Podcast appearances and mentions of Edgar Degas

Bir nevi "mükemmeliyetçilik" bölümünün devamı niteliğinde bir bölümle karşınızdayız, bu kez meselemiz "yetersizlik". Sık sık hissettiğimiz, sinsi şekillerde bizi yoklayan, hele bu çağda daha da vahşi şekilde saldıran o duyguyu anlamaya çalışıyoruz. Pek tabii edebiyata ve sinemaya da uzanarak.Bölümde adı geçen tüm kitap ve filmlerin listesini ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@1kitap1film.us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ instagram hesabımızda bulabileceğinizi hatırlatalım.Bu bölüme sponsor olarak bizi destekleyen ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vitruta⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠'ya katkılarından ötürü çok teşekkür ederiz. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vitruta.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠'da ve vitruta mağazalarında yapacağınız alışverişlerde, 1kitap1film kodu ile indirimsiz ürünlerde %15 indirim avantajından faydalanabilirsiniz. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vitruta.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠'dan yapacağınız alışverişlerde 1kitap1film özel avantaj kodunu, ürünü sepete ekledikten sonra çıkan sayfadaki “hediye kartı veya indirim kodu” alanına ödeme işlemi öncesinde tanımlayabilirsiniz.Kapak görseli: Edgar Degas, Dancers at the Barre (1905)

Aujourd'hui, je vais vous parler de l'absente de "L'absinthe".  Crédit image : Edgar Degas, 1875-1876, "Dans un café" ou "L'Absinthe", Domaine public.Texte : Sonia Zannad Voix : Odile Dussaucy Production, réalisation : MesSortiesCulture  Le texte de cet épisode, avec son visuel est sur TartinesDeCulture, ici.Abonnez-vous à nos podcasts, ici.   A bientôt pour un nouvel épisode!   Retrouvez nos #mardidevinette et #enigmeduvendredi sur Facebook et Instagram. Trouvez vos visites guidées sur MesSortiesCulture. Nourrissez votre curiosité avec TartinesDeCulture. Enchantez vos collaborateurs et vos clients avec MSCulture. Recevez votre Newsletter personnalisée.  Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Send us a textIn this engaging conversation, Bob Sorrentino interviews Frank Ingrasciotta, the creator of 'Blood Type Ragu,' exploring themes of Italian heritage, family dynamics, and the immigrant experience. Frank shares his family's journey from Sicily to America, the challenges they faced, and the cultural nuances that shaped his identity. The discussion delves into the importance of storytelling in preserving family history, the differences in food traditions, and the emotional impact of reconnecting with family in Sicily. Frank's experiences highlight the resilience of immigrant families and the rich tapestry of Italian-American culture.Frank is the son of Sicilian immigrants from Mazzara del Vallo, Sicily.His family came to America in 1949 after World War II.Frank's father was born in America but returned to Sicily as a child.His mother struggled with homesickness after moving to America.Frank visited Sicily at the age of seven, gaining insight into his mother's life.He reconnected with family in Sicily after years of separation.Frank's one-man show, 'Blood Type Ragu,' explores his family stories.ABOUT THE SHOWBlood Type: RAGU is a hilarious and heartfelt coming-of-age story. A one-man play exploring a first-generation immigrant child's delicate dance between searching for identity, embracing Sicilian roots, and understanding forgiveness. Writer/Performer Frank Ingrasciotta gives a tour-de-force portrayal of over 20 characters who live, love, and laugh, in this fast-paced journey that is not just a comedy, not just a drama — It's family — and we all have one! ABOUT FRANKFRANK INGRASCIOTTA (writer/performer) Acting: Original Off-Broadway production of Godspell, Valley of the Dolls, Three Postcards, What Would Nora Ephron Say?, Dinner at 8, Edgar Degas in The Girl in the Blue Armchair, and the Pharaoh in Joseph & the Amazing Technicolor Dreamcoat at Lincoln Center. TV: Five years as Rene Buchanan's head maître d' on One Life to Live, other recurring roles on The Guiding Light, All My Children, ABC Afterschool Specials, and The Equalizer. Film: Featured roles in the award-winning SAG films Figs for Italo and Brooklyn in July directed by Bob Celli, presently touring the film festival circuit. Stream the Raguwww.bloodtyperagu.comTurnkey. The only thing you'll lift are your spirits.Instacart - Groceries delivered in as little as 1 hour.Free delivery on your first order over $35.Buzzsprout - Let's get your podcast launched!Start for FREEDisclaimer: This post contains affiliate links. If you make a purchase, I may receive a commission at no extra cost to you.Support the showPurchase my book "Farmers and Nobles" here or at Amazon.

