Podcasts about daubigny

Come viene rappresentata la natura nella Scuola di Barbizon?Quello di Arte ve lo dice in 1 minuto! Non vi basta? Chiedete qualcosa di più nei commenti qua sotto. Troverai questo e tanti altri podcast su https://quellodiarte.com/2021/06/11/come-viene-rappresentata-la-natura-nella-scuola-di-barbizon/Vuoi richiedere una puntata di MONO della tua opera d'arte preferita? Richiedila cliccando il seguente link: https://quellodiarte.com/2021/01/11/arte-monografie-on-demand/Se vuoi scrivere a Quello di Arte l'email è quellodiarte@gmail.comPlaylist©QuellodiArte, Michelangelo Mammoliti, Answer, 2021---Come viene rappresentata la natura nella Scuola di Barbizon?L'intenzione degli artisti della scuola di Barbizon è di rappresentare la natura così come è vista con gli occhi. Preferiscono rappresentare il dato atmosferico naturale, come l'alba, il tramonto, la pioggia, mettendo fuori la visione sentimentale, personale, come accadeva nel romanticismo.Nel paesaggio che rappresenta Gli stagni di Gylieu, Charles-François Daubigny usa una pennellata fatta di piccoli e sottili tratti di colore e restituisce l'umido dell'acqua, i riflessi della luce, l'impalpabilità della natura, il degradarsi sfumato delle montagne all'orizzonte.Ha una resa fotografica, dettagliata. Il suo non è un paesaggio fermo, ma fuggevole, e questa idea di un “attimo di natura” Daubigny lo fissa ritraendo due cicogne che si sono fermate solo un attimo alla ricerca di qualche animaletto da mangiare tra le piante acquatiche, regalandoci uno scorcio dove la natura parla da sola di se stessa.

Quali sono le differenze tecniche tra la Scuola di Barbizon e la pittura dei Macchiaioli?Quello di Arte ve lo dice in 1 minuto! Non vi basta? Chiedete qualcosa di più nei commenti qua sotto. Troverai questo e tanti altri podcast su https://quellodiarte.com/2021/06/11/quali-sono-le-differenze-tecniche-tra-la-scuola-di-barbizon-e-la-pittura-dei-macchiaioli/Vuoi richiedere una puntata di MONO della tua opera d'arte preferita? Richiedila cliccando il seguente link: https://quellodiarte.com/2021/01/11/arte-monografie-on-demand/Se vuoi scrivere a Quello di Arte l'email è quellodiarte@gmail.comPlaylist©QuellodiArte, Michelangelo Mammoliti, Answer, 2021---Come viene rappresentata la natura nella Scuola di Barbizon?L'intenzione degli artisti della scuola di Barbizon è di rappresentare la natura così come è vista con gli occhi. Preferiscono rappresentare il dato atmosferico naturale, come l'alba, il tramonto, la pioggia, mettendo fuori la visione sentimentale, personale, come accadeva nel romanticismo.Nel paesaggio che rappresenta Gli stagni di Gylieu, Charles-François Daubigny usa una pennellata fatta di piccoli e sottili tratti di colore e restituisce l'umido dell'acqua, i riflessi della luce, l'impalpabilità della natura, il degradarsi sfumato delle montagne all'orizzonte.Ha una resa fotografica, dettagliata. Il suo non è un paesaggio fermo, ma fuggevole, e questa idea di un “attimo di natura” Daubigny lo fissa ritraendo due cicogne che si sono fermate solo un attimo alla ricerca di qualche animaletto da mangiare tra le piante acquatiche, regalandoci uno scorcio dove la natura parla da sola di se stessa.

