Podcast appearances and mentions of diego vel

We often assume that art and genius are the playground of the youth. Well, while giving himself an education in art during a vacation in Spain, Amit realised that all the great Spanish masters did their most powerful work in old age, when thehraav met mastery. The light in winter is different.Welcome to Episode 97 of Everything is Everything, a weekly podcast hosted by Amit Varma and Ajay Shah.In this episode, Amit expands on his observation about the artistic possibilities of old age, while introducing the lives and work of Diego Velázquez, Francisco Goya, Pablo Picasso and Joan Miro. Also featured: Salvador Dali, U2, Bob Dylan, Penelope Fitzgerald and Wim Wenders.TABLE OF CONTENTS: 00:00 Packaging00:13 Intro: A Vacation & an Education04:34 Chapter 0: Museums and Narratives07:26 Chapter 1: Diego Velázquez and Lal Meninas19:32 Chapter 2: Francisco Goya and the Black Paintings31:42 Chapter 3: Pablo Picasso Likes to Play47:56 Chapter 4: Joan Miró Strips It Down54:47 Chapter 5: More Late Mastery1:04:51 Chapter 6: RecommendationsFor the full awesome show notes, click here!

Join Elevated GP: www.theelevatedgp.com Free Class II Masterclass - Click Here to Join Follow @dental_digest_podcast Instagram Follow @dr.melissa_seibert on Instagram   Diego Velásquez, DDS, MSD is a graduate of the Pontificia Universidad Javeriana School of Dentistry, Colombia. He holds certificates in Prosthodontics and Dental Materials, a Master's degree in Science of Dentistry (Indiana University) and a certificate in Periodontics and Dental Implants (The University of Texas Health Science Center at San Antonio). Dr. Velasquez works in private practice in Fenton, Michigan and is an Adjunct Clinical Assistant Professor at the School of Dentistry of The University of Michigan. He is a Diplomate of the American Board of Periodontology and is a member of the peer review panel of the Journal of Periodontology, Clinical Advances in Periodontics, and former consultant of The International Journal of Periodontics and Restorative Dentistry. He is part of the Expert Council of The Osteology Foundation. He is past president of the Midwest Society of Periodontology, Michigan Periodontal Association and The American Academy of Periodontology Foundation.

Charlamos con el periodista Carlos del Amor sobre su nueva novela, 'Una dama desconocida', en ella parte de un email que le llegó de un tal Santi, doctor en Historia del Arte, que dijo haber encontrado un retrato inédito que podría ser obra de Diego Velázquez.

Join Elevated GP: www.theelevatedgp.com Free Class II Masterclass - Click Here to Join Follow @dental_digest_podcast Instagram Follow @dr.melissa_seibert on Instagram   Diego Velásquez, DDS, MSD is a graduate of the Pontificia Universidad Javeriana School of Dentistry, Colombia. He holds certificates in Prosthodontics and Dental Materials, a Master's degree in Science of Dentistry (Indiana University) and a certificate in Periodontics and Dental Implants (The University of Texas Health Science Center at San Antonio). Dr. Velasquez works in private practice in Fenton, Michigan and is an Adjunct Clinical Assistant Professor at the School of Dentistry of The University of Michigan. He is a Diplomate of the American Board of Periodontology and is a member of the peer review panel of the Journal of Periodontology, Clinical Advances in Periodontics, and former consultant of The International Journal of Periodontics and Restorative Dentistry. He is part of the Expert Council of The Osteology Foundation. He is past president of the Midwest Society of Periodontology, Michigan Periodontal Association and The American Academy of Periodontology Foundation.

Maarten en Tom over de Spaanse kunstschilder Diego Velázquez.

durée : 00:59:21 - Toute une vie - par : Martin Quenehen - Écoutez le portrait du peintre Diego Velasquez, raconté à travers sa vie et son œuvre. - invités : Véronique Gérard-Powell Maître de conférences en histoire de l'art à la Sorbonne, spécialiste de l'art espagnol.; Claudie Ressort Chargée d'études honoraire du Louvre.; Araceli Guillaume-Alonso Maître de Conférences, UFR d'Études ibériques et latino-américaines de l'Université Paris IV.; Jean-Louis Andral Directeur du Musée Picasso d'Antibes.; Herman Braun-Vega Peintre.; Jacques Darriulat Ancien enseignant en philosophie en classes préparatoires au lycée Henri IV puis à la Sorbonne, auteur du site http://www.jdarriulat.net

Hace más de cien años, los hermanos Ortiz de Taranco, de ascendencia española, construían el Palacio Taranco, donde desde la década de los 70 funciona el Museo de Artes Decorativas, ubicado en Ciudad Vieja. Además de alojar parte del mobiliario y la decoración original, el Museo alberga una colección de pinturas y esculturas europeas de gran valor histórico y artístico. Justamente, la semana pasada el Museo puso en exposición el tapiz "La rendición de Breda", una reproducción en seda de la pintura de Diego Velázquez del año 1635, entregado a la familia Ortiz en 1920. La pieza estuvo conservada en mal estado durante años. Hasta que, en 2023, con la ayuda de la Comisión de Patrimonio, el Museo pudo concretar su restauración, un proceso que llevó nueve meses y se realizó durante el años pasado en España. Para la historia de los museos en Uruguay, este trabajo es un hecho sin precedentes en la conservación de objetos históricos y patrimoniales. Por primera vez, una pieza de tan grandes dimensiones (pesa 50 kilos) se manda a restaurar a Europa, nada menos que a la Real Fábrica de Tapices de Madrid, la misma que lo confeccionó la pieza hace más de 100 años. ¿En qué consistió este proceso? ¿Cuál es la historia detrás de esta pieza? ¿Qué trabajo hace hoy el Museo de Artes Decorativas? Conversamos En Perspectiva con Micaela Villalba, arquitecta y directora del Museo de Artes Decorativas del Palacio Taranco.

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1==================================================== DEVOCIÓN MATUTINA PARA ADULTOS 2025“CON JESÚS HOY”Narrado por: Exyomara AvilaDesde: Bogotá, ColombiaUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist Church ===================|| www.drministries.org ||===================19 de EneroUn día lo comprenderás«Lo que yo hago, tú no lo comprendes ahora, pero lo entenderás después» (Juan 13: 7).No hace mucho tuve el privilegio, junto con unos queridos amigos, de volver a visitar uno de mis sectores preferidos del famoso Museo del Prado de Madrid, de nuevo sentí una emoción especial al contemplar el impresionante Cristo muerto en la cruz, una de las obras maestras del famoso pintor Diego Velázquez, y mi preferida.Se me ocurrió pensar que una hormiga que se pasease sobre ese cuadro, o sobre cualquier otro, no vería más que manchas y sombras sin sentido. Pero no porque el cuadro fuera así, sino porque a la hormiga le faltaría la perspectiva y la inteligencia necesarias para verlo. El sentido no tenía que inventárselo ella, porque ya estaba en el cuadro; solo tenía que descubrirlo.Pienso que el sentido del misterioso plan divino para salvarnos, evocado por ese Cristo clavado en la cruz, no es algo que nosotros proyectamos sobre los acontecimientos de la historia, de los que Jesús de Nazaret fue la víctima protagonista: es algo que está por encima de los acontecimientos observables, aunque, como la hormiga, solo los veamos como parte de un enigma. El mundo está envuelto en un misterio que, como Pedro, no captamos más que parcialmente. Necesitamos tiempo y reflexión para poder iniciarnos en él. Y como le pasaría a la hormiga, ¡qué difícil nos resultaría explicarlo!Los seres humanos somos capaces de captar solo parte de la imagen del plan de salvación. Necesitamos confiar en el autor de esa gran obra y aceptar ---por fe, esto es la fe -que lo que parece caótico y absurdo tiene sentido.Los seres humanos, dotados de inteligencia y capaces de buscar la verdad de lo que no entendemos, no somos como esa hormiga, que por mucho que recorra el cuadro de Velázquez jamás lo disfrutará. Dotados de razón y de voluntad, podemos, si que buscar el sentido de nuestra vida, antes de pretender asegurar que no lo tiene. Jesús le pidió a Pedro que tuviera paciencia para entender más adelante lo que no era capaz de comprender entonces. Y Pedro consiguió ver tan claramente el sentido de las enseñanzas de su Maestro que, más tarde, en sus escritos, nos instó a estar siempre preparados para defender con respeto y humildad el sentido de nuestras más profundas convicciones (1 Ped. 3: 15). 

Radcliffe takes inspiration from masters of the form, like John Singer Sargent and Diego Velázquez, but his work expands the canon of who gets to be a subject of fine art.

Conocer las tumbas de personajes ilustres es un destino de las rutas culturales. Eso es imposible en Madrid si se quiere rendir homenaje a grandes escritores como Cervantes, Lope de Vega y Calderón de la Barca o al pintor Diego Velázquez. Eran creadores brillantes cuyos restos se han perdido. Ellos son los protagonistas de este episodio del pódcast Madrid Punto Cero. Por Ana-Lidón Sánchez. Músicas -Obra: Sólo los Valientes -Música de https://www.fiftysounds.com/es/ -Obra: Sarabanda -Música de https://www.fiftysounds.com/es/