BURNING CITIES CONTINUED, THEN AND NOW.  5/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  7/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1871 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  6/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 PARIS COMMUNE https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  8/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 PARIS CLAUDE MONET 1840-1926 https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  4/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 PARIS PRUSSIAN BOMBARDMENT   https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  3/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 SCHWEINFURT https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  2/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 Bucharest  https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  1/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1871 PARIS   https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

Vita, opere e tecnica pittorica di Degas, artista francese protagonista dell'impressionismo, noto per i suoi quadri di ballerine e per l'Assenzio.

5/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 SIEGE OF PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

6/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 SIEGE OF PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

7/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1871 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

8/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS  https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

1/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

2/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

3/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

4/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionis

"Eu desenhei loucamente para que, quando não tivesse mais olhos, pudesse enxergar com as pontas dos dedos." A frase é de Suzanne Valadon, artista pioneira que desafiou convenções em sua vida e obra, e que agora ganha uma grande retrospectiva no Centro Pompidou de Paris. Anticonformista por natureza, Valadon demolia regras – inclusive ao pintar escandalosos nus masculinos, algo impensável para sua época.  Filha de pai desconhecido e criada no ambiente boêmio e popular de Montmartre do início do século 20, Suzanne Valadon começou trabalhando como modelo para grandes nomes da pintura da época, como Toulouse-Lautrec e Renoir. Mas ela não se contentou em ser apenas musa e conquistou seu espaço como artista reconhecida nesse meio eminentemente masculino. Valadon desafiou constantemente as normas sociais e artísticas de sua época. De origem modesta e filha de uma lavadeira, ela lutou para conquistar um lugar para si no mundo da arte, apesar dos preconceitos associados ao fato de ser mulher e às suas origens.Nathalie Ernoult, curadora da exposição no Centro Pompidou de Paris, fala sobre o começo de sua carreira em Montmartre. "Ao chegar em Paris, Suzanne Valadon trabalhou em diversos pequenos empregos para se sustentar e ajudar sua mãe, mas essas ocupações eram mal remuneradas. Foi então que lhe sugeriram se tornar modelo, uma atividade mais bem paga na época. Em Montmartre, onde existia um verdadeiro 'mercado de modelos', ela rapidamente chamou a atenção dos maiores artistas do século 19, como Puvis de Chavannes, Renoir e Toulouse-Lautrec. Para Suzanne, posar como modelo não representava apenas uma imersão no mundo da arte que marcaria profundamente seu destino, mas uma verdadeira oportunidade financeira. Ser modelo para ela significava ganhar mais dinheiro", precisa Ernoult.Autodidata e filha de uma lavadeiraEla se reinventou e forjou sua identidade mudando seu primeiro nome (de Marie-Clémentine para Suzanne). Desde muito jovem, não se conformou com as expectativas tradicionais das mulheres de sua época, como conta Flore Mongin, autora de uma biografia sobre a artista. "Marie-Clémentine Valadon, futura Suzanne Valadon, chegou a Paris aos 5 anos com sua mãe, em um ambiente popular marcado pela miséria. Criada sozinha pela mãe lavadeira, ela cresceu em Montmartre, um bairro vibrante de Paris, que foi um terreno fértil para o seu desenvolvimento. Desde a infância, demonstrou uma personalidade forte e um gosto acentuado pelo desenho, características que se tornariam centrais em sua trajetória artística. Montmartre, com sua efervescência cultural, foi o cenário de sua evolução, moldando a mulher e a artista que ela se tornaria, da infância à adolescência", afirma a escritora.Suas representações das mulheres romperam com os clichês da época, mostrando corpos naturais e não idealizados em poses cotidianas, como detalha a curadora da mostra, que fala sobre uma de suas obras mais transgressoras, a "Odalisca". Suzanne Valadon "revisita e transgride o modelo clássico da odalisca em uma de suas obras-primas. Diferentemente da odalisca tradicional, frequentemente retratada nua e em uma postura sensual, seu modelo aqui está vestido, usando um pijama descontraído, com calças listradas e uma regata", contextualiza."A mulher fuma um cigarro, com livros displicentemente colocados ao seu lado, e sua expressão é séria, distante de qualquer sugestão de sedução. Valadon apresenta aqui a imagem de uma mulher livre e moderna dos anos 20, rompendo completamente com o arquétipo das odaliscas idealizadas. Tendo sido ela mesma modelo e posado para nus reclinados, Valadon conhecia profundamente a forma como os pintores representavam e objetificavam o corpo feminino. Com essa pintura, ela oferece uma visão radicalmente diferente", sublinha a especialista do Pompidou."Você é uma de nós": o apoio de DegasMas é o impressionista Edgar Degas, o artista mais importante do grupo de Montmartre na época, quem vai desempenhar um papel-chave na vida de Suzanne Valadon, como relata a curadora da mostra, Nathalie Ernoult. "Com os recursos que tinha à disposição, Suzanne Valadon desenhava sem cessar, em qualquer lugar que pudesse. Enquanto posava como modelo, observava atentamente os artistas ao seu redor, analisando suas técnicas de pintura e esboço. Dotada de um grande senso de observação e de uma memória visual impressionante, ela aprendeu a desenhar quase instintivamente, de forma autodidata", lembra."Um dia, ela teve a coragem de mostrar seus desenhos a Bartholomé e Toulouse-Lautrec, que imediatamente reconheceram seu talento. Lautrec a incentivou fortemente a apresentar seu trabalho a Edgar Degas, encontro que marcaria uma virada decisiva em sua carreira artística. Degas, que era uma figura central da época, se tornaria mais tarde um de seus maiores apoiadores e mentores", destaca. Foi Edgar Degas quem reconheceu seu talento, comprou seus desenhos e disse: "Você é uma de nós."Entre os amores escandalosos que Suzanne nunca escondeu, figura uma relação relâmpago com Eric Satie, como conta a biógrafa da artista. "Sim, Montmartre era um lugar propício para os amores, e de fato Eric Satie ficou muito apaixonado. Ele foi um amor transitório de Suzanne Valadon e também um amante passageiro, já que a história deles não durou muito tempo. Eram duas personalidades muito fortes que não estavam necessariamente destinadas a se entender", conta Flore Mongin.Apesar do reconhecimento, Valadon enfrentou muitos desafios. Ela foi recusada por não ter um "mestre" reconhecido na Escola de Belas Artes de Paris. E mesmo quando começou a pintar, sua ousadia escandalizava – como no caso de "Adão e Eva", onde retratou seu jovem amante nu a seu lado.Com a exposição no Centro Pompidou de Paris, até o dia 26 de maio de 2025, e os novos livros dedicados a ela, Suzanne Valadon finalmente sai do esquecimento para ocupar o lugar que merece na história da arte.

En 1946, la loi Marthe Richard abolit le système de prostitution réglementé et entraine la fermeture des maisons closes en France. Depuis un siècle, la fréquentation de ces maisons de tolérance était une pratique masculine courante. Mais quelle était la réalité du quotidien de celles que l'on appelle les filles de joie dans les bordels ? Ces femmes, immortalisées par des artistes comme Henri de Toulouse-Lautrec ou Edgar Degas avait-elle la possibilité de sortir de la prostitution ? Pour en parler Virginie Girod reçoit l'historienne Catherine Menciassi-Authier. Spécialiste de l'histoire des femmes au XIXe siècle, elle est notamment l'auteure de l'ouvrage "Femmes d'exception, femmes d'influence, une histoire des courtisanes au XIXe siècle", paru aux éditions Armand Colin.