Dans ce cinquième épisode, je rencontre Agnès Saulnier, responsable du musée Daubigny à Auvers-sur-Oise. Avec Agnès, on a parlé de récolement, du Japon et d'un certain Charles-François Daubigny… * Site du musée Daubigny (pour voir les expos en cours) : https://museedaubigny.com/exposition-en-cours/ Compte Instagram du musée Daubigny : @museedaubigny https://www.instagram.com/museedaubigny/?hl=fr * Réalisation et mixage : Marianne Fromencourt Crédits musique : Titre : Night / Auteur : Cloudkicker / Source : https://cloudkicker.bandcamp.com/ Licence : https://creativecommons.org/licenses/by/3.0//Téléchargement (4MB): https://auboutdufil.com/?id=547 * Ma page Facebook Musealia Podcast : https://www.facebook.com/MusealiaPodcast Mon Instagram @Boldeculture : https://www.instagram.com/boldeculture/?hl=fr

Julie D'Aubigny, detta "La Maupin", indomabile spirito libero, tra duelli e palcoscenico. Seguici anche su: YOUTUBE https://youtube.com/channel/UCSccnE9-Y9PfJC2thw-vgtg FACEBOOK https://facebook.com/mentecast/ SPOTIFY https://open.spotify.com/show/6rEXAE1nfxmfdzY9dtFYO7 SOUNDCLOUD https://soundcloud.com/user-613167048 TWITTER https://twitter.com/mentecast INSTAGRAM https://instagram.com/mentecast FONTI: https://savoirsdhistoire.wordpress.com/2017/10/05/les-aventures-de-mademoiselle-maupin-travestissement-querelles-sanglantes-et-bisexualite/ http://bastion.free.fr/maupin.htm http://www.eldacur.com/~brons/Maupin/MoreMaupinSources.html https://archive.org/stream/lamaupin167017000leta#page/n10/mode/2up https://books.google.fr/books?id=MN_Tf-tu0aAC&pg=PA203#v=onepage&q&f=false https://gallica.bnf.fr/ark:/12148/bpt6k6522446z/f64.item.r= http://www.badassoftheweek.com/lamaupin.html https://www.youtube.com/watch?v=6QaBYLAOaSY

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/

In this episode our hosts discuss the most bad ass woman they have ever heard about. Julie d'Aubigny a 17th century bisexual opera singer and master duelist.

As Blur and Gorillaz front man Damon Albarn joins the Orchestra of Syrian Musicians to open the Glastonbury Festival, John talks to Damon and Lebanese-Syrian rapper Eslam Jawaad about working and performing with the orchestra.In Inspiring Impressionism, the National Galleries of Scotland will stage the first ever large-scale exhibition to examine the important relationship between the landscape painter Charles-François Daubigny and the Impressionists, including Claude Monet and Vincent Van Gogh. Curators Lynne Ambrosini and Frances Fowle discuss.The Bethlem Museum of the Mind in South London is one of five museums and galleries in the UK to make the shortlist for Museum of the Year. In the third of our reports from the shortlisted venues, John Wilson visits the museum which cares for an internationally-renowned collection of archives, art and historic objects relating to the history of mental healthcare and treatment. The Jamaican guitarist and composer Ernest Ranglin is probably best known for Millie Small's 1964 ska version of My Boy Lollipop, but during his long career he has worked with the likes of Jimmy Cliff, Bob Marley, and jazz pianist Monty Alexander. At the age of 83, Ernest is embarking on his farewell tour, starting with an appearance at this year's Glastonbury Festival. Music journalist Kevin Le Gendre looks back on the career of the musician, and explains why he's still a hot ticket after thousands of gigs and recording sessions over almost seven decades. Presenter: John Wilson Producer: Rebecca Armstrong.

The exhibition "Daubigny, Monet, Van Gogh: Impressions of Landscape" introduces Charles François Daubigny, a relatively forgotten artist from the 1800s. It explores his landscape painting and his influence on the younger generation of artists known as the French Impressionists.

Born in Paris in 1817, Daubigny studied Dutch landscapes in the Louvre Museum and trained with painters at the French Academy. He painted this early forest view delicately and precisely, using small brushes.

Daubigny made lasting contributions to landscape painting. He invented new landscape types such as the agricultural landscape, the spring orchard, and the mid-river view. The Impressionists eagerly adopted these subjects, and learned a great deal from Daubigny’s ground-breaking experiments.