Auntie finds comfort and passion. by  Jism786. Listen to the Podcast at Steamy Stories. Significant changes started occurring after my Aunt stopped wearing her black attire. Since the funeral, she had been wearing nothing but black, but she was back to her everyday wear after two weeks. The truth was that her black clothes just didn't cut it when it came to working on the farm. However, with this change also came some unexpected challenges. I couldn't help but stare at her after she started wearing her everyday work clothes.  Her work jeans hugged tightly around her legs and butt, and it was lovely to see her walk to and fro.Her behind was plump, and her jeans only highlighted its perfection. I had always known her breasts were relatively large but watching her walk around the farm and house really extenuated the bosom she possessed. She was truly well endowed in this respect. The years had taken some of the perkiness away, but in its place, a beautiful supple body now remained. One day, as I was working on a fence near the barn, I saw her washing some rags on an old fashioned washboard. The way her breasts moved freely as she plunged the rags up and down the board was hypnotizing. If she was wearing a bra, it wasn't helping. Her shirt wasn't skin tight but tight enough to see the roundness of their shape as they bounced up and down. I soon felt my cock pulsating in my jeans, and I couldn't help but stand up as my cock rectified itself longways down my leg. I felt ashamed and embarrassed at my reaction, but what could I do. It had been weeks since I had any sort of release. I had no girlfriend back home, and I didn't really feel like masturbating in the house of my dead Uncle. It also didn't help that I was now sleeping in my cousin's room. That night, however, I was unable to keep myself from stroking my cock. In the silence of the night, I pictured my Aunt on that washboard. Soon I was shooting cum into the air, and at once, I was plagued with guilt. A few weeks turned into two months of working on the farm. I had decided about my future; I love this life, and I'm going to stay here. I actually loved the farm life. A few days after making my decision, I worked like a machine, repairing fences, and didn't' stop until the sun went down. By the time I got back from the field, a heavy rainstorm had started to unleash its fury, and I was completely soaked. My Aunt had dinner waiting, and I wasted no time in changing and eating the hearty meal. After dinner, we went out on the porch to watch the rain coming down. It was really pouring, and I couldn't help but smile as my Aunt cuddled next to me. She shuddered after every thunderclap, and I couldn't help but feel more manly as she took comfort at my side. After a while, it became too windy, and we decided to head inside. We were sitting in the living room when she suddenly said, “Do you mind sleeping in my room tonight? I'm kind of a scaredy-cat when it comes to thunder.” “No, I don't mind, Aunt Rose,” I replied, maybe a little too quickly. “It's just, I never really liked lightning and thunder….” she trailed off. “Your uncle…your uncle used to tease me about that,” her voice wandered off as she remembered her dead husband. “It's okay. I'll help you feel safe…,” I said. I had planned to not act on my natural tendencies and behave as gentlemanly as possible. I had fought the battle in my head already, and I had won. I would only comfort her and nothing more. I held her all through the night as the lightning and thunder prevailed long into the night. Although I had decided to not cross the moral line, my body didn't know any better. My cock throbbed against my Aunt's back and remained so well into the night. Like a strong, dark guardian holding vigil, my cock rested against her sleeping body. I struggled to sleep as I considered the fact that my Uncle had slept on this same bed. Perhaps he had made love to her only days ago, and yet here I was in his place. I awoke a few times to hear my Aunt sobbing quietly and would only wrap my arms tighter around her to assure her that I was there to protect her. I had a lot of work the next morning due to the storm. For eight hours, I worked diligently, replacing shingles and repairing things around the farm that had gotten damaged by the devastating wind. By the end of the day, my body ached. Small blisters had appeared on my hand from where I had gripped the hammer. My Aunt had always been attentive to my needs, but I immediately noticed a change in her demeanor when I went into the house. Where before, she had treated me as her young, clueless nephew, she now spoke to me no different than a wife would talk to a husband. “What would like to eat, dear?” She asked while she folded my coat. “I'll eat anything,” I told her. “I'm starving.” “Alright then, spaghetti it is…” she said. “Maybe later, I can give you a massage honey, it looks like you can use it,” she added. Indeed I really could use one. My arms and back were burning, and I knew I would enjoy having my Aunt feeling me up after a long day's work. “Yeah that sounds nice,” I replied. “You better get washed up then,” she said suggested. I headed into the shower and stripped my clothes. I slid back the clear glass door of the shower and stepped inside as the warm water started to steam up around me. I had small cuts on my hands, and using the soap stung them as I washed. Nevertheless, I persevered and cleaned as best I could. I was fully lathered in soap when I heard a knock at the door. “Yes?” I called out. “Honey, I have a wash going do you have your clothes in here? I didn't see them in your room.” She said. “Yeah, they're in here,” I replied as I tried to wash some of the soap off my face. Slowly the door creaked open, and I saw my Aunt gingerly step in. I had left my clothes right outside the shower door, so she had no choice but to venture all the way inside. Unlike the day before, I found myself lacking any sense of embarrassment. Having held her all through the night had given me a confidence that had not been there before. That and the fact that I had worked my ass off gave me a sense of empowerment that I really liked. I watched my Aunt's eyes as she desperately tried to concentrate on the pile of clothes. Although the steam did provide some cover, it wasn't enough to stifle her curiosity. As she leaned down to pick up the pile of clothes, my cock pulsated, slowly growing aware of the presence of the female before it. After each heartbeat, it gained strength. By the time she had all my clothes in her hands, my cock was already at full mast, with water trickling off its tip. As she went to stand up, her gaze wandered until it finally locked onto my engorged member. As soon as I saw her fixated, I stabbed my cock sideways against the glass. The glass door rattled, and my Aunt fell backward while clutching my clothes tightly against her bosom. “John honestly!” She stammered. I laughed out loud at her befuddlement. Quickly she gathered herself and walked out of the bathroom. I gave my cock a few short strokes but decided not to release my load, considering I would be getting a massage from my Aunt shortly. Although I had committed myself not to cross the line, I found myself not trying very hard. Subconsciously, I wanted to seduce my full-figured Aunt. I had become infatuated with every part of her body. Her hips had been difficult to ignore. They reminded me of the hips in a Venus painting I had once seen. ( Nude Venus at Her Mirror Painting by Diego Velázquez ) I loved how smooth her skin was, and thinking about rubbing my hard cock against it made me want her even more. I finished my shower with my hard-on intact. I put on some clean underwear and went to the kitchen to eat supper. Rose looked at me and said, “I've noticed that you've gotten into the habit of coming in here like that, dear.” “Like what?” I asked. “In just your underwear, dear,” she replied. I looked at her and said, “It's more comfortable after working outdoors all day. Do you want me to put on some clothes?” “Umm, no dear, it's not necessary. I'm just not used to it.” Rose plated our meals and brought them to the table. We ate and had a casual conversation about the farm and the neighbors. When we finished eating, Rose cleared the table, and I helped her wash the dishes. “Thanks for the help with the dishes, dear. You didn't have to, you know,” Rose said, and kissed my cheek. “You cook, wash my clothes, and take care of me. It's the least I could do,” I replied. “Are you ready for your massage, dear?” she asked. “Give me a minute,” I said, “I'll meet you in the living room.” I went to the bathroom, took off my underwear, and wrapped a towel around my waist. As I stared down the hallway, I was entranced by my Aunt, who was sitting Indian-style, reading a book. She was wearing short pink shorts, which said “lovable” across the back. I remember admiring how the word stretched slightly due to the ample size of her ass. She had a short button-up blouse, but her tits were partly visible through the gaps between each button. It also didn't help that she had not fastened the top three buttons. She had her reading glasses on, and her brown hair fell down the left side of her face. She looked a lot younger, sitting like that next to the fireplace. In a daze, I walked towards her with only the small white towel wrapped around me. Before I made my presence known, she put her book down and stretched. Her arms reached for the ceiling, and her back arched like a limber gymnast. Her breasts pushed hard against her blouse, and the buttons strained to contain the bounty she possessed. As she lowered her arms, she saw me. “Honey, aren't you going to put some clothes on?” Rose asked incredulously. “I thought you were going to give me a massage,” I said in a child-like voice. “Well yeah, but you could put some clothes on you know…” she said. “No, its okay. I don't want to get any oil on them, ” I said quickly when I saw the bottle of oil next to her. “hmm… makes sense I suppose,” She said slowly and thoughtfully. She was gauging my intentions, I could clearly see. She extended a bath towel on the carpet and laid a pillow on one side. “Well, come over here,” she beckoned with both hands. I strode towards her, and I could see her eyeing my body behind the glare of her glasses. Watching her do this made me even more excited. I laid face down and unwrapped the towel, letting it cover my ass. Soon after, I felt my Aunt's weight over me as she straddled me. I could feel her soft legs with my hands as she started massaging my shoulders. I could see her shadow against the wall, and I could already imagine her breasts swaying back and forth as she ran her hands across my back. “You're back is really tense hon,” she said finally. “That's all muscle Aunt Rose,” I said coyly. “Ain't that the truth…” she trailed off. Soon she slid down to my legs and started working my calves. Slowly she inched her way upwards until she reached what the towel-covered. I felt a slight hesitation before her hands slid under the small towel. Her hands were right on my butt, and I could not help but wonder whether she could see my balls. I could feel the cool air on them, so it made sense that she should be able to see them. My cock had grown slightly limp under my weight, but I knew the moment it got some room, it would go full mast once again. “Are you sore here?” My Aunt asked shyly. Her hands squeezed my ass very softly. “A little,” I said quietly. Slowly she started to massage my ass. The towel was now flipped up on my back. “Your butt is nice and hard,” she said, her voice a little high. “Thanks,” I said, laughing a little. After a few minutes, she asked me to flip over. A couple of things happened at once when I did. I flipped over, not thinking twice about covering myself. My Aunt had turned around to grab a small cloth and squeeze some more oil out of the bottle. She hesitated only slightly before turning back to face me. My cock was growing exponentially while my eyes feasted on the sexy mature female before me. You can imagine my Aunt's reaction when she turned. She instantly realized her nephew's young hard cock was fully displayed before her. “That looks nice and hard too…” she said a little breathlessly. Her eyes were locked on my cock. “John are you always that hard?” She asked as she remembered my hard-on from that morning. “Most of the time, yes,” I answered as I sat up to see her better. The motion made my cock sway side to side like a pendulum. “Does it hurt?” she asked curiously. “Not at all.” I said as I gingerly grabbed it and released it nonchalantly. After a few seconds of silence, I saw her inch towards me. Slowly but deliberately, her hand reached for my cock, and soon her fingers clasped around my shaft. Immediately I flexed and push my pelvis upwards, essentially engorging my cock in her hand even more. I liked the tight feeling of her hand and laid back down, relishing the sensation. Soon she was stroking me slowly. She did this for a few minutes before I heard a quiet sniffle. She had started to cry. I quickly sat up, and she said, “I loved your uncle very much you know.” I felt sick thinking that I had made a mistake. Guilt rose in me like never before. “We don't have to do this if you don't want to Aunt Rose,” I said cautiously. “No baby, It's not that…” she wiped her tears. “I'm not sad… I just really miss your Uncle. I'm so happy you are here taking care of me, I don't know how I'll ever repay you,” I sat up even straighter and kissed her. Our lips locked together, and our tongues caressed one another in a hot mess. I hurriedly reached up under her blouse and finally… finally… got a hold of one of her glorious tits. I squeezed tightly and immediately fell in love with their malleability and weight. My Aunt was in an awkward position, but still, she didn't stop stroking her oily hand up and down my shaft. She alternated her hand movements by using a twisting motion, and I could tell she was loving each vein and contour her hand could feel around my cock. I couldn't help but wonder whether having milked so many cows had made her an unknowing expert on hand jobs. Having gotten the green light, my natural reproductive instincts took over. I tore my Aunt's blouse off completely and cupped both breasts. I'm able to palm a basketball without much trouble, but I still found myself with my hands full of her wobbly breasts. I attacked each nipple with the same energy that a hungry calf has after being apart from its mother for too long. I sucked on each breast vigorously, and when I was too eager, my Aunt pulled my hair slightly, effectively taking control of how I feasted on her. After a couple of minutes, I stood up and quickly presented my cock to her. She shifted from her sitting position to a kneeling one, her breasts swaying slightly. She was about to envelop me with her mouth when I unexpectedly bent down and stabbed my cock into her hard nipples. “Jesus you can't get enough of those can you?” she asked as I rubbed my cock up and down against her hard nipples. Instead of replying, I grabbed her hands and made her squish her tits together. I thrust my cock into the fold. The head of my cock was visible only after every upward thrust. I loved watching my Aunt's eyes light up as I grunted and fucked her tits faster and faster. Finally, after having had my way with her breasts, I tempted her into taking me into her mouth. It wasn't challenging to get her to open her mouth. She had tracked my cock the second I had pulled it out of her breasts. She watched it with the same level of attention that a female dog gives to a treat it's about to receive. I swayed it side to side in front of her, and her mouth opened probably without her even knowing it. She was leaning forward and just about to wrap her lips around it when I pulled away. She quickly looked up with a face of confusion and disappointment. I smiled at her, and she responded by making a funny, angry face. “Okay, okay,” I said as I offered her my cock once again. Precum dangled on the tip of my cock; it pulsed in my hand. Aunt Rose crossed her arms and looked up and away in a classic fashion of “I'm not interested.” I regretted my teasing immediately. I watched her and examined her. Her breasts were squished underneath her arms, but they were falling and rising as she breathed. I couldn't help it… I pushed the head of my cock against her pursed lips. The precum covered her lips like a lip balm as I stroked my tip across them. She opened her eyes and looked up at me. Her eyes smiled, but her lips remained closed. She was making groans in anticipation. Finally, and to the great relief of my cock, I was able to coax her into opening her mouth. My guess is that the precum had given her a taste of what I had. Slowly she opened her mouth, and the mushroom head of my cock spread her lips wide. My cock filled her mouth, and at once, my cock felt at home. Soon she had one hand fondling my heavy balls while the other hand rested on my thigh, supporting her as she took long gulps of my cock. She struggled to take the last ½ inch in, but from time to time, she would grab my ass and push herself until my cock disappeared entirely into her mouth. It felt like my heart was pounding in her mouth. Small amounts of saliva dripped off the side of her mouth as she tried to sweet talk my cock into cumming. “I can't believe how hard it is,” she gasped as she took a small break and examined my cock with the help of the firelight. “You could probably hang your coat on it,” I laughed. “No kidding,” she said as she pulled a small black hair from her mouth. I noticed she was about to stand up and offered her my hand, which she took with a degree of elegance I knew she had always possessed. We kissed once again, and now I found my hand rubbing her pussy. Her light pink shorts had unmistakably grown darker between her legs, and I couldn't help but start pulling down on her shorts. She knew what I wanted and proceeded to pull her shorts down on her own. My cock was next to her face as she slipped the shorts out from underneath her. Before rising to meet my gaze again, she kissed the tip of it. It pulsed in delight, having received such affection. We embraced again, with my cock stabbing at her stomach. After breaking the embrace, I got on all fours and pushed my face upwards into her pussy, trying to breathe her in. Like a crazed dog, I moved her panties to the side and licked her wet pussy. She cooed in ecstasy. I had only licked her for a few seconds before my cock started surging in anticipation. I wanted to be inside her. Without a word, I stood up and turned her around. My Uncle's old armchair was right next to us, and it gave her a perfect perch. Her ass and pussy were fertile, and my male instincts took over. I pulled her panties to the side and saw her pussy contracting and relaxing slowly. I slapped both ass cheeks and ran my cock up and down her ass crack. I tapped it upwards on her pussy, and finally, I pressed the shaft of my cock onto her pussy. This was it. There was no turning back. She was my Aunt yes… but she was also a luscious female in heat; I couldn't ignore that even if I tried. Damn the morality of such an act; I didn't care. It didn't matter that my father had entrusted her to me. It also didn't matter that I was so much younger than her. My cock was strong and hard, and her pussy was wet and soft. Her husband was dead, and her daughter was away. She was mine for the taking. I got on my tiptoes and flexed my entire body. My hands on her hips, and my cock primed and eager to enter her. "God damn it, just put it in alrea..." She didn't finish her sentence. I cut her off by plunging my thick 7″ cock deep inside of her. She bucked like a wild mare and arched her back like a cat as I pressed my cock deeper and deeper, filling her hot pussy completely. I gripped her ass and stirred my cock in a figure-eight pattern. I probed all around and felt her from the inside out. Meanwhile, she tried to spread her stance. Pretty soon, she had given me the appropriate height to commence my furious assault. I pounded her rhythmically while watching her ass cheeks jiggle gently after every thrust. I reached down and grabbed her left breast. Her pussy tightened and relaxed as my glistening cock entered and exited her. I was relentless. She exhaled loudly, and I could see her hair sticking to the side of her face. The fire had kept us warm, but now we were burning as we continued in our sinful embrace. Her pussy felt like heaven around my cock. Her pussy was the perfect size for my thick cock, and her ability to squeeze me inside her gave me a new appreciation of the physique of a hard-working woman. Her panties rubbed against my cock; I had her hold it to the side with one hand as I continued to pound her from behind. The loud clapping sound coming after every full thrust filled the room. The crackling fire was muted as her moans and grunts echoed my efforts. After a couple of minutes, I could feel her body spasm in front of me. Her legs quivered, and she screamed, "I'm cumming!!!" She tried to pull away, looking for some respite, but I was also on the verge of exploding inside her. I brought her in close and fucked her in a blind frenzy, faster than I had ever fucked before. I was like an engine piston at full throttle. Her pussy squirted and wet everything but the ceiling. My cock and balls dripped with her love juices; both our legs sparkled after being coated with her essence. When I felt the first stream of cum racing down my hard cock I had no choice but to slow down. It didn't stop me, however, from driving my cock as deep as possible. I came like never before. Both my balls emptied into her. I stayed there cumming inside her for 3 minutes straight, pushing deeper, without pulling back. My sperm was injected deep inside her, and we both knew she would be pregnant. We were both breathing hard and her legs still quivered underneath me. She went to kneel down, and I followed her, my cock remaining inside her. I was like a dog whose knot anchored him to his bitch. I rested on her back until finally, I pulled my cock out. Cum poured out of her pussy, but I knew most of it had stayed inside. We kissed and felt each other there on the floor and fell asleep naked, our legs entwined with one another. I had bred my Aunt Rose and found a love I didn't know existed. The following morning, Aunt Rose and I were sitting in the kitchen, just chatting, when I turned to her and said, "Rose, I've decided not to return to college. I want to stay here and help you run the farm. I love this life and hated college, I felt like a cog in a huge machine." She looked at me, surprised, and said," John, are you sure that this life is what you want? As you've already found, it's not exciting like in the city. What about your future?" I looked into her eyes and stated, "Rose, this is the life I want; it IS my future. I've fallen in love with it." "John, are you absolutely sure that your decision isn't based on the sex we had?" she asked. Still looking deep in her eyes, I state, "Rose, I'm sure you'll agree that the sex was great, but that's not the reason I want to stay. I've grown to love the hard work involved in running this place. I've learned more useful information in the past couple of months then I did during a year in college. I believe this farm is my future, will you share it with me?" "Oh, John," Rose stated breathlessly," You've made me so happy with your decision. I don't think I could run the whole thing by myself." "There's another reason I want to stay, Rose. I've grown to love you, not as a nephew, but as your lover." She took my hand and kissed it, then said, "John, as you are well aware, your Uncle died two months ago. He always told me that if something happened to him, I should find someone else to love. As short as the time has been since he passed, I believe that I've found that someone; you. We can't be married, but will you live with me, as my husband?" I returned the gesture and said," Only if you'll live with me, as my wife." I then continued," I need to call Mom and Dad this evening and let them know that I'm staying here and not going back to college." After we ate supper and cleaned the kitchen that evening, I pulled out my cell phone. "Call them now," Rose exclaimed, "Just be sure not to say anything about 'us'." I put the phone on speaker and dialed Dad's cell number. He answered and said, "Hold on, I'm putting the phone on speaker so Mom can also talk." I heard him call Mom over, then heard her say, "Hi John, how are you?" I told them I was doing well, and so was Aunt Rose. I then proceeded to tell them why I called, " Mom and Dad, I've made a decision about my future. I'm not going back to college, I'm going to stay here and help Aunt Rose with the farm. I've come to love the farm life and this is what I want to do for the rest of my life." Dad said," While I'm disappointed that you won't go back to college, I'm proud that you finally made a decision about what you want to do with your life. It also lifts my apprehension about what your Aunt was going to do when you left." Mom then chimed in with," Are you sure that's what you want, Honey?" "Yes Mom, I'm absolutely sure," I replied. "Okay then," said Dad, "I'm going to transfer the balance of your college funds into your personal checking account. Use the money as you need it, but don't go nuts." "I won't Dad. There's still money left from your original deposit," I chuckled. "Is Aunt Rose handy?" Dad asked. "She's been listening to our whole conversation, Dad," I replied. "Hi Rose," he stated, "Has John been behaving himself?" "Yes, Tom, he has," she stated, then continued," He works as hard as James did and has even made some improvements to the house. He told me about his decision this morning. I couldn't be happier, although I am surprised. It has taken a huge weight off of my shoulders. I don't know what I would have done without him here. Thank you so much for suggesting it." "Rose, you know I'd do anything for my sister," replied Dad. "I know you would, Tom. I'm just extremely surprised that a man as young as your son is just as generous as you." "His decision has made me very proud," said Dad. "I just wanted him to let you know about his decision. We'll be going now," said Rose. "Okay," said Dad, "You continue taking good care her, John. You've made us very proud. Goodnight." "Goodnight Dad, goodnight Mom," I replied and disconnected. I turned to Rose and opened my arms. She came to me, and we kissed passionately. I broke the kiss and whispered in her ear, "My wife, are you ready to go to bed?" She whispered back to me," Only if we're going to fool around, my husband." And so it was that we became a 'married couple' instead of lovers. A month later, it was confirmed, my 'wife' was pregnant. by  Jism786 for Literotica.