Bu bölümde pek kitap ve film yok, baştan uyaralım - ama bolca kişisel tecrübe ve hatıra var çünkü sohbet ederken sık sık referans verdiğimiz esnaflık deneyimlerimizi anlatıyoruz. İkimiz de uzun yıllar cafe işlettiğimiz için, pek çok insanın hayali olan "küçük tatlı bir cafe işletmek" meselesinin çok da tatlı olmayan taraflarını bir anlatalım istedik. Buyrunuz! Bölümde adı geçen tüm kitap ve filmlerin listesini ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@1kitap1film.us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ instagram hesabımızda bulabileceğinizi hatırlatalım. Kapak görseli: Edgar Degas, Dans un Café/L'Absinthe (1876)

For the 34th episode of "Reading the Art World," host Megan Fox Kelly speaks with Sebastian Smee, Pulitzer Prize-winning art critic for The Washington Post and author of "Paris in Ruins: Love, War, and the Birth of Impressionism,” published by W. W. Norton.This fascinating conversation explores the violent political upheavals of 1870-71 Paris — the Siege of Paris and the Paris Commune — and how they influenced the Impressionist movement. Smee shares insights into the lives of the artists who survived these dramatic days, including Edgar Degas, Édouard Manet and Berthe Morisot, who were trapped in Paris; Pierre-Auguste Renoir and Frédéric Bazille, who joined regiments outside of the capital; and Claude Monet and Camille Pissarro, who fled the country just in time.Through rigorous research into personal letters and historical documents, Smee illuminates the human context behind familiar masterpieces of light created during this dark period. He offers a fresh perspective on why the Impressionists, with their newfound sense of the fragility of life, turned toward transient subjects of modern life, leisure, fleeting moments and the impermanence of all things in the aftermath of such devastating events.ABOUT THE AUTHOR Sebastian Smee is an art critic for The Washington Post and winner of the 2011 Pulitzer Prize for Criticism. His previous works include "The Art of Rivalry" and books on Mark Bradford and Lucian Freud. He was awarded the Rabkin Prize for art journalism in 2018 and was a MacDowell Fellow in 2021.PURCHASE THE BOOK https://wwnorton.com/books/9781324006954SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

There was indeed a theme in today's crossword, but it was sufficiently subtle that one of our cohosts missed it completely until it was brought to their attention by the other cohost. For those of you on the edge of your seats wondering which cohost missed the theme, have a listen to today's episode, where all will become clear.Show note imagery: Miss La La, at the Cirque Fernando, a painting by Edgar DEGAS. And, yes, she really is hanging by her teeth, in the pre dental-titanium era.We love feedback! Send us a text...Contact Info:We love listener mail! Drop us a line, crosswordpodcast@icloud.com.Also, we're on FaceBook, so feel free to drop by there and strike up a conversation!

Send us a textMeg hunts down the real stories behind three Metropolitan Museum art heists. Jessica weaves a tale of tapestries, the big top, polyamory, and unicorns.Please check out our website, follow us on Instagram, on Facebook, and...WRITE US A REVIEW HEREWe'd LOVE to hear from you! Let us know if you have any ideas for stories HEREThank you for listening!Love,Meg and Jessica

Send us a textWhat an incredible honor it is to introduce someone to Jesus. When was the last time you were able to do that?John 1:40Andrew, Simon Peter's brother, was one of the two who heard John and followed him. He first found his own brother Simon and told him, “We have found the Messiah” (which is translated “the Christ”),and he brought Simon to Jesus.Remaster of Episode 12, originally released on June 12, 2019.Support the show