When Van Gogh settled in Auvers to seek care from the physician, Dr. Gachet, he learned with delight that Daubigny had had a home in Auvers. In mid-June 1890, he painted his first small study of Daubigny’s garden. In July, he made this larger version of the house and its property, adding the small dark figure of Madame Daubigny in the distance at the left, along with a black cat in the foreground.

After moving to Auvers in 1890, Van Gogh was drawn to the same fields that Daubigny had painted. He wrote to his brother, Theo van Gogh: “I am completely absorbed in that immense plain covered with fields of wheat against the hills, boundless as the sea in delicate colors of yellow and green, the pale violet of the plowed and weeded earth checkered at regular intervals with the green of the flowering potato plants, everything under a sky of delicate blue, white, pink and violet.”

In this picture, Monet’s low point of view—close to the water’s surface—suggests that he was working from a boat. Indeed, in 1872 or 1873 Monet set up a floating studio, emulating Daubigny.

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

This was the last canvas on Daubigny’s easel before his death in February of 1878. Here, he portrays the fields of Auvers in the early evening, as a shepherd and his flock head back to the village.

When Daubigny painted outdoors, he translated his feeling for nature into an outpouring of spontaneous brushwork. In fact, his commitment to open air painting greatly exceeded that of any other artist before the Impressionists. In this picture, using his favorite extra-wide canvas shape, he depicted the very same wheat fields that Vincent Van Gogh would portray in his famous last paintings, just 15 years later.

Every spring, Daubigny joyfully painted flowering trees. In late works such as this one, he brought his sketch style—with its broad, free strokes—into his large exhibition pictures. This was quite a change from his early, more precise way of painting.

Monet visited the Netherlands and painted this landscape near the village of Zaandam, very likely from a boat, in the manner of Daubigny. Like the older artist, Monet concentrated on the colorful reflections in the water and on capturing nuances of light and atmosphere.

At the Salon of 1864, Monet saw Daubigny’s "Cliffs at Villerville" and must have appreciated the way it captured the ever-changing light and weather at the seashore. Soon Monet created his own large picture of another stretch of beach and cliffs in Normandy, and exhibited it at the following year’s Salon, as if in dialogue with Daubigny.

Daubigny first encountered the ocean when visiting the Normandy coast in 1854. He wrote, “I see the ocean, and it is so beautiful that I don’t want to go anywhere else, and I can’t wait to work!”

After his first venture on his studio boat, Daubigny embarked on more painting trips—often for weeks at a time—in spring, summer, and fall. The pictures created on his boat trips have a watery foreground that features reflections of the sky, clouds, and trees. No one had ever painted landscapes like this; he had invented another new compositional type that everyone recognized then as highly original.

In 1857, Daubigny bought an old ferryboat and equipped it with a cabin so that he could paint the French riverbanks from the water.

Daubigny traveled extensively to paint France’s many landscapes. Here, he captures the appearance of a still pond in the hills above the Rhône Valley.

On a diagonal path alongside an orchard of flowering apple trees, a young woman rides a donkey. Behind her walk two young lovers, their heads barely visible above the fields of new grain. The scene evokes spring, with its fragrance, bursting growth, and romance. Surprisingly, this was not a common subject for painters at the time.

In about 1851, Daubigny painted this view of peasants harvesting grain in the fields just northeast of Paris. He wanted to capture the diffuse sunlight shimmering through the hazy atmosphere on a hot summer day in central France.

Daubigny loved to paint the color transformations produced by sunsets over the sea at Villerville, his favorite spot on the coast. Whereas many earlier landscapists had depicted the natural world in a state of timeless perfection, Daubigny was fascinated by the transitory conditions of nature.