Auntie finds comfort and passion. by  Jism786. Listen to the Podcast at Steamy Stories. Significant changes started occurring after my Aunt stopped wearing her black attire. Since the funeral, she had been wearing nothing but black, but she was back to her everyday wear after two weeks. The truth was that her black clothes just didn't cut it when it came to working on the farm. However, with this change also came some unexpected challenges. I couldn't help but stare at her after she started wearing her everyday work clothes.  Her work jeans hugged tightly around her legs and butt, and it was lovely to see her walk to and fro.Her behind was plump, and her jeans only highlighted its perfection. I had always known her breasts were relatively large but watching her walk around the farm and house really extenuated the bosom she possessed. She was truly well endowed in this respect. The years had taken some of the perkiness away, but in its place, a beautiful supple body now remained. One day, as I was working on a fence near the barn, I saw her washing some rags on an old fashioned washboard. The way her breasts moved freely as she plunged the rags up and down the board was hypnotizing. If she was wearing a bra, it wasn't helping. Her shirt wasn't skin tight but tight enough to see the roundness of their shape as they bounced up and down. I soon felt my cock pulsating in my jeans, and I couldn't help but stand up as my cock rectified itself longways down my leg. I felt ashamed and embarrassed at my reaction, but what could I do. It had been weeks since I had any sort of release. I had no girlfriend back home, and I didn't really feel like masturbating in the house of my dead Uncle. It also didn't help that I was now sleeping in my cousin's room. That night, however, I was unable to keep myself from stroking my cock. In the silence of the night, I pictured my Aunt on that washboard. Soon I was shooting cum into the air, and at once, I was plagued with guilt. A few weeks turned into two months of working on the farm. I had decided about my future; I love this life, and I'm going to stay here. I actually loved the farm life. A few days after making my decision, I worked like a machine, repairing fences, and didn't' stop until the sun went down. By the time I got back from the field, a heavy rainstorm had started to unleash its fury, and I was completely soaked. My Aunt had dinner waiting, and I wasted no time in changing and eating the hearty meal. After dinner, we went out on the porch to watch the rain coming down. It was really pouring, and I couldn't help but smile as my Aunt cuddled next to me. She shuddered after every thunderclap, and I couldn't help but feel more manly as she took comfort at my side. After a while, it became too windy, and we decided to head inside. We were sitting in the living room when she suddenly said, “Do you mind sleeping in my room tonight? I'm kind of a scaredy-cat when it comes to thunder.” “No, I don't mind, Aunt Rose,” I replied, maybe a little too quickly. “It's just, I never really liked lightning and thunder….” she trailed off. “Your uncle…your uncle used to tease me about that,” her voice wandered off as she remembered her dead husband. “It's okay. I'll help you feel safe…,” I said. I had planned to not act on my natural tendencies and behave as gentlemanly as possible. I had fought the battle in my head already, and I had won. I would only comfort her and nothing more. I held her all through the night as the lightning and thunder prevailed long into the night. Although I had decided to not cross the moral line, my body didn't know any better. My cock throbbed against my Aunt's back and remained so well into the night. Like a strong, dark guardian holding vigil, my cock rested against her sleeping body. I struggled to sleep as I considered the fact that my Uncle had slept on this same bed. Perhaps he had made love to her only days ago, and yet here I was in his place. I awoke a few times to hear my Aunt sobbing quietly and would only wrap my arms tighter around her to assure her that I was there to protect her. I had a lot of work the next morning due to the storm. For eight hours, I worked diligently, replacing shingles and repairing things around the farm that had gotten damaged by the devastating wind. By the end of the day, my body ached. Small blisters had appeared on my hand from where I had gripped the hammer. My Aunt had always been attentive to my needs, but I immediately noticed a change in her demeanor when I went into the house. Where before, she had treated me as her young, clueless nephew, she now spoke to me no different than a wife would talk to a husband. “What would like to eat, dear?” She asked while she folded my coat. “I'll eat anything,” I told her. “I'm starving.” “Alright then, spaghetti it is…” she said. “Maybe later, I can give you a massage honey, it looks like you can use it,” she added. Indeed I really could use one. My arms and back were burning, and I knew I would enjoy having my Aunt feeling me up after a long day's work. “Yeah that sounds nice,” I replied. “You better get washed up then,” she said suggested. I headed into the shower and stripped my clothes. I slid back the clear glass door of the shower and stepped inside as the warm water started to steam up around me. I had small cuts on my hands, and using the soap stung them as I washed. Nevertheless, I persevered and cleaned as best I could. I was fully lathered in soap when I heard a knock at the door. “Yes?” I called out. “Honey, I have a wash going do you have your clothes in here? I didn't see them in your room.” She said. “Yeah, they're in here,” I replied as I tried to wash some of the soap off my face. Slowly the door creaked open, and I saw my Aunt gingerly step in. I had left my clothes right outside the shower door, so she had no choice but to venture all the way inside. Unlike the day before, I found myself lacking any sense of embarrassment. Having held her all through the night had given me a confidence that had not been there before. That and the fact that I had worked my ass off gave me a sense of empowerment that I really liked. I watched my Aunt's eyes as she desperately tried to concentrate on the pile of clothes. Although the steam did provide some cover, it wasn't enough to stifle her curiosity. As she leaned down to pick up the pile of clothes, my cock pulsated, slowly growing aware of the presence of the female before it. After each heartbeat, it gained strength. By the time she had all my clothes in her hands, my cock was already at full mast, with water trickling off its tip. As she went to stand up, her gaze wandered until it finally locked onto my engorged member. As soon as I saw her fixated, I stabbed my cock sideways against the glass. The glass door rattled, and my Aunt fell backward while clutching my clothes tightly against her bosom. “John honestly!” She stammered. I laughed out loud at her befuddlement. Quickly she gathered herself and walked out of the bathroom. I gave my cock a few short strokes but decided not to release my load, considering I would be getting a massage from my Aunt shortly. Although I had committed myself not to cross the line, I found myself not trying very hard. Subconsciously, I wanted to seduce my full-figured Aunt. I had become infatuated with every part of her body. Her hips had been difficult to ignore. They reminded me of the hips in a Venus painting I had once seen. ( Nude Venus at Her Mirror Painting by Diego Velázquez ) I loved how smooth her skin was, and thinking about rubbing my hard cock against it made me want her even more. I finished my shower with my hard-on intact. I put on some clean underwear and went to the kitchen to eat supper. Rose looked at me and said, “I've noticed that you've gotten into the habit of coming in here like that, dear.” “Like what?” I asked. “In just your underwear, dear,” she replied. I looked at her and said, “It's more comfortable after working outdoors all day. Do you want me to put on some clothes?” “Umm, no dear, it's not necessary. I'm just not used to it.” Rose plated our meals and brought them to the table. We ate and had a casual conversation about the farm and the neighbors. When we finished eating, Rose cleared the table, and I helped her wash the dishes. “Thanks for the help with the dishes, dear. You didn't have to, you know,” Rose said, and kissed my cheek. “You cook, wash my clothes, and take care of me. It's the least I could do,” I replied. “Are you ready for your massage, dear?” she asked. “Give me a minute,” I said, “I'll meet you in the living room.” I went to the bathroom, took off my underwear, and wrapped a towel around my waist. As I stared down the hallway, I was entranced by my Aunt, who was sitting Indian-style, reading a book. She was wearing short pink shorts, which said “lovable” across the back. I remember admiring how the word stretched slightly due to the ample size of her ass. She had a short button-up blouse, but her tits were partly visible through the gaps between each button. It also didn't help that she had not fastened the top three buttons. She had her reading glasses on, and her brown hair fell down the left side of her face. She looked a lot younger, sitting like that next to the fireplace. In a daze, I walked towards her with only the small white towel wrapped around me. Before I made my presence known, she put her book down and stretched. Her arms reached for the ceiling, and her back arched like a limber gymnast. Her breasts pushed hard against her blouse, and the buttons strained to contain the bounty she possessed. As she lowered her arms, she saw me. “Honey, aren't you going to put some clothes on?” Rose asked incredulously. “I thought you were going to give me a massage,” I said in a child-like voice. “Well yeah, but you could put some clothes on you know…” she said. “No, its okay. I don't want to get any oil on them, ” I said quickly when I saw the bottle of oil next to her. “hmm… makes sense I suppose,” She said slowly and thoughtfully. She was gauging my intentions, I could clearly see. She extended a bath towel on the carpet and laid a pillow on one side. “Well, come over here,” she beckoned with both hands. I strode towards her, and I could see her eyeing my body behind the glare of her glasses. Watching her do this made me even more excited. I laid face down and unwrapped the towel, letting it cover my ass. Soon after, I felt my Aunt's weight over me as she straddled me. I could feel her soft legs with my hands as she started massaging my shoulders. I could see her shadow against the wall, and I could already imagine her breasts swaying back and forth as she ran her hands across my back. “You're back is really tense hon,” she said finally. “That's all muscle Aunt Rose,” I said coyly. “Ain't that the truth…” she trailed off. Soon she slid down to my legs and started working my calves. Slowly she inched her way upwards until she reached what the towel-covered. I felt a slight hesitation before her hands slid under the small towel. Her hands were right on my butt, and I could not help but wonder whether she could see my balls. I could feel the cool air on them, so it made sense that she should be able to see them. My cock had grown slightly limp under my weight, but I knew the moment it got some room, it would go full mast once again. “Are you sore here?” My Aunt asked shyly. Her hands squeezed my ass very softly. “A little,” I said quietly. Slowly she started to massage my ass. The towel was now flipped up on my back. “Your butt is nice and hard,” she said, her voice a little high. “Thanks,” I said, laughing a little. After a few minutes, she asked me to flip over. A couple of things happened at once when I did. I flipped over, not thinking twice about covering myself. My Aunt had turned around to grab a small cloth and squeeze some more oil out of the bottle. She hesitated only slightly before turning back to face me. My cock was growing exponentially while my eyes feasted on the sexy mature female before me. You can imagine my Aunt's reaction when she turned. She instantly realized her nephew's young hard cock was fully displayed before her. “That looks nice and hard too…” she said a little breathlessly. Her eyes were locked on my cock. “John are you always that hard?” She asked as she remembered my hard-on from that morning. “Most of the time, yes,” I answered as I sat up to see her better. The motion made my cock sway side to side like a pendulum. “Does it hurt?” she asked curiously. “Not at all.” I said as I gingerly grabbed it and released it nonchalantly. After a few seconds of silence, I saw her inch towards me. Slowly but deliberately, her hand reached for my cock, and soon her fingers clasped around my shaft. Immediately I flexed and push my pelvis upwards, essentially engorging my cock in her hand even more. I liked the tight feeling of her hand and laid back down, relishing the sensation. Soon she was stroking me slowly. She did this for a few minutes before I heard a quiet sniffle. She had started to cry. I quickly sat up, and she said, “I loved your uncle very much you know.” I felt sick thinking that I had made a mistake. Guilt rose in me like never before. “We don't have to do this if you don't want to Aunt Rose,” I said cautiously. “No baby, It's not that…” she wiped her tears. “I'm not sad… I just really miss your Uncle. I'm so happy you are here taking care of