Episode 100: A brush with… Marlene DumasIn this, the 100th episode of A brush with…, Marlene Dumas talks to Ben Luke about her influences—from writers to film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Dumas was born in Cape Town, South Africa, in 1953 and lives and works in Amsterdam. She is a painter whose intensity is unrivalled. Using found images and responding to memory, she has the ability to seduce and repel, to lull and to shock, often all in a single image or group of works. She is endlessly daring in her questioning of her medium and what it can do, in the unorthodox formats and scale she chooses for her imagery, in the way she reflects on historic art and ideas, movies and literature, and in her unflinching confrontation of her own life. Her paintings and drawings are a means of responding to external events and internal feelings in ways that can be absurd, confounding, funny and profoundly affecting. And while her themes and language are consistent, she is always pushing herself to new territory and breaking boundaries. She discusses the early influence of comic illustration, the enduring effect on her of Francisco Goya's work, how she grew to love the work of Edgar Degas, Edvard Munch and Jean-Auguste-Dominique Ingres after first dismissing them, and her admiration for Nicole Eisenman and Diane Arbus, among others. She also gives insight in her life in the studio and answers our usual questions, including, “What is art for?”Marlene Dumas: Mourning Marsyas, Frith Street Gallery, London, until 16 November. Hosted on Acast. See acast.com/privacy for more information.