Have you heard the one about the fighting, fencing, romancing, cross dressing, opera singing, bisexual, hairdressing nun? No? Well buckle up! Thanks for listening - if you can, please donate, but you can also help by sharing this episode on social media. www.zlistdeadlistcom FEATURING:   Julie D'Aubigny https://en.wikipedia.org/wiki/Julie_d%27Aubigny   With thanks to Adam Murphy @adam_T_murphy Adam Murphy is a comics artist and illustrator for The Phoenix Comic . He does a regular feature called Corpse Talk. Iszi Lawrence is a comedian and podcasterer The Z List Dead List is a podcast about obscure people from History. Created by Iszi Lawrence @iszi_lawrence To help support the show please share it with your friends and on social media. Also leave us a review on iTunes - this makes us more visible so that other people can find us. For any donations please use the paypal button. Thanks very much! MUSIC All Licenses can be viewed on www.freemusicarchive.org.Theme: Time Trades Live at the WFMU Record Fair - November 24, 2013 by Jeffery Lewis (http://www.thejefferylewissite.com)Podington bear (http://podingtonbear.com/)Chris Zabriskie (http://chriszabriskie.com/)

Interview de Benjamin Daubigny, Élève-Commissaire de la 61eme promotion, par Patrick Mistrettra , Directeur des études des métiers de la sécurité à l'IEJ de Lyon.

This is a devotional image, paying homage to science, Nature and God. Huge in its pictorial implications, the painting is nonetheless modest in size. South American landscape is one of the ‘prototype’ South American subjects the thirty-year-old Church composed before embarking on his magisterial Heart of the Andes 1859, which lifted him to first place among American artists. In South American landscape Church responds to the renowned geographer Alexander Humboldt who identified the Andes as best portraying the separate ecologies that together made the global geography. Humboldt’s theory stemmed from an expedition to South America from 1799–1804, when he and his companions travelled from tropical jungle at sea level to mountains with permanent snow. Charles Darwin, travelling to South America thirty years later – with Humboldt’s writings in hand – found evidence that a parallel to Humboldt’s adaptive ecologies existed in biology. Church, visiting Colombia and Ecuador in 1853, deliberately set out to capture in art Humboldt’s geography of the cosmos. Looking at the painting, it soon becomes apparent that this is not a landscape taken from one place. Rather, it is an assemblage of unlikely points of view which combine to overwhelming effect. Judged by photographic realism, the scene is frankly impossible; yet it is precisely because the painting lacks a governing perspective that the artist is able to suggest a scale that is measureless. Church’s concept is therefore unlike the panoramic landscapes by von Guérard, Bierstadt and Daubigny, which show the scope of a scene from a single vantage point. Church painted for an audience whose aesthetic embraced the idea that the path to inspiration was through education. Within this approach, South American landscape expresses two types of ‘truth’. One is the truth of inspired imagination; another is the minutiae of description. Knowledgeable viewers in the mid-nineteenth century used opera glasses to study the details incorporated into the picture from Church’s many field drawings. Failing a handy magnifying glass, we still view the image as a composite of separate parts, each with its own scale and perspective. Multiple possibilities offer themselves. Following the path of light from a bridge and waterfall gleaming in the chasm on the left, the eye is led vertically to a church poised on the peak of a mountain. The dark, sheer rugged country between those signs of human habitation conveys a subliminal message that the eye may travel where a human body cannot. Another kind of separation is implied on the other side, where a figure strolls towards us along a sun-striped path. A giant in comparison to the trees flanking the path, the figure is likewise strangely dissociated from the scene by a nonchalant disregard for what it portends. Behind is a tumescent mountain capped with snow, hazed and ruddy-coloured below, where it rises from a labyrinth of impassable mountains and bottomless clefts. This scene cannot conform to practicable travel, even tourism to the exotic: it is visionary. The urgency of Church’s vision of natural ecology is relevant again in our time. The canvas suggests vast natural rhythms of an ongoing natural evolution on a scale that stretches human faith and imagination. Disjunctive landscape forms and abrupt conjunctions of tones and colours enforce incredible combinations, whereby a tropical palm is cheek-by-cheek with eternal snow. The idea of order seems interchangeable with cosmic disorder. Mary Eagle