me, I don't know how I'll ever repay you,” I sat up even straighter and kissed her. Our lips locked together, and our tongues caressed one another in a hot mess. I hurriedly reached up under her blouse and finally… finally… got a hold of one of her glorious tits. I squeezed tightly and immediately fell in love with their malleability and weight. My Aunt was in an awkward position, but still, she didn't stop stroking her oily hand up and down my shaft. She alternated her hand movements by using a twisting motion, and I could tell she was loving each vein and contour her hand could feel around my cock. I couldn't help but wonder whether having milked so many cows had made her an unknowing expert on hand jobs. Having gotten the green light, my natural reproductive instincts took over. I tore my Aunt's blouse off completely and cupped both breasts. I'm able to palm a basketball without much trouble, but I still found myself with my hands full of her wobbly breasts. I attacked each nipple with the same energy that a hungry calf has after being apart from its mother for too long. I sucked on each breast vigorously, and when I was too eager, my Aunt pulled my hair slightly, effectively taking control of how I feasted on her. After a couple of minutes, I stood up and quickly presented my cock to her. She shifted from her sitting position to a kneeling one, her breasts swaying slightly. She was about to envelop me with her mouth when I unexpectedly bent down and stabbed my cock into her hard nipples. “Jesus you can't get enough of those can you?” she asked as I rubbed my cock up and down against her hard nipples. Instead of replying, I grabbed her hands and made her squish her tits together. I thrust my cock into the fold. The head of my cock was visible only after every upward thrust. I loved watching my Aunt's eyes light up as I grunted and fucked her tits faster and faster. Finally, after having had my way with her breasts, I tempted her into taking me into her mouth. It wasn't challenging to get her to open her mouth. She had tracked my cock the second I had pulled it out of her breasts. She watched it with the same level of attention that a female dog gives to a treat it's about to receive. I swayed it side to side in front of her, and her mouth opened probably without her even knowing it. She was leaning forward and just about to wrap her lips around it when I pulled away. She quickly looked up with a face of confusion and disappointment. I smiled at her, and she responded by making a funny, angry face. “Okay, okay,” I said as I offered her my cock once again. Precum dangled on the tip of my cock; it pulsed in my hand. Aunt Rose crossed her arms and looked up and away in a classic fashion of “I'm not interested.” I regretted my teasing immediately. I watched her and examined her. Her breasts were squished underneath her arms, but they were falling and rising as she breathed. I couldn't help it… I pushed the head of my cock against her pursed lips. The precum covered her lips like a lip balm as I stroked my tip across them. She opened her eyes and looked up at me. Her eyes smiled, but her lips remained closed. She was making groans in anticipation. Finally, and to the great relief of my cock, I was able to coax her into opening her mouth. My guess is that the precum had given her a taste of what I had. Slowly she opened her mouth, and the mushroom head of my cock spread her lips wide. My cock filled her mouth, and at once, my cock felt at home. Soon she had one hand fondling my heavy balls while the other hand rested on my thigh, supporting her as she took long gulps of my cock. She struggled to take the last ½ inch in, but from time to time, she would grab my ass and push herself until my cock disappeared entirely into her mouth. It felt like my heart was pounding in her mouth. Small amounts of saliva dripped off the side of her mouth as she tried to sweet talk my cock into cumming. “I can't believe how hard it is,” she gasped as she took a small break and examined my cock with the help of the firelight. “You could probably hang your coat on it,” I laughed. “No kidding,” she said as she pulled a small black hair from her mouth. I noticed she was about to stand up and offered her my hand, which she took with a degree of elegance I knew she had always possessed. We kissed once again, and now I found my hand rubbing her pussy. Her light pink shorts had unmistakably grown darker between her legs, and I couldn't help but start pulling down on her shorts. She knew what I wanted and proceeded to pull her shorts down on her own. My cock was next to her face as she slipped the shorts out from underneath her. Before rising to meet my gaze again, she kissed the tip of it. It pulsed in delight, having received such affection. We embraced again, with my cock stabbing at her stomach. After breaking the embrace, I got on all fours and pushed my face upwards into her pussy, trying to breathe her in. Like a crazed dog, I moved her panties to the side and licked her wet pussy. She cooed in ecstasy. I had only licked her for a few seconds before my cock started surging in anticipation. I wanted to be inside her. Without a word, I stood up and turned her around. My Uncle's old armchair was right next to us, and it gave her a perfect perch. Her ass and pussy were fertile, and my male instincts took over. I pulled her panties to the side and saw her pussy contracting and relaxing slowly. I slapped both ass cheeks and ran my cock up and down her ass crack. I tapped it upwards on her pussy, and finally, I pressed the shaft of my cock onto her pussy. This was it. There was no turning back. She was my Aunt yes… but she was also a luscious female in heat; I couldn't ignore that even if I tried. Damn the morality of such an act; I didn't care. It didn't matter that my father had entrusted her to me. It also didn't matter that I was so much younger than her. My cock was strong and hard, and her pussy was wet and soft. Her husband was dead, and her daughter was away. She was mine for the taking. I got on my tiptoes and flexed my entire body. My hands on her hips, and my cock primed and eager to enter her. "God damn it, just put it in alrea..." She didn't finish her sentence. I cut her off by plunging my thick 7″ cock deep inside of her. She bucked like a wild mare and arched her back like a cat as I pressed my cock deeper and deeper, filling her hot pussy completely. I gripped her ass and stirred my cock in a figure-eight pattern. I probed all around and felt her from the inside out. Meanwhile, she tried to spread her stance. Pretty soon, she had given me the appropriate height to commence my furious assault. I pounded her rhythmically while watching her ass cheeks jiggle gently after every thrust. I reached down and grabbed her left breast. Her pussy tightened and relaxed as my glistening cock entered and exited her. I was relentless. She exhaled loudly, and I could see her hair sticking to the side of her face. The fire had kept us warm, but now we were burning as we continued in our sinful embrace. Her pussy felt like heaven around my cock. Her pussy was the perfect size for my thick cock, and her ability to squeeze me inside her gave me a new appreciation of the physique of a hard-working woman. Her panties rubbed against my cock; I had her hold it to the side with one hand as I continued to pound her from behind. The loud clapping sound coming after every full thrust filled the room. The crackling fire was muted as her moans and grunts echoed my efforts. After a couple of minutes, I could feel her body spasm in front of me. Her legs quivered, and she screamed, "I'm cumming!!!" She tried to pull away, looking for some respite, but I was also on the verge of exploding inside her. I brought her in close and fucked her in a blind frenzy, faster than I had ever fucked before. I was like an engine piston at full throttle. Her pussy squirted and wet everything but the ceiling. My cock and balls dripped with her love juices; both our legs sparkled after being coated with her essence. When I felt the first stream of cum racing down my hard cock I had no choice but to slow down. It didn't stop me, however, from driving my cock as deep as possible. I came like never before. Both my balls emptied into her. I stayed there cumming inside her for 3 minutes straight, pushing deeper, without pulling back. My sperm was injected deep inside her, and we both knew she would be pregnant. We were both breathing hard and her legs still quivered underneath me. She went to kneel down, and I followed her, my cock remaining inside her. I was like a dog whose knot anchored him to his bitch. I rested on her back until finally, I pulled my cock out. Cum poured out of her pussy, but I knew most of it had stayed inside. We kissed and felt each other there on the floor and fell asleep naked, our legs entwined with one another. I had bred my Aunt Rose and found a love I didn't know existed. The following morning, Aunt Rose and I were sitting in the kitchen, just chatting, when I turned to her and said, "Rose, I've decided not to return to college. I want to stay here and help you run the farm. I love this life and hated college, I felt like a cog in a huge machine." She looked at me, surprised, and said," John, are you sure that this life is what you want? As you've already found, it's not exciting like in the city. What about your future?" I looked into her eyes and stated, "Rose, this is the life I want; it IS my future. I've fallen in love with it." "John, are you absolutely sure that your decision isn't based on the sex we had?" she asked. Still looking deep in her eyes, I state, "Rose, I'm sure you'll agree that the sex was great, but that's not the reason I want to stay. I've grown to love the hard work involved in running this place. I've learned more useful information in the past couple of months then I did during a year in college. I believe this farm is my future, will you share it with me?" "Oh, John," Rose stated breathlessly," You've made me so happy with your decision. I don't think I could run the whole thing by myself." "There's another reason I want to stay, Rose. I've grown to love you, not as a nephew, but as your lover." She took my hand and kissed it, then said, "John, as you are well aware, your Uncle died two months ago. He always told me that if something happened to him, I should find someone else to love. As short as the time has been since he passed, I believe that I've found that someone; you. We can't be married, but will you live with me, as my husband?" I returned the gesture and said," Only if you'll live with me, as my wife." I then continued," I need to call Mom and Dad this evening and let them know that I'm staying here and not going back to college." After we ate supper and cleaned the kitchen that evening, I pulled out my cell phone. "Call them now," Rose exclaimed, "Just be sure not to say anything about 'us'." I put the phone on speaker and dialed Dad's cell number. He answered and said, "Hold on, I'm putting the phone on speaker so Mom can also talk." I heard him call Mom over, then heard her say, "Hi John, how are you?" I told them I was doing well, and so was Aunt Rose. I then proceeded to tell them why I called, " Mom and Dad, I've made a decision about my future. I'm not going back to college, I'm going to stay here and help Aunt Rose with the farm. I've come to love the farm life and this is what I want to do for the rest of my life." Dad said," While I'm disappointed that you won't go back to college, I'm proud that you finally made a decision about what you want to do with your life. It also lifts my apprehension about what your Aunt was going to do when you left." Mom then chimed in with," Are you sure that's what you want, Honey?" "Yes Mom, I'm absolutely sure," I replied. "Okay then," said Dad, "I'm going to transfer the balance of your college funds into your personal checking account. Use the money as you need it, but don't go nuts." "I won't Dad. There's still money left from your original deposit," I chuckled. "Is Aunt Rose handy?" Dad asked. "She's been listening to our whole conversation, Dad," I replied. "Hi Rose," he stated, "Has John been behaving himself?" "Yes, Tom, he has," she stated, then continued," He works as hard as James did and has even made some improvements to the house. He told me about his decision this morning. I couldn't be happier, although I am surprised. It has taken a huge weight off of my shoulders. I don't know what I would have done without him here. Thank you so much for suggesting it." "Rose, you know I'd do anything for my sister," replied Dad. "I know you would, Tom. I'm just extremely surprised that a man as young as your son is just as generous as you." "His decision has made me very proud," said Dad. "I just wanted him to let you know about his decision. We'll be going now," said Rose. "Okay," said Dad, "You continue taking good care her, John. You've made us very proud. Goodnight." "Goodnight Dad, goodnight Mom," I replied and disconnected. I turned to Rose and opened my arms. She came to me, and we kissed passionately. I broke the kiss and whispered in her ear, "My wife, are you ready to go to bed?" She whispered back to me," Only if we're going to fool around, my husband." And so it was that we became a 'married couple' instead of lovers. A month later, it was confirmed, my 'wife' was pregnant. by  Jism786 for Literotica.

