a canvas featuring a woman prone on the grass goes past her to a glowing clay bank in the middle distance.3 The gleaming but otherwise meaningless lump of wet clay takes centre stage, successfully eclipsing the woman. In another work a man on horseback rides away from us; the eye is captured less by the figure, painted grey against grey, than by the sunlight jolting on the uneven bridle path this side of the figure.4 A remarkable landscape sketch is captured by a shapeless black shadow that leaps across the sunburnt fields.5 The irresolution between sketchiness and precise form in Bridge on the Saône River at Mâcon has the same liberating effect, what Corot’s detractors called lack of finish and Baudelaire his ‘awkwardness’. Where lesser artists finished off a work of art, the end for Corot was to open it. Mary Eagle 1 Charles Rosen and Henri Zerner, Romanticism and Realism: the mythology of nineteenth century art, London: Faber, 1984, p. 230. 2 Charles Baudelaire, ‘The Salon of 1845’, trans. Jonathan Mayne, Art in Paris 1845–1862: salons and other exhibitions reviewed by Charles Baudelaire, London: Phaidon, 1965, p. 24. 3 The Forest of Fontainebleau, 1834, National Gallery of Art, Washington – The Chester Dale Collection. 4 A View Near Volterra 1838, National Gallery of Art, Washington – The Chester Dale Collection. 5 Le Petit Chaville, near Ville-d’Avra c. 1823, The Ashmolean Museum of Art and Archaeology – Bequeathed by Frank Hindley Smith, 1939.

L’Estaque, a fishing village on the French coast of the Mediterranean, was a place that Cézanne visited often in the 1870s and 1880s. Why, amongst more picturesque features such as blue sea and a pretty village of ochre stone and red tiles, did the artist address such a difficult and unappealing prospect as this? A viaduct is only an overland passage between more dramatic features – under mountains or cliffs, through a valley or over a river far below – and this bridge for the railway track has none of the elegantly classical appeal of Corot’s Roman arches. Indeed, the viaduct is barely noticeable: it sits in the lowest band of the painting, the main horizontal of the composition. Perhaps it was, as always, simply because he could. The nature of beauty itself was changing as the century continued, from gentle to hard, from simple, lush and historic to complex, spare and modern. For Cézanne, eternal verities became mutable, and reality was filled with infinite possibilities. During February and March 1882 Pierre-Auguste Renoir, a much more luscious painter than the austere Cézanne, paid a visit to his contemporary at l’Estaque while en route from Italy to Paris. They painted the same scene, but the two resulting landscapes could not differ more, considering they were executed side by side.1 Johnson describes Cézanne’s strategies on the canvas: The flatness of the effect, accentuated by repetition of the receding and advancing color and tone values may, on first impression, bear some resemblance to tapestry design; but this quality is denied by the special depth and volume and solidity of the forms which Cézanne achieves … He has piled the planes up vertically and has silhouetted distant hills instead of allowing them to dissolve in air and space.2 The contest between fact and fiction, which underlies landscape painting in the nineteenth century, is seen plainly here, in the choices that Cézanne makes. He understands that the horizontal railway lines below the cliffs undermine the vertical and diagonal slopes of the mountains. The dizzying stacks of rock, made of parallel hatched strokes of paint, communicate insecurity rather than the permanence of stone and mountains. The close-up, frontal encounter reinforces the dominance of the artist’s view. It is the implied struggle between doubt and certainty that makes Cézanne so modern. Christine Dixon 1 John Rewald, The paintings of Paul Cézanne: a catalogue raisonné, vol. 1, New York: Harry N. Abrams, 1996, cat. 441, p. 297; the other canvas is Renoir’s Crags at l’Estaque, in the Museum of Fine Arts, Boston. 2 Ellen H. Johnson, ‘Cézanne and a pine tree: Viaduct at l’Estaque, a footnote’, Allen Memorial Art Museum Bulletin, vol. 21, no. 1, Fall, 1963, pp. 24–8, quoted in Rewald, p. 297.