When embarking on your mokuhanga journey, whether through making or collecting, one name stands out above the rest: (pause) Yoshida. The Yoshida family of artists have helped create some of the most important and exciting mokuhanga prints of the last 100 years. Their designs, techniques, and marketing transformed the perception of prints in Japan and around the world.   I speak with Dr. Monika Hinkel, Lecturer in the Arts of East Asia at SOAS (the School of Oriental and African Studies) at the University of London and an Academic Member of the Japan Research Centre. Dr. Hinkel is also the curator of the current exhibtion (at the time of recording)  about the Yoshida family of artists, titled Yoshida: Three Generations of Printmaking, being held at the Dulwich Picture Gallery in London, England.   Dr. Hinkel joins me to discuss the Yoshida family, from Hiroshi to Ayomi, the exhibition at the Dulwich Picture Gallery—the first of its kind in the United Kingdom—the Yoshida family's history, and their impact on the global art community.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Dulwich Picture Gallery - located in London, England the Dulwich Picture Gallery is the worlds first public "purpose-built" public art gallery founded in 1811.  Robert Rauschenberg (1925–2008) - was an American artist known for his innovative and boundary-defying work that blurred the lines between painting, sculpture, and everyday life. Emerging in the 1950s, Rauschenberg challenged the conventions of traditional art with his "Combines," a series of works that incorporated found objects, photographs, and non-traditional materials into paintings, creating dynamic, multi-dimensional pieces. Characterized by a spirit of experimentation and a desire to break down the distinctions between art and the real world, Rauschenberg played a crucial role in the transition from Abstract Expressionism to Pop Art. Charlene (1954) mixed media Pop Art - was an art movement from the 1950s and 1960s that incorporated imagery from popular culture, such as advertising, comic books, and consumer goods. It challenged traditional art by blurring the lines between high art and everyday life. Key figures like Andy Warhol and Roy Lichtenstein used bold colors and familiar icons to both celebrate and critique consumer culture, making Pop Art one of the most influential movements in modern art. Yoshida: Three Generations of Japanese Printmakers - is the current exhibition at the Dulwich Picture Gallery from June 19, 2024 -  November 3, 2024.  Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Kumoi Cherry Tree 23" x 29 1/8 " (1926) Yoshida Fujio (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Flower - B (1954) 15 3/4" x 10 5/8" Yoshida Tōshi (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  American Girl A (1954) 15 7/8" x 11 1/8" Yoshida Chizuko (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Jazz (1953) 15 3/4" x 11" Yoshida Hodaka (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures. Abstract (1958) 11" x 15 7/8" Yoshida Ayomi - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Spring Rain (2018) woodblock installation  Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Spring Rain at Sakurada Gate (1952) 10 3/8" x 15 3/8" Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.    Impressionism - was an art movement that emerged in France in the late 19th century, characterized by a focus on capturing the fleeting effects of light and color in everyday scenes. Instead of detailed realism, Impressionist artists like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas used loose brushwork and vibrant colors to convey the atmosphere and momentary impressions of their subjects. This movement broke from traditional art by often painting en plein air (outdoors) and prioritizing personal perception over exact representation, leading to a revolutionary shift in modern art. Wassily Kandinsky (1866–1944) - was a key figure in the development of abstract art, known for using color and form to express emotions and ideas without representational content. His influential writings and innovative approach helped shape modern art, making him a central figure in movements like Expressionism and the Bauhaus. Stars (1938) 13 7/8" x 10 1/4" colour lithograph  Charles Freer (1854–1919) - was an American industrialist and art collector, best known for his significant contributions to the field of art through the establishment of the Freer Gallery of Art. Freer was a wealthy entrepreneur who made his fortune in the railroad industry. In his later years, he became an avid collector of art, particularly Asian art, including Chinese and Japanese ceramics, paintings, and sculptures. Nakagawa Hachiro (1877-1922) - was a close friend of Yoshida Hiroshi and traveled to the United States together for the first time in 1899. He was a yōga painter and showed primarily in Japan. Landcape in The Inland Sea 13.94" x 20.87" colour on watercolour  The Great Kanto Earthquake - struck Japan on September 1, 1923, with a magnitude of approximately 7.9. It devastated the Kanto region, including Tokyo and Yokohama, causing widespread destruction and fires that led to the deaths of over 100,000 people. The earthquake also resulted in significant infrastructure damage, homelessness, and economic disruption. In the aftermath, the disaster prompted major rebuilding efforts and urban planning changes. Additionally, the earthquake led to social and political unrest, including widespread anti-Korean sentiment, as rumors falsely blamed Korean immigrants for the disaster. Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.  Thirty Six Views of Mount Fuji No. 21 Lake at Hakone 14" x 9 1/4" Kawase Hasui (1883-1957) - a designer of more than six hundred woodblock prints, Kawase Hasui is one of the most famous designers of the shin-hanga movement of the early twentieth century. Hasui began his career with the artist and woodblock designer Kaburaki Kiyokata (1878-1971), joining several artistic societies along the way early in his career. It wasn't until he joined the Watanabe atelier in 1918 that he really began to gain recognition. Watanabe Shōzaburō (1885-1962) had Hasui design landscapes of the Japanese country-side, small towns, and everyday life. Hasui also worked closely with the carvers and printers of his prints to reach the level Hasui wanted his prints to be.  Selection of Views of the Tokaido (1934) Bishu Seto Kilns 15 3/4"  x 10 3/8" Itō Shinsui (1898-1972) - Nihon-ga, and woodblock print artist and designer who worked for print publisher Watanabe Shōzaburō (1885-1962). Shinsui designed some of our most famous shin hanga, or “new” prints of the early 20th century. One of my favorites is “Fragrance of a Bath” 1930. Kasumi Teshigawara Arranging Chrysanthemums (1966) 21 7/8" x 16 1/2" Katsushika Hokusai (1760-1849) - is one of the most famous Japanese artists to have ever lived. Hokusai was an illustrator, painter and woodblock print designer. His work can be found on paper, wood, silk, and screen. His woodblock print design for Under The Wave off Kanagawa (ca. 1830-32) is beyond famous. His work, his manga, his woodblocks, his paintings, influence artists from all over the world.  Tama River in Musashi Province from 36 Views of Mount Fuji (1830-32) 9 7/8" x 14 7/8"  Boston Museum of Fine Arts - a museum with a rich history with Japanese artwork, especially woodblock prints. It holds the largest collection of Japanese art outside of Japan. Many of their woodblock prints are held online, here. A video on YouTube found, here, describing the MFA's history, and its collections.  Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most important sōsaku hanga artists and promotor of the medium. His works are highly sought after today. More info, here. Nijubashi Bridge to the Imperial Palace from Scenes of Lost Tokyo (1945) 7.8" x 11.1" published by Uemura Masuro Tarō Okamoto (1911–1996) was a prominent Japanese artist known for his avant-garde works and dynamic use of color and form. His art, which includes painting, sculpture, and public installations like the "Tower of the Sun," often explores themes of chaos and modernity. Okamoto was influential in Japanese contemporary art and also made significant contributions as a writer and cultural commentator. More info, here.  Seashore (1976) lithograph 5.55" × 22.05" Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” St. Olaf College - is a private liberal arts college located in Northfield, Minnesota. Founded in 1874 by Norwegian-American settlers, it has a strong emphasis on a comprehensive liberal arts education, integrating rigorous academics with a commitment to fostering critical thinking, leadership, and global citizenship. The college is known for its vibrant community, strong programs in the humanities, social sciences, and natural sciences, and its affiliation with the Evangelical Lutheran Church in America (ELCA). St. Olaf is also recognized for its strong music program, including its acclaimed choir and music ensembles. More info, here. The Detroit Institute of Arts (DIA) -  is an art museum in Detroit, Michigan, founded in 1885. It is known for its extensive collection of artworks from various cultures and periods, including significant American, European, and African art. The DIA is particularly famous for Diego Rivera's Detroit Industry Murals and serves as a major cultural center with diverse exhibitions and educational programs. More info, here.   baren - is a Japanese word to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although baren have many variations.    Jeannie Kenmotsu, PhD - is the Arlene and Harold Schnitzer Curator of Asian Art at the Portland Art Museum in Portland, Oregon. She specializes in early modern Japanese art, with a focus on painting, illustrated books, and prints. Her interview with The Unfinished Print about her work about the Joryū Hanga Kyōkai can be found, here.    © Popular Wheat Productions opening and closing credit - by Gordon Lightfoot - Affair on 8th Avenue from the album Back Here On Earth (1968) on United Artists. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                        