This week, Phil and Laura discuss what has been repeatedly named one of the greatest paintings in history, the monumental ‘Las Meninas' or ‘The Maids' by the legendary Diego Velázquez...Support the Show.

Ben Luke talks to Michaël Borremans about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Borremans, born in 1963 in Geraardsbergen in Belgium, is one of the most original painters working today. He marries a technical brilliance, born of a careful study of the style and touch of the Old Masters, with a sensibility and atmosphere that are completely his own. Though they depict figures, objects and environments, his paintings remain enigmatic, refusing to settle into easily readable narratives. They are full of uncanny detail and incident which is all the more pronounced because of his sensual handling of the paint. Though he is a perceptive observer of people, things and space, Borremans says he paints culture as opposed to nature. When he makes a painting of a human face, for instance, he is not concerned with the mimetic process of portraiture, rather with a perception of the ineffable nature of human psychology; with what it might mean to be—and to represent—a human being today. Even though it is characterised by an often absurd playfulness, an abiding sense of isolation and disquiet permeates Michaël's work. He discusses the ongoing influence of Francisco de Goya, Diego Velázquez and Jean-Siméon Chardin, the inspirational comedy of Monty Python, the profound writing of Vladimir Nabokov, and his love of music by everyone from Franz Schubert to Taylor Swift. He gives insight into life in the studio and answers our usual questions, including the ultimate: what is art for?Michaël Borremans: The Monkey, David Zwirner, London, opening in London Gallery Weekend, 31 May-2 June, and then 6 June-26 July; Michaël Borremans: The Promise, Prada Rong Zhai, Shanghai, China, until 9 June; Michaël Borremans, Museum Voorlinden, Wassenaar, the Netherlands, 30 November-23 March 2025 Hosted on Acast. See acast.com/privacy for more information.

Spanish Fashion in the Age of Velázquez: A Tailor at the Court of Philip IV (Yale University Press, 2024) by Dr. Amanda Wunder is the first archival study of dress at the court of Philip IV, as told through the life and work of royal tailor Mateo Aguado. Tailor to the queens of Spain from 1630 to 1672, Aguado designed the striking dresses that gave the Spanish court its distinctive look in the Baroque era. The most influential dress designer in the seventeenth-century Spanish world, Aguado was responsible for creating the iconic dresses that appear in some of Diego Velázquez's most famous court portraits. Based on new research, this book brings to life the world of Aguado and his colleagues at court. The long-lost garments and accessories that the court artisans made for their royal employers are reconstructed here for the first time. Aguado's creations played a crucial role in domestic and international politics by shaping the royal image, and his dresses took center-stage in major political events during Philip IV's reign. Richly illustrated with well-known masterpieces along with surviving textiles and garments, the book explores how Aguado's dress designs shaped a new vision of Spanish style, and Spanishness, that defined Golden-Age Spain. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Spanish Fashion in the Age of Velázquez: A Tailor at the Court of Philip IV (Yale University Press, 2024) by Dr. Amanda Wunder is the first archival study of dress at the court of Philip IV, as told through the life and work of royal tailor Mateo Aguado. Tailor to the queens of Spain from 1630 to 1672, Aguado designed the striking dresses that gave the Spanish court its distinctive look in the Baroque era. The most influential dress designer in the seventeenth-century Spanish world, Aguado was responsible for creating the iconic dresses that appear in some of Diego Velázquez's most famous court portraits. Based on new research, this book brings to life the world of Aguado and his colleagues at court. The long-lost garments and accessories that the court artisans made for their royal employers are reconstructed here for the first time. Aguado's creations played a crucial role in domestic and international politics by shaping the royal image, and his dresses took center-stage in major political events during Philip IV's reign. Richly illustrated with well-known masterpieces along with surviving textiles and garments, the book explores how Aguado's dress designs shaped a new vision of Spanish style, and Spanishness, that defined Golden-Age Spain. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Spanish Fashion in the Age of Velázquez: A Tailor at the Court of Philip IV (Yale University Press, 2024) by Dr. Amanda Wunder is the first archival study of dress at the court of Philip IV, as told through the life and work of royal tailor Mateo Aguado. Tailor to the queens of Spain from 1630 to 1672, Aguado designed the striking dresses that gave the Spanish court its distinctive look in the Baroque era. The most influential dress designer in the seventeenth-century Spanish world, Aguado was responsible for creating the iconic dresses that appear in some of Diego Velázquez's most famous court portraits. Based on new research, this book brings to life the world of Aguado and his colleagues at court. The long-lost garments and accessories that the court artisans made for their royal employers are reconstructed here for the first time. Aguado's creations played a crucial role in domestic and international politics by shaping the royal image, and his dresses took center-stage in major political events during Philip IV's reign. Richly illustrated with well-known masterpieces along with surviving textiles and garments, the book explores how Aguado's dress designs shaped a new vision of Spanish style, and Spanishness, that defined Golden-Age Spain. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Spanish Fashion in the Age of Velázquez: A Tailor at the Court of Philip IV (Yale University Press, 2024) by Dr. Amanda Wunder is the first archival study of dress at the court of Philip IV, as told through the life and work of royal tailor Mateo Aguado. Tailor to the queens of Spain from 1630 to 1672, Aguado designed the striking dresses that gave the Spanish court its distinctive look in the Baroque era. The most influential dress designer in the seventeenth-century Spanish world, Aguado was responsible for creating the iconic dresses that appear in some of Diego Velázquez's most famous court portraits. Based on new research, this book brings to life the world of Aguado and his colleagues at court. The long-lost garments and accessories that the court artisans made for their royal employers are reconstructed here for the first time. Aguado's creations played a crucial role in domestic and international politics by shaping the royal image, and his dresses took center-stage in major political events during Philip IV's reign. Richly illustrated with well-known masterpieces along with surviving textiles and garments, the book explores how Aguado's dress designs shaped a new vision of Spanish style, and Spanishness, that defined Golden-Age Spain. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Spanish Fashion in the Age of Velázquez: A Tailor at the Court of Philip IV (Yale University Press, 2024) by Dr. Amanda Wunder is the first archival study of dress at the court of Philip IV, as told through the life and work of royal tailor Mateo Aguado. Tailor to the queens of Spain from 1630 to 1672, Aguado designed the striking dresses that gave the Spanish court its distinctive look in the Baroque era. The most influential dress designer in the seventeenth-century Spanish world, Aguado was responsible for creating the iconic dresses that appear in some of Diego Velázquez's most famous court portraits. Based on new research, this book brings to life the world of Aguado and his colleagues at court. The long-lost garments and accessories that the court artisans made for their royal employers are reconstructed here for the first time. Aguado's creations played a crucial role in domestic and international politics by shaping the royal image, and his dresses took center-stage in major political events during Philip IV's reign. Richly illustrated with well-known masterpieces along with surviving textiles and garments, the book explores how Aguado's dress designs shaped a new vision of Spanish style, and Spanishness, that defined Golden-Age Spain. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Spanish Fashion in the Age of Velázquez: A Tailor at the Court of Philip IV (Yale University Press, 2024) by Dr. Amanda Wunder is the first archival study of dress at the court of Philip IV, as told through the life and work of royal tailor Mateo Aguado. Tailor to the queens of Spain from 1630 to 1672, Aguado designed the striking dresses that gave the Spanish court its distinctive look in the Baroque era. The most influential dress designer in the seventeenth-century Spanish world, Aguado was responsible for creating the iconic dresses that appear in some of Diego Velázquez's most famous court portraits. Based on new research, this book brings to life the world of Aguado and his colleagues at court. The long-lost garments and accessories that the court artisans made for their royal employers are reconstructed here for the first time. Aguado's creations played a crucial role in domestic and international politics by shaping the royal image, and his dresses took center-stage in major political events during Philip IV's reign. Richly illustrated with well-known masterpieces along with surviving textiles and garments, the book explores how Aguado's dress designs shaped a new vision of Spanish style, and Spanishness, that defined Golden-Age Spain. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices

Artist Yinka Shonibare CBE RA, and Hans Ulrich Obrist and Tamsin Hong of The Serpentine Galleries, coat London's historic statues and public monuments with fresh layers of history. For over 30 years, Yinka Shonibare CBE RA has used Western European art history to explore contemporary culture and national identities. With his iconic use of Dutch wax print fabric - inspired by Indonesian batik designs, mass-produced in the Netherlands (and now China) and sold to British colonies in West Africa - he troubles ideas of ‘authentic' ‘African prints'. Painting these colourful patterns on his smaller-scale replicas of sculptures of British figures like Winston Churchill, Robert Clive, and Robert Milligan, he engages with contemporary debates raised in Black Lives Matter (#BLM) and the toppling of slave trader Edward Colston's statue in Bristol. Suspended States, the artist's first London solo exhibition in over 20 years, puts these questions of cultural identity and whiteness, within the modern contexts of globalisation, economics, and art markets. Wind Sculptures speak to movements across borders, other works how architectures of power affect refuge, migration, and the legacies of imperialism in wars, conflict, and peace today. With his Library series, we read into Wole Soyinka, Bisi Silva, and canonised 17th, 18th, and 19th century artists like Diego Velázquez, focussing on Yinka's engagement with Pablo Picasso, modernism, and ‘primitivism'. Hans Ulrich Obrist and Tamsin Hong highlight the connection between the Serpentine's ecological work, and Yinka's new woodcuts and drawings which consider the impact of colonisation on the environment. As a self-described ‘post-colonial hybrid', Yinka details his diasporic social practices, including his Guest Project experimental space in Hackney, and G.A.S. Foundation in Nigeria, and collaborations with young artists and researchers like Leo Robinson, Péjú Oshin, and Alayo Akinkubye. Yinka Shonibare: Suspended States runs at the Serpentine Galleries in London until 1 September 2024. Yinka is also an Invited Artist, and participant in Nigeria Imaginary, the official Nigerian Pavilion, at the 60th Venice Biennale, which runs until 24 November 2024. Part of EMPIRE LINES at Venice, a series of episodes leading to Foreigners Everywhere (Stranieri Ovunque), the 60th Venice Biennale or International Art Exhibition in Italy, in April 2024. For more about Dutch wax fabric and ‘African' textiles, listen to Lubaina Himid on Lost Threads (2021, 2023) at the Holburne Museum in Bath and British Textile Biennial 2021, and the British Museum's Dr. Chris Spring on Thabo, Thabiso and Blackx by Araminta de Clermont (2010)⁠. For more about Nelson's Ship in a Bottle (2010), listen to historicity London, a podcast series of audio walking tours, exploring how cities got to be the way they are. On bronze as the ‘media of history', hear artist Pio Abad on Giolo's Lament (2023) at the Ashmolean Museum in Oxford. And on the globalisation of ‘African' masks, listen to Tate curator Osei Bonsu in the episode about Ndidi Dike's A History of A City in a Box (2019). For more about the Blk Art Group, hear curator Dorothy Price on Claudette Johnson's And I Have My Own Business in This Skin (1982) at the Courtauld Gallery in London. Hear curator Folakunle Oshun, and more about Yinka Shonibare's Diary of a Victorian Dandy (1998), in the episode on Lagos Soundscapes by Emeka Ogboh (2023), at the South London Gallery. Read about Nengi Omuku in this article about Soulscapes at the Dulwich Picture Gallery in London. And for other artists inspired by the port city of Venice, hear John Akomfrah of the British Pavilion (2024) on ⁠Arcadia (2023)⁠ at The Box in Plymouth. WITH: Yinka Shonibare CBE RA, British-Nigerian artist. Hans Ulrich Obrist, Artistic Director, and Tamsin Hong, Exhibitions Curator, at the Serpentine Galleries in London. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠

The Daily Quiz - Art and Literature Today's Questions: Question 1: "Now is the winter of our discontent" is a line from which Shakespearian play? Question 2: Which author wrote 'Neuromancer'? Question 3: Which author wrote 'The formation of vegetable mould, through the action of worms : with observations on their habits'? Question 4: Along which river do the adventures of Tom Sawyer take place? Question 5: The painting "Las Meninas" by Diego Velázquez is a part of which art movement? Question 6: Which author wrote 'Complete Works of Voltaire'? Question 7: Who painted "The Creation Of Adam"? Question 8: Which author wrote 'The Nightingale'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

“Os haré señores de lo que nuestros paisanos ni siquiera han alcanzado a soñar”. Con frases y promesas tan ambiciosas como esta, un aventurero convertido en capitán general arengó a sus hombres en el cabo San Antonio, la punta más occidental de la isla de Cuba, justo antes de partir en pos de lo desconocido. Era el 18 de febrero de 1519. "Sois pocos en número, pero fuertes en arrojo”. Seiscientos sesenta y tres hombres escuchaban a Hernán Cortés, líder de una escuadra comisionada por el gobernador de Cuba, Diego Velázquez de Cuéllar, para ir al otro lado del mar Caribe a buscar al capitán Grijalva, comandante de una expedición anterior al mismo lugar. Debían hallar a sus compatriotas perdidos o presos, traer la máxima información sobre aquellos enclaves desconocidos y, sobre todo, comerciar con los nativos, a los que invitarían a convertirse al cristianismo y ofrecer lealtad al rey de España. “Si he trabajado duramente y me he jugado todas mis posesiones en esta empresa es por amor de ese renombre que constituye la más noble recompensa del hombre”, resumió Cortés. Había invertido todo el dinero ganado como rico terrateniente en Cuba, más el que pudo obtener hipotecando sus haciendas en la colonia, para financiar una expedición que, según sus seguidores, casi corría completamente a su cargo, pese a tratarse de una misión oficial española. Déjanos tu comentario en Ivoox o Spotify, o escríbenos a podcast@zinetmedia.es Comparte nuestro podcast en tus redes sociales, puedes realizar una valoración de 5 estrellas en Apple Podcast o Spotify. Texto: Jose Angel Martos Dirección, locución y producción: Iván Patxi Gómez Gallego Contacto de publicidad en podcast: podcast@zinetmedia.es

Me ha parecido bien narrar la biografía de Hernán Cortés porque seguramente para muchos es un misterio. Para otros, un personaje que les suena, pero que no conocen en profundidad. Para las nuevas generaciones que escuchen a según qué líderes políticos, un personaje tergiversado al que llaman asesino, sin reconocer que antes de su llegada allí los había y que si no fuera por él, quizá el mundo tal como lo conocemos hoy, no existiría. Por tanto, vamos a desvelar sus misterios, su historia y sus conquistas y gestas, que muchas veces obviaron incluso las órdenes de superiores cuando éstos querían beneficiar a enchufados que no merecían tal encargo. La vida de Hernán Cortés Hernán Cortés fue un conquistador español que lideró la expedición que derrotó al imperio azteca y sometió a México al dominio de la Corona española. Su vida estuvo marcada por la ambición, el valor, la astucia y la crueldad. En este artículo, repasaremos los principales acontecimientos de su biografía y analizaremos su legado histórico. Nacimiento y juventud Hernán Cortés nació en 1485 en Medellín, una villa de la provincia de Extremadura, en el seno de una familia noble pero empobrecida. Desde niño mostró un carácter rebelde e inquieto, y se interesó por las aventuras de los exploradores que viajaban al Nuevo Mundo. A los 14 años, fue enviado a estudiar leyes a la Universidad de Salamanca, pero pronto abandonó los estudios y regresó a su pueblo natal. En 1504, a los 19 años, decidió embarcarse hacia las Indias, siguiendo el ejemplo de su pariente Francisco Pizarro, el futuro conquistador del Perú. Llegó a la isla de La Española (actual República Dominicana y Haití), donde se estableció como encomendero y funcionario colonial. Participó en varias expediciones a Cuba y otras islas del Caribe, donde se ganó la fama de ser un soldado valiente y un administrador eficaz. La conquista de México En 1518, el gobernador de Cuba, Diego Velázquez, le encargó a Cortés organizar una expedición para explorar las costas de México, donde se rumoreaba que había ricas civilizaciones. Cortés reclutó a unos 500 hombres, 16 caballos y 11 barcos, y partió de Cuba en febrero de 1519, sin esperar la autorización final de Velázquez, quien sospechaba que Cortés quería independizarse de su mando. Tras desembarcar en la península de Yucatán, Cortés fundó la primera ciudad española en México: Villa Rica de la Vera Cruz. Allí estableció un cabildo que lo nombró capitán general y justicia mayor, lo que le permitió romper con la autoridad de Velázquez. También quemó sus naves para impedir que sus hombres desertaran o regresaran a Cuba. Cortés inició su marcha hacia el interior del territorio mexicano, acompañado por unos 400 soldados españoles y miles de indígenas aliados, principalmente tlaxcaltecas y totonacas, que eran enemigos del imperio azteca. En su camino, se enfrentó a varias batallas contra los pueblos locales, que fueron vencidos por la superioridad militar y tecnológica de los españoles. En noviembre de 1519, Cortés llegó a Tenochtitlán, la capital del imperio azteca, donde fue recibido pacíficamente por el emperador Moctezuma II. Cortés aprovechó la situación para tomarlo como rehén y exigirle tributos y conversiones al cristianismo. Sin embargo, su dominio sobre la ciudad fue efímero, pues en abril de 1520 tuvo que salir a enfrentar una expedición enviada por Velázquez para arrestarlo. La Noche Triste y la caída de Tenochtitlán Mientras Cortés estaba ausente, estalló una rebelión en Tenochtitlán contra los españoles que habían quedado al mando de Pedro de Alvarado. Los aztecas sitiaron el palacio donde se alojaban los invasores y les impidieron el acceso al agua y los alimentos. Cortés regresó apresuradamente a la ciudad y trató de negociar con los rebeldes, pero fue inútil. En la noche del 30 de junio al 1 de julio de 1520, conocida como la Noche Triste, Cortés y sus hombres intentaron escapar de Tenochtitlán por un puente construido sobre el lago Texcoco. Sin embargo, fueron descubiertos y atacados por los aztecas, que les causaron numerosas bajas. Entre los muertos estaba Moctezuma II, quien fue apedreado por su propio pueblo al intentar calmarlos. Cortés logró huir con unos 300 soldados y se refugió en Tlaxcala, donde reorganizó sus fuerzas y recibió refuerzos de España y Cuba. En mayo de 1521, inició el asedio final a Tenochtitlán, que duró tres meses y fue uno de los episodios más cruentos de la historia. Los aztecas resistieron heroicamente, pero fueron diezmados por el hambre, la sed y las enfermedades traídas por los europeos. El 13 de agosto de 1521, Cortés entró triunfalmente en la ciudad, que estaba en ruinas. Capturó al último emperador azteca, Cuauhtémoc, y lo sometió a torturas para que revelara el paradero de los tesoros reales. Así terminó la conquista de México, que pasó a ser una colonia española bajo el nombre de Nueva España. La consolidación del poder y los conflictos con la Corona Tras la caída de Tenochtitlán, Cortés se dedicó a pacificar y organizar el territorio conquistado. Fundó varias ciudades, como Puebla y Cuernavaca, y repartió tierras, minas y encomiendas entre sus hombres. También exploró otras regiones, como las actuales Guatemala, Honduras y California. Se casó con una princesa indígena, Isabel Moctezuma, hija de Moctezuma II, y tuvo varios hijos mestizos. Sin embargo, su poder y riqueza despertaron la envidia y el recelo de sus rivales y de la Corona española, que lo acusaron de abusar de los indígenas, desobedecer las leyes y aspirar a la independencia. En 1528, Cortés tuvo que viajar a España para defenderse ante el rey Carlos I, quien lo recibió con honores y le confirmó sus títulos y privilegios, pero le quitó el gobierno de Nueva España. Cortés regresó a México en 1530, pero ya no tenía el control político ni militar del territorio. Se dedicó a sus negocios privados y a sus expediciones personales, pero sin mucho éxito. En 1540, volvió a España para reclamar sus derechos y recompensas, pero fue ignorado por el rey y marginado por la corte. Muerte y legado Hernán Cortés murió en 1547 en Castilleja de la Cuesta, cerca de Sevilla, a los 62 años. Fue enterrado en un monasterio franciscano, pero sus restos fueron trasladados varias veces hasta llegar a México en 1946, donde reposan en un mausoleo en el Hospital de Jesús. La figura de Hernán Cortés ha sido objeto de múltiples interpretaciones y valoraciones a lo largo de la historia. Para algunos, fue un héroe que abrió las puertas de un nuevo mundo y difundió la cultura occidental. Para otros, fue un villano que destruyó una civilización milenaria y sometió a un pueblo a la explotación y el genocidio. Lo cierto es que Cortés fue un personaje complejo y contradictorio, que protagonizó una de las epopeyas más asombrosas y trágicas de la humanidad. Otros temas en el programa: 53:21 La envidia 1:07:53 Tatuajes No soy un serial killer - Capítulo 14 Puedes leer más y comentar en mi web, en el enlace directo: https://luisbermejo.com/hernan-cortes-zz-podcast-05x27/ Puedes encontrarme y comentar o enviar tu mensaje o preguntar en: WhatsApp: +34 613031122 Paypal: https://paypal.me/Bermejo Bizum: +34613031122 Web: https://luisbermejo.com Facebook: https://www.facebook.com/ZZPodcast/ X (twitters): https://x.com/LuisBermejo y https://x.com/zz_podcast Instagrams: https://www.instagram.com/luisbermejo/ y https://www.instagram.com/zz_podcast/ Canal Telegram: https://t.me/ZZ_Podcast Canal WhatsApp: https://whatsapp.com/channel/0029Va89ttE6buMPHIIure1H Grupo Signal: https://signal.group/#CjQKIHTVyCK430A0dRu_O55cdjRQzmE1qIk36tCdsHHXgYveEhCuPeJhP3PoAqEpKurq_mAc Grupo Whatsapp: https://chat.whatsapp.com/FQadHkgRn00BzSbZzhNviThttps://chat.whatsapp.com/BNHYlv0p0XX7K4YOrOLei0

En este programa especial por el Día de Andalucía desde la Casa de la Provincia de Sevilla dedicamos un homenaje a la gran María Jiménez, nos escribe una carta desde el más allá el pintor Diego Velázquez, repasamos los mejores montaditos de Sevilla con el presidente de la Diputación, Javier Fernández y Diego Suárez, hablamos de moda flamenca con Mila y Rocío Montero y terminamos con la música en directo del grupo onubenses Antílopez. 

Desde fines de diciembre, en la entrada a la Ciudad Vieja, sobre la peatonal Sarandí, está montada una exposición de obras clásicas del Museo del Prado, de España. Esta institución, cuya sede está en Madrid, desarolla desde 2015 esta muestra itinerante que ya ha visitado varios países de América Latina, que ahora llegó a Montevideo y luego seguirá su recorrido en varias ciudades del interior del país. La exhibición incluye reproducciones en alta calidad de algunas de las obras más representativas de la colección del Museo del Prado, como Las meninas de Diego Velázquez, El nacimiento de Venus de Sandro Botticelli, o El jardín de las delicias de El Bosco. Es una oportunidad interesante para econtrarse en tamaño real algunas de pinturas más importantes de la historia del arte mundial. ¿Qué opinan los tertulianos de este acontecimiento cultural? La Tertulia de los Viernes con Alejandro Abal, Juan Grompone, Gonzalo Pérez del Castillo y Carolina Porley.