Here in Brittany the peasants have a medieval air about them and do not for a moment look as though they think that Paris exists and it is 1889 Gauguin, letter to Van Gogh, 18891 Haystacks in Brittany is among a small number of works painted by Gauguin in 1890 at Le Pouldu, on the Breton coast. From July 1886 until his departure for Tahiti in March 1891, Gauguin travelled regularly between Paris and towns in Brittany and Provence – the latter the site of his notorious collaboration with Van Gogh – searching for a way to consolidate his style, as well as a place to live cheaply. He stayed at Le Pouldu, some twenty kilometres south-west of Pont-Aven, late in 1889 and during 1890. The works he painted there, images of peasant life, the landscape and harvest scenes, are some of the most radically simplified of his career. Gauguin described how he ‘scrutinised the horizons, seeking that harmony of human life with animal and vegetable life through compositions in which I allowed the great voice of the earth to play an important part’.2 Like many of his generation Gauguin recognised the strength of landscape painting at this time. His early works show the impact of Corot and other Barbizon painters; he painted in an Impressionist mode until the late 1880s and, introduced by Pissarro, was included in several Impressionist exhibitions. By 1885 Gauguin had started painting full-time and, from his first campaign in Brittany, reduced traditional modelling to a strict minimum: in his Pont-Aven and Le Pouldu works it is his combination of colour and form, rather than narrative or sentiment, which appeals to the viewer. Gauguin’s absorption of the peasant traditions of the region, music and especially woodcarving, as well as the influences of ‘primitive art’ and Japanese prints, is apparent.3Having abandoned Pont-Aven – he complained that it was now too spoilt by crowds – Gauguin set off for the remote hamlet of Le Pouldu. The isolated region, with its dramatic rocky peninsula, windswept dunes, sandy beaches and scattered farms, suited Gauguin. At the Buvette de la Plage – an inn owned by a young local woman, Marie Henry – he was joined by Sérusier and the Dutch painter Jacob Mayer de Haan (1852–1895). Haystacks in Brittany has the structure of a traditional landscape. The painting is composed of a series of bands: the distant sky, fields in the mid-ground and crops of the foreground, with a frieze of cows and their female attendant in front. Despite its variant titles, it is not the agricultural land that is of interest here, but the rich patterns that Gauguin develops from various elements. The disjunction between the landscape’s recession and the frieze-like procession of cows and cowherd emphasises the stained-glass qualities of Haystacks in Brittany. The previous year Gauguin had experimented with a technique he learnt from a restorer. The technique, using paste, newspaper and horn irons, produced a matt surface.4His synthétiste paintings and subsequent work in Tahiti appear to have benefited from this new process. Lucina Ward 1 Written in Le Pouldu, c. 20 October 1889, to Vincent Van Gogh, in Douglas Cooper, Paul Gauguin: 45 lettres à Vincent, Théo et Jo Van Gogh. Collection Rijksmuseum Vincent Van Gogh, Amsterdam, ‘s-Gravenhage: Staatsuitgeverij, 1983, no. 36. 2 Belinda Thomson, Gauguin, London: Thames & Hudson, 1987, p. 102. 3 Gauguin also made sculpture, ceramics and prints as well as carving in wood. 4 Thomson, p. 102.

Jean Baptiste-Camille Corot trained in the Neo-classical tradition of painting, and progressively developed a highly personal vision of landscape. His stay in Italy (1825–1828) was a formative experience, since it encouraged him to study nature in the open air. In this delicate painting from the Salon of 1847, Corot has created a carefully balanced composition; the shapes of the trees leaning across the space and the surface of the river lead the eye into the painting. The work depicts the unchanged activity of fishing, yet transforms the scene into an idyllic image that emphasises the eternal harmonies between man and nature. The work is imbued with softness through the use of tone, reflection and its depiction of the sky. Corot’s influence on later painters was significant, particularly amongst the Impressionists; he was, importantly, a teacher of Berthe Morisot.

Como llevábamos desde el 14 de Junio de 2006 sin nuevos programas, hemos querido hacer un especial Astronoticias con cinco noticias científicas del máximo interés. En primer lugar, hablaremos de la confirmación experimental de que nuestros modelos de formación estelar parecen funcionar bien, porque predicen un tamaño máximo para las estrellas, y la única excepción que existía hasta la fecha, una estrella gordísima que tenía la masa de 200 soles, al final no era una, sino trina. Jesús Maíz nos explicará este descubrimiento. Después hablaremos con Javier Gorosabel de una extraña explosión de rayos gamma, un GRB, que no encaja con ninguno de los mecanismos de producción de estos estallidos que se conocen. De paso, introduciremos entre nuestros presentadores el reto El Concepto. De un descubrimiento realizado por satélites pasamos al lanzamiento de otra misión: COROT. El Astromático nos hablará de los aspectos más técnicos de la misión, y Andy Moya nos responderá a las preguntas que le haremos sobre la parte científica, que pretende encontrar planetas rocosos, tipo Tierra, en torno a otras estrellas. Claro que, hablando de planetas, la noticia científica que tuvo mayor relevancia en prensa el año anterior fue la pérdida de la condición de planeta por parte de Plutón, así que nuestro Reportero Galáctico acude al meollo de la noticia para determinar, in situ, qué es lo que ocurre. Y terminaremos con una nueva sección, con la que pretendemos abrir A Través del Universo más allá de lo púramente astrofísico, con la sección El Hombre y el Cosmos, y asistiremos a un importante descubrimiento: el intercambio de material genético entre el Hombre de Neanderthal, y la Mujer de Cromañón. Lo dicho: ¡hemos vuelto!

Since the 1995 discovery of the first extrasolar planet, more than two hundred have been identified using ground-based telescopes. COROT will be launched on 27 December 2006 by a Soyuz rocket from the Baikonur Cosmodrome, Kazakhstan, and will be placed in a polar orbit around Earth at an altitude of some 850 km. Led by the French Space Agency CNES, the COROT mission has wide European scientific and technological participation including ESA, Austria, Belgium, Brazil and Germany.ESApod video programme

Are we alone in the Universe? Are there other planets like our own orbiting distant stars? COROT, the upcoming exoplanet-hunting mission, promises to open our eyes on new, fascinating alien worlds.ESApod audio programme