In this episode of Paint Rest Repeat, Ros and Laura dive into the three crucial steps every artist needs to take to grow their creative business. Whether you're looking to increase your income, diversify your revenue streams, or simply gain more confidence in your art business, this episode is for you. The hosts also discuss the mindset shifts necessary to overcome common hurdles and truly embrace your identity as a professional artist.   What You'll Learn: - Step 1: Get Clear on Your Vision   - Why having a clear business vision is essential.   - Practical tips on setting goals, creating a business plan, and identifying income streams.   - A personal story from Ros on how having a clear vision transformed her business.   - Step 2: Build Confidence in Marketing   - The importance of confidently marketing your art and yourself.   - Basic marketing strategies including branding, social media presence, and audience engagement.   - Insights into testing the market and refining your approach.   - Step 3: Collaborate and Network   - How networking and collaboration can open doors to new opportunities.   - Tips on building connections within the art community and forming valuable partnerships.   - Examples of successful artist collaborations.   Mindset Management: - Why a positive mindset is key to sustaining growth and overcoming challenges. - Simple strategies like journaling, meditation, and trusting your intuition to maintain a resilient mindset.   Key Takeaways: - Growing your creative business doesn't have to be overwhelming. Focus on these three steps: Vision, Marketing Confidence, and Collaboration. - The right mindset can make all the difference in your journey as a professional artist. - These foundational steps will be explored in more detail in upcoming episodes.   For You: - Subscribe: Don't miss future episodes where we'll dive deeper into each of these essential steps. - Engage with Us: Share your thoughts, questions, and experiences by sending us a message on Instagram. - Special Offers: Use the discount code PRR200 for a special offer on Laura's upcoming retreat and join Ros at the Affordable Art Fair Melbourne on August 29th with free tickets.   Resources Mentioned: - Laura's Retreat: https://laurajaneday.com/retreat  - Ros' Melbourne Art Fair: https://mailchi.mp/e5f496c61624/aaf-free-tickets-2  - Exhibition Planning Workbook: https://laurajaneday.com/free    Connect with Us: - Ros Gervay: https://www.instagram.com/rosgervayart https://www.permissiontopaint.co - Laura Day: https://www.instagram.com/laurajaneday/ https://coaching.laurajaneday.com/   “Art is not what you see, but what you make others see.” - Edgar Degas. Embrace the journey and keep creating.