Nos adentramos en el universo barroco de la mano de Pedro Cifuentes, autor de 'Historia del Arte en Cómic. Arte Barroco', obra publicada por Desperta Ferro Ediciones. Nuestro invitado nos propone una aventura por el conocimiento en una época compleja y llena de aristas en las que convivían grandeza y miseria. Recorremos junto a Cifuentes las calles de las grandes ciudades que entre 1600 y 1750 albergaron la creación de artistas que exploraron nuevos caminos vinculados con el realismo, la realidad social y el juego de luces y sombras. Madrid, Roma, Amsterdam y Sevilla son algunas de las ciudades más populosas de aquella época y que acogieron grandes glorias creativas a la vez que miserias mundanas. Nuestro invitado nos enseña cómo eran los artistas de aquella época y las principales características de sus obras. De este modo conoceremos los trazos arquitectónicos y escultóricos de Borromini y Bernini, así como el viaje por el tenebrismo de Caravaggio, sin olvidar el estilo inconfundible de Diego Velázquez y la magnitud de Artemisia Gentileschi, entre otras. ¡No te pierdas esta entrevista junto con el resto del programa! El programa se emitió el 30 de noviembre. 13x9 Tramo del audio: Editorial: 4'15 Noticias: 6'38 Entrevista: 15'05 Poema de Cierre: 48'30 ¿Te gustan nuestros contenidos? ¡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/ Escúchanos y léenos en nuestra web: https://elcafedelalluvia.com/ Síguenos en Twitch: https://www.twitch.tv/elcafedelalluvia Suscríbete a nuestro canal de YouTube en: https://www.youtube.com/c/ElCafédelaLluvia

Gaspar de Guzmán, el Conde Duque de Olivares, ha sido uno de los personajes de la historia más maltratados. Su condición de valido parece condenarle al destino de gobernante despótico y manipulador de un rey débil. Sin embargo, Olivares fue leal a la causa de Felipe IV y poseedor de un proyecto político de país, aunque estuvo destinado a fracasar en la España del siglo XVII. Gaspar de Guzmán nació en 1587 en Roma, donde su padre ejercía de embajador y luego fue virrey de Sicilia y Nápoles. En 1600 regresan a España y Gaspar, destinado en principio a la carrera eclesiástica, entra a estudiar en la universidad de Valladolid. Pero la muerte de sus dos hermanos mayores le convierte en el heredero de su Casa –una rama menor de los Medina Sidonia-. A partir de entonces, dedicará buena parte de sus esfuerzos a dar brillo a su linaje. Casado con su prima, Inés de Zúñiga y Velasco, camarera de la reina, pasó sus primeros años de matrimonio en Sevilla, tiempo que dedicó a gestionar el patrimonio familiar y al mecenazgo cultural. Siempre fue un gran aficionado a la literatura y a la poesía, y en esa época nace su relación con Diego Velázquez, al que luego convertirá en pintor de cámara y autor de los retratos con los que Olivares ha pasado a la posteridad. Sus primeros años como valido de Felipe IV coinciden con un anhelo general de reformas en Castilla que atraviesa por una crisis económica y social. Olivares plantea un sistema fiscal más eficiente en el que contribuyan equitativamente todos los territorios peninsulares. También pretende reducir los favores y mercedes otorgados por la Corona, reducir oficios municipales y obligar a los servidores del rey a presentar un inventario de su patrimonio. Pero casi todas sus reformas se chocaron contra la realidad. Los estamentos privilegiados se opusieron a ellas y el mantenimiento de los dominios de la monarquía hispánica en todo el mundo obligaba a mantener costosas guerras. Al final, hubo de supeditar la política interior a la exterior. Castilla fue la gran víctima de esta política. Los intentos de Olivares de conseguir contribuciones de otros territorios se saldaron con una rebelión en Cataluña y con la independencia de Portugal, que durante sesenta años había formado parte de la monarquía. Tras más de veinte años en el poder, el Conde Duque se convirtió en un hombre enfermo, cada vez más aislado, que tuvo que rogar repetidamente al rey para que lo liberara de sus cargos. Lo consiguió en enero de 1643 y murió dos años después en Toro, en medio de la incomprensión general y objeto de todas las críticas. El hispanista británico John Elliott restituyó en parte su figura ya en el siglo XX. En este documental, con guion de Modesta Cruz, oiremos su voz procedente del Archivo de RTVE, junto a la participación de los historiadores Manuel Rivero, Fernando Negredo y Carlos de Carlos, especialistas en esta época de la historia. Escuchar audio

Amancio Ortega vuelve a liderar la lista de los más riscos de España, seguido de su hija Sandra Ortega en el número 2, y dos activistas protestan a martillazos contra la Venus del Espejo de Diego Velázquez. Eva Soriano y Nacho García comentan la actualidad del martes 7 de noviembre en Cuerpos especiales.

Met vandaag:  Oekraïne mag in Brussel praten over EU-lidmaatschap | Hoeveel oorlogen kan Amerika aan? | Na 20 jaar hebben we nog geen genoeg van ‘Love Actually'| De woningmarkt in de verkiezingsprogramma's | Schilderij 'Toilet van Venus' van Diego Velázquez vaak doelwit van protestacties | Presentatie: Chris Kijne

El periodista Pablo Ortiz de Zárate nos ayudará cada miércoles, pasadas las once de la mañana, a curar nuestras obsesiones, angustias y todo tipo de malestares generales, mirando con detenimiento a algunos de los cuadros y obras más destacadas de la historia del arte.

Ángel Aterido es historiador del arte y analiza con Cristina el cuadro más famoso de la pinacoteca española más importante'Las Meninas´ de Velázquez es seguramente, la joya de la corona de nuestra pinacoteca más famosa y también una de las más importantes del pintor sevillano. Se han estudiado en profundidad las técnicas que se utilizaron para su creación y los aspectos más relevantes que presenta pero...'Las Meninas´ también presenta mensajes ocultos y misterios que hacen de ella una obra única.¿Has escuchado alguna vez que el cuadro de 'Las Meninas' es todo un enigma? El doctor en Historia del Arte, Ángel Aterido Fernández ha explicado en Fin de Semana de COPE que podemos ver cuando le echamos una primera ojeada al cuadro: "'Las Meninas' es un cuadro atípico e inclasificable. No es exactamente un retrato ni una historia. Para ser un retrato tiene una ambientación muy escenográfico... y sorprende que es un cuadro en el que el aire domina a los personajes" explicaba en COPE. El cuadro más famoso de la pinacoteca El Prado tiene por protagonista a la Infanta Margarita de Austria, hija del rey Felipe IV junto a su esposa, y sobrina, Mariana de Austria. Es esta pequeña 'infantita' el eje central de la obra más importante del artista sevillano, Diego Velázquez. El pintor se incluyó en la...

In 1656 Spanish painter Diego Velázquez completed a work depicting life at the Spanish court under Philip IV. Its intriguing composition led it to become one of the most famous paintings in the world: 300 years later Picasso created a series of work dedicated to it. That fascination, and a visit to the museum housing Las Meninas when she was young, led Andrea Hotere to pen her novel The Vanishing Point. She's woven a treacherous trail through the art world, as her main character Alex seeks to understand the clues Velázquez left in the painting alluding to a royal scandal. Andrea knows art well - she's the daughter of leading Kiwi artist Ralph Hotere and poet Cilla McQueen.

El Siglo de Oro español es reconocido como la época más fértil y gloriosa de las artes y las letras españolas. Miguel de Cervantes, Francisco de Quevedo, Calderón de la Barca, Diego Velázquez y muchos otros crearon obras de perdurable renombre... incluso cuando su país estaba en ruinas. Este programa contrasta las maravillas del Siglo de Oro a través de dramatizaciones, fragmentos de películas, obras de arte y visitas a lugares importantes con la ineficacia de los reyes Felipe III y IV, un largo período de gobierno que se caracterizó en gran medida por la decadencia y el desastre político y militar.

durée : 00:58:54 - Entendez-vous l'éco ? - par : Tiphaine de Rocquigny - Alors que le siècle d'Or amorce son déclin, Diego Velázquez s'impose comme grand maître de la peinture et portraitiste du roi. Dans une Espagne acculée par les guerres et les difficultés économiques, le XVIIe siècle voit briller l'un de ses plus grands artistes qui observe la cour et ses mœurs. - invités : Véronique Gérard-Powell Maître de conférences en histoire de l'art à la Sorbonne, spécialiste de l'art espagnol.; Michèle Escamilla Hispaniste, professeure émérite à l'Université Paris Nanterre

(Natalicio de Diego Velázquez) En 1623 Felipe IV, rey de España, quiso que Diego Velázquez lo retratara, así que mandó llamar al pintor español. El retrato que hizo Velázquez agradó a tal grado a Su Majestad, a los infantes y al Conde-Duque que lo había llamado que éste «afirmó no haberse retratado al Rey hasta entonces», es decir, que los del reinado anterior no lo habían pintado con semejante dignidad. Así que el joven monarca, sólo seis años menor que Velázquez, le ordenó que trasladara su domicilio a Madrid y lo nombró Pintor de Cámara. Bien pudiéramos pensar que, obtenido el título de Pintor de Cámara, ya no le quedaba a Velázquez nada más por desear ni ningún ascenso por conseguir. Pero, de pensar así, estaríamos muy equivocados debido a nuestra ignorancia de lo compleja que era la administración del palacio y lo distintas que eran las actitudes sociales de la época —explica el historiador español de arte Julián Gállego—. Entre otras cosas, ¡la profesión de pintor se consideraba un trabajo manual, por lo que se tenía en la misma estima que la profesión de barbero! Con los años, Velázquez llegaría a ser Ayuda de Cámara y Superintendente de Obras, y casi en vísperas de su muerte, Aposentador Mayor de Palacio. De modo que murió siendo el que tenía la responsabilidad de hacer los arreglos para los alojamientos del Rey durante sus viajes —un trabajo muy pesado—, además de tener que desempeñar absorbentes tareas que, en la actualidad, muchos consideran insignificantes, tales como poner y quitar las esteras que servían de alfombras en las habitaciones de palacio.1 Se cree que, cuando murió Velázquez, apenas cien personas en Madrid lo conocerían como pintor, a pesar de que ya había cumplido los sesenta y un años —una edad considerada algo avanzada en esos tiempos—, y de que llegó a ser considerado póstumamente por muchos como el mejor pintor español de todos los tiempos. No cabe duda de que Felipe IV habría de lamentar quedarse sin pintor —concluye el profesor Gállego—, pero no lo visitó durante su agonía en el lecho de muerte ni asistió al entierro, «oscuro y modesto en época de catafalcos», como tampoco asistió ningún otro miembro de la familia real. ¡Y eso que Felipe había influido personalmente en que Velázquez alcanzara la nobleza como Caballero de Santiago, y que se trataba del pintor que más había contribuido a la gloria de su nefasto reinado! «¿Qué hubiera sido de la escuela de Madrid sin Velázquez?», pregunta retóricamente el doctor Gállego.2 A lo que podemos replicar nosotros: ¿Qué sería de la escuela nuestra sin Jesucristo, nuestro Pintor Maestro? Y sin embargo Cristo, siendo el Hijo de Dios, se despojó de su grandeza voluntariamente, asumió la condición de siervo al hacerse semejante a nosotros, y nos enseñó, mediante su ejemplo, cómo alcanzar la real nobleza y la verdadera grandeza.3 ¡Quiera Dios que permitamos que imprima en nosotros esa estampa de suprema humildad tanto al servicio suyo como al servicio de nuestros semejantes! Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Julián Gállego, Velázquez, Alianza Cien (Madrid, Alianza Editorial, 1994), pp. 26,27-29,34,61,62; Tomás Bartolomé, «Arte. Velázquez. Manet lo calificó como “pintor de pintores”», Tomás Bartolomé: Pintor y blogger, enero 2014 En línea 23 noviembre 2022. 2 Gállego, pp. 27,34,61-62. 3 Mt 20:25-28; Mr 9:35; 10:42-45; Lc 22:27; Jn 13:1-15; Fil 2:3-11; 1P 4:10

(Víspera del Natalicio de Diego Velázquez) Muchos de los que visitan el Museo del Prado en Madrid, España, se quedan asombrados al contemplar ciertos cuadros del pintor español Diego Velázquez. Pero lo que les asombra no es solamente lo buenas que son esas obras que él pintó en el siglo diecisiete, sino también que les parecen ampliaciones fotográficas hechas más de dos siglos antes de la invención de la fotografía. De ahí que a esos testigos no habría de sorprenderles la anécdota sobre la reacción de Joaquim von Sandrart, historiador de arte, al ver el retrato de Juan de Pareja, criado y asistente de Velázquez. Aquel pintor flamenco quedó realmente impresionado cuando vio ese cuadro que Velázquez pintó y colgó en el pórtico del Panteón de Roma durante su viaje a Italia en 1650. La admiración que sintió Sandrart, sumada a la que percibió de parte de los que, junto con él, veían el retrato al lado del modelo sin poder distinguir el uno del otro, fue tan fuerte que lo llevó a declarar que «todo lo demás era pintura, y sólo ése verdad». Por si esa anécdota no bastara, lo cierto es que a quienes llegan a conocer las obras de Velázquez en el Museo del Prado tampoco habría de asombrarles saber de la anécdota sobre el desconcierto que sufrió el rey Felipe IV, quien hizo de aquel artista su Pintor de Cámara: Dicen que Su Majestad el Rey, al dirigirse al retrato velazqueño del almirante Pulido Pareja, ¡lo confundió con el original! Si bien el primer deber de un retrato pintado es que sea un buen cuadro, el segundo deber es que se parezca a su modelo —sostiene Julián Gállego, historiador español de arte, quien fue reconocido en 2010 con la Medalla de Oro del Museo del Prado—. Esa «propiedad de Velázquez de lograr, con lo pintado, lo vivo, no deja de ser un mérito enorme.... Los rostros, las manos y... [los] cuerpos [en sus cuadros] son de una absoluta realidad.... Bajo sus golas, sus mangas bobas, sus guardainfantes y sus pelucas, o bajo la humildad del criado o del enano, del borracho o del mendigo, son, ante todo, seres humanos, semejantes a quienes los contemplan en pintura», concluye el profesor Gállego.1 ¡Qué trillado hubiera sido si Velázquez, el pintor de la realeza y de la realidad, se hubiera propuesto más bien reproducir en el lienzo su propia imagen y no la de sus personajes! En cambio, en lo que atañe a nosotros, ¡qué extraordinario sería que cada uno de nosotros nos propusiéramos permitir que nuestro Pintor Maestro imprimiera en nosotros la estampa de su propia imagen y semejanza con la que nos creó! De hacerlo así, ya no volveríamos a juzgar a nuestros semejantes por su apariencia externa. Pidámosle a Dios, que nos conoce a fondo porque se fija más bien en nuestro corazón, que nos cambie de adentro hacia afuera. Sólo así podremos cumplir con nuestro deber de ser buenos cuadros humanos, sumamente parecidos a nuestro Modelo divino.2 Carlos ReyUn Mensaje a la Concienciawww.conciencia.net 1 Julián Gallego, Velázquez, Alianza Cien (Madrid, Alianza Editorial, 1994), pp. 5-11; Juan Domínguez Lasierra, «Memoria de Julián Gállego, un adelantado en la defensa del arte aragonés», Diario Heraldo de Aragón, España, 14 enero 2019 En línea 19 noviembre 2022. 2 Gn 1:26-27; 1S 16:7; Sal 51:10; Jn 7:24; Ro 8:29; Ef 2:10

Recuperamos a nuestra querida Mariajo Noain en los Viajes de Aspasia donde habla de la obra mitológica de Diego Velázquez, pintor universal que supo representar a divinidades de la antigüedad clásica a través del costumbrismo, con elementos tenebristas y de la pintura religiosa. Analizamos cuadros tan impresionantes como Los Borrachos, La Fragua de Vulcano o Las hilanderas; así hasta abarcar los seis que han llegado a nuestros días. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

A conversation about the 17th-century Spanish painter, famously depicted by Diego Velázquez, on his own terms.

One of Spanish master Diego Velázquez's most famous and celebrated paintings is a portrait of a man he enslaved in his own studio. Juan de Pareja was a Black man living in Spain in the 1600s, and was an accomplished artist in his own right. A new exhibit at the Metropolitan Museum of Art spotlights his work, and explores the relationship between enslavement and art in seventeenth century Spain. Co-curators David Pullins and Vanessa Valdés join us to discuss the exhibit, titled Juan de Pareja, Afro-Hispanic Painter. It's on view through July 16th.

Diego Velázquez, fundador de ASMERG (Asociación Mexicalense de Recorridos y Guías) nos comparte como ha sido involucrarse de lleno a la reactivación de la zona Centro de Mexicali, con lo que él lo define como "Turismo Cultural"; tiene recorridos por los famosos túneles/sotanos de los barrios chinos de Mexicali, mejor conocido como "La Chinesca", recorridos por bares de la zona centro con comediantes de StandUp llamado "Del Tingo al Tango" entre otros. VIDEO PROMOCIONAL "DEL TINGO AL TANGO" ▶ https://www.facebook.com/asmerg/videos/188930749952923 ¡Suscríbete a nuestro canal y disfruta de nuestro podcast! Entrevistas irreverentes, divertidas, a veces sin sentido, pero siempre dejando algo de aprendizaje, aunque sea mínimo XD

This week: Ben Luke talks to Melanie Gerlis about the recent turbulence in the banking sector, as US banks go under, an ailing Credit Suisse is acquired by UBS and Deutsche Bank shares fall at one point by 14%. What are the implications for the art world? Melanie also explains the figures in the latest Art Basel and UBS Global Art Market Report. The Baltimore Museum of Art in the US this week opens the exhibition The Culture: Hip Hop & Contemporary Art in the 21st Century. We speak to Asma Naeem, the director of the BMA and co-curator of the show, about what she's called “the second pop art movement”. And this episode's Work of the Week is The Calling of Saint Matthew by the 17th-century Afro-Hispanic artist Juan de Pareja. He is best known as the subject of one of the greatest ever portraits, by Diego Velázquez, the artist who enslaved Pareja for two decades before his manumission in Rome in 1650. David Pullins and Vanessa K. Valdés, the curators of a new exhibition about Juan de Pareja at the Metropolitan Museum of Art in New York, tell us about the painting.The Culture: Hip Hop and Contemporary Art in the 21st Century, Baltimore Museum of Art, until 16 July; St Louis Art Museum, 26 August-1 January 2024.Juan de Pareja, Afro-Hispanic Painter, Metropolitan Museum of Art, New York, until 16 July. Hosted on Acast. See acast.com/privacy for more information.

Our beloved guest host and artist, Elisabeth Condon, and her series "Elisabeth Condon Describes a Painting!" are back for a new installment! This time Elisabeth chose to describe Joseph Stella's oil on canvas painting "Tree of My Life" from 1919 that she saw at The Norton Museum in "Joseph Stella: Visionary Nature." The show is traveling next to the High Museum and to the Brandywine Museum. It was an honor to have Elisabeth's wild and wonderful way of looking at painting again on the pod. See "Joseph Stella: Visionary Nature" in person/online: Norton Museum (since closed): https://tinyurl.com/yhv3paaw High Museum (Feb-May 2023): https://tinyurl.com/szewk7f8 Brandywine Museum of Art (June-Sept 2023): https://tinyurl.com/yry6cry4 Barbara Rose's 1997 Essay "Flora" on Joseph Stella: https://www.tfaoi.org/aa/7aa/7aa792.htm Joseph Stella works mentioned: "Tree of My Life," "The Voice of the City of New York Interpreted," "Brooklyn Bridge," "Battle of Lights, Coney Island" More About Elisabeth Condon: Web: https://www.elisabethcondon.com/ | IG: @elisabethcondon Solo at Emerson Dorsch Gallery late 2023: https://emersondorsch.com/artist/elisabeth-condon/ Florida Art in State Buildings/Univ of South Fla, May 2023: https://tinyurl.com/5n8ycr8m Painting at Freight & Volume Gallery: http://www.freightandvolume.com/ Artists Mentioned: Philip Guston, 4 Gentlemen of the Orchid, Bamboo, Chrysanthemum & Plum, Chinese Scroll Painting, Charles Burchfield, Odilon Redon, Paul Gauguin's "Vision and the Sermon," Hieronymus Bosch, Dziga Vertov's "Man with a Movie Camera," Marcel Duchamp's "Fountain," Agnes Pelton, Henri Rousseau's Paris paintings, Umberto Boccioni & the Italian Futurists, Precisionists: Sheeler, Demuth & Schamberg, Patrick Henry Bruce, Diego Velázquez, Rembrandt, William Merritt Chase, Robert Henri, Alfred Stieglitz, Georgia O'Keeffe, Marsden Hartley Writers mentioned: Barbara Rose, Immanuel Kant, Gaston Bachelard's "Poetics of Space," Henri-Louis Bergson, Lewis Mumford, Walter Conrad Arensberg, Gertrude Stein, Maurice Tuchman Eps mentioned: #38 (Elisabeth Condon Describes a Painting #1) and #15 (Review of "Spiritual in Art: Abstract Painting 1890-1985") ---------------------------- Pep Talks on IG: @peptalksforartists Pep Talks on Art Spiel as written essays: https://tinyurl.com/7k82vd8s Amy's Interview on Two Coats of Paint: https://tinyurl.com/2v2ywnb3 Amy's website: https://www.amytalluto.com/ Amy on IG: @talluts Buy Me a Coffee Donations appreciated! --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

Diego Velázquez nunca ha dejado de sorprender, considerado por muchos uno de los grandes maestros del arte de todos los tiempos. Federico García Serrano lleva mucho tiempo investigándole. Charlamos con él, sobre su libro 'Velázquez en 30 claves' donde muestra el porque del genio y de la admiración que sigue despertando su obra.  Escuchar audio

Miramos con nuestro ojo a Diego Velázquez gracias a Federico García Serrano. Su libro 'Velázquez en 30 claves' publicado por Larousse nos descubre quién de verdad fue el genuino pintor sevillano. Martín Llade nos adelanta curiosidades del célebre concierto de Año Nuevo de la Filarmónica de Viena que se celebrará el próximo 1 de enero. Y con Laura Martín Pérez, lingüista computacional, hablamos sobre inteligencia artificial, la palabra del año elegida por la Fundéu. Escuchar audio

Rick Barot, poet and Professor of English at Pacific Lutheran University, talks about creative writing, poetry, and ways of reading works of art at the Jule Collins Smith Museum of Fine Art at Auburn University. View the painting "Las Meninas" by Diego Velázquez: https://www.museodelprado.es/en/the-collection/art-work/las-meninas/9fdc7800-9ade-48b0-ab8b-edee94ea877f View work by RaMell Ross: https://jcsm.auburn.edu/exhibitions/spell-ross/

Mia Bergeron's Bio Mia Bergeron is a classically trained oil painter that uses modern techniques and concepts to create layered imaginative works. Imagery in her work often oscillates between the fictitious and the observed in equal parts. Rooted in her upbringing in New York City with continuous exposure to modern art, her paintings also reveal her choice to study classical painting in Florence, Italy under Charles H. Cecil in her twenties. Heavily influenced by historical artists such as Diego Velázquez, Titian, Anthony van Dyck, and John Singer Sargent, her paintings are also shaped by contemporary artists such as Alex Kanevsky, Ann Gale, and Adrian Ghenie. For Mia, the process of making paintings is similar to meditation. Each painting is the listening and contemplating of the surrounding world. The minutes at the easel are similar to focusing on the breath- there are times when the scrutiny is welcomed and quiet, and other times when the mind is loud and unintelligible. It is this dynamic contrast that is at the center of Mia's paintings. This dualistic nature of life is what pushes and inspires her work.   Mia has been published numerous times in international magazines. Her painting “Tranquil Ghosts” was the cover image for the January 2022 Issue of American Art Collector Magazine.  She continues to teach throughout the United States and Europe. She and her husband, artist John McLeod, lives in Chattanooga, Tennessee. John McLeod's Bio Living and working in Chattanooga, Tennessee, John McLeod graduated from Millsaps College in Jackson, Mississippi in 2001. His earliest influences come from studying ancient Mesoamerican and Egyptian sculpture and imagery.  John works with a wide range of materials and methods to explore emotional experiences, communicate beliefs in visual terms, create enigmatic situations, or simply to share beauty, pain, or both.  Featured in Beautiful Bizarre and American Art Collector magazines, his work is collected internationally.  John is currently represented at Abend Gallery. Topics Discussed In This Episode: How Mia and John originally met Their experiences living in Chattanooga, Tennessee Their newest duo show “Totems and Vessels” @ Robert Lange Studios in Charleston, South Carolina Mia and John describing each of their processes Cultivating a solid relationship Creating a work/life balance in their lives How John sees the confluence between all of his vast interests and hobbies Finding a meditation practice through physical activities The joy that comes from having multiple creative outlets The anxiety of constant self-improvement Meditative qualities and subject matter within Mia's work Understanding the technical aspects of a painting in order to express more personal ideas Books Mentioned: “The Year of Magical Thinking” by Joan Didion artistdecoded.com miabergeron.com johnmcleodart.com robertlangestudios.com/shows/totems-and-vessels

Alex Dodge is an international artist who's work ranges from painting to prints and he plans much of his work in Virtual Reality.  Alex joined Vance Crowe in Virtual Reality to do a tour of some works of art that are particularly important to them. 00:00 Start00:31 Introduction to Alex Dodge and VR Museum4:57 Bruno Luchesi13:40 David Hammons: Pray for America26:44 Claude Monet: Water Lilies31:44 Diego Velázquez: Juan de Pareja36:36 Fernando Botero: Doll42:03 Philip Guston: Painting, Smoking, Eating52:41 Ansel Adams: Yosemite01:04:28 Cynthia Talmadge: Frank E. Campbell01:11:00 John Martin: Sadak in Search of the Waters of Oblivion01:17:55 Stuart Sherman: Performance Artist01:25:13 Terry Redlin: Bountiful Harvest01:32:47 Isamu Gakiya:01:39:18 Alex Dodge: Come Walk With Me01:51:40 Alex Dodge: Nigel, Infinite Recursion (NaN)02:00:36 Virtual Reality Museum Experience