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Welcome to the Instant Trivia podcast episode 1235, where we ask the best trivia on the Internet. Round 1. Category: Holy Cow. With Cow in quotation marks 1: The Random House Dictionary calls it a children's game involving shooting, chasing, and capturing. cowboys and Indians. 2: A form of leather, or what has to happen before other cow go seek. cowhide. 3: The 3rd line of "Hey Diddle Diddle", it sounds like an attempt to get into Guinness. the cow jumped over the moon. 4: As a verb, it means to make a monk of someone; as a noun, it's the hood they wear. a cowl. 5: A chicken. coward. Round 2. Category: Also In The Circus 1: 2-word term for insurance or social programs designed to assist those that have "fallen" on hard times. safety net. 2: This Adobe product helps you read a pdf pdq. Acrobat. 3: A secondary event, especially one that distracts attention from something of import. a sideshow. 4: Tolkien wrote that these were "for the Elven-kings under the sky". three rings. 5: Foremost of the Muses, she was said to be mother to Orpheus. Calliope. Round 3. Category: Art Exhibits 1: In 1999 this U.S. city's Museum of Art mounted a show of the work Edgar Degas did when he visited relatives there. New Orleans, Louisiana. 2: A 1995 exhibit at California's Laguna Art Museum traced the history of this body art. tattoo. 3: In 1995 this art movement was on view in a Monet exhibit and in a Caillebotte show. Impressionism. 4: A recent exhibit at this St. Petersburg museum focused on art plundered by the Red Army during WWII. the Hermitage. 5: In 2003 the Getty brightened the L.A. scene with an exhibit on these decorated manuscripts. illuminated manuscripts. Round 4. Category: Oscar! Oscar! 1: He was nominated for Best Actor, Best Director and Best Screenplay for 1978's "Heaven Can Wait" and 1981's "Reds". Warren Beatty. 2: This actress won her second Oscar for her role in the 1951 film version of "A Streetcar Named Desire". Vivien Leigh. 3: For a 1936 film bio, Paul Muni won an Oscar for portraying this French scientist. Louis Pasteur. 4: Julie Christie won an Oscar as a beautiful but empty woman in this "endearing" 1965 film. Darling. 5: He earned Oscar nominations for producing "The Color Purple" and for composing its score. Quincy Jones. Round 5. Category: The Ill-Iad 1: This disease is more properly known as bovine spongiform encephalopathy. mad cow disease. 2: When this lung disease was still called consumption, it was one of the leading causes of death. tuberculosis. 3: The swelling that's the main symptom of this contagious viral infection is caused by enlarged salivary glands. mumps. 4: High pressure in the eye is often the cause of this disease that can damage the optic nerve and cause a loss of vision. glaucoma. 5: The name of this bacterial infection caused by contaminated water comes from an old word for bile. cholera. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

The publication in April of Stanford University's Artificial Intelligence Index Annual Report has provided the art world with much food for thought. We look at the implications for artists and institutions with Louis Jebb, the managing editor of The Art Newspaper and our technology specialist. As the Centre Pompidou in Paris is taken over on all its floors by what it calls the “ninth art”—graphic novels and comics—we talk to Joel Meadows, the editor-in-chief of Tripwire magazine and a comics aficionado, about the rise of this subculture in museums and the market. And this episode's Work of the Week is Edgar Degas' Miss La La at the Cirque Fernando (1879), which depicts a Black circus performer, Anna Albertine Olga Brown, who was briefly known as Miss La La. She and the painting are the subject of a new exhibition at the National Gallery in London opening next week. We talk to Anne Robbins, the curator of paintings at the Musée d'Orsay in Paris, and external curator of the exhibition, and Sterre Overmars, the curatorial fellow for post-1800 paintings at the National Gallery, about the painting.Comics on Every Floor, Centre Pompidou, Paris, until 4 November.Discover Degas & Miss La La, National Gallery, London, 6 June-1 September. Hosted on Acast. See acast.com/privacy for more information.

This week, co-directors of My National Gallery, London Ali Ray and Phil Grabsky discuss Ali's favourite work in this world-renowned gallery, and just why it stuck out to her amongst this enormous collection of masterpieces... Support the Show.

Adrian Dunbar is co-curator of the Beckett Unbound Festival that takes place in various venues across Liverpool this weekend and sees him directing Beckett's radio play All That Fall in a disused reservoir in total darkness. He explains why he thinks Samuel Beckett is an incomparable writer whose appeal never fades. As two new exhibitions about Edgar Degas open at different ends of the UK, Nick looks at the importance and impact of this French Impressionist artist with Pippa Stephenson-Sit, the curator of Discovering Degas on now at the Burrell Collection in Glasgow and with Anne Robbins, the curator of Discover Degas & Miss La La, which opens at the National Gallery in London on June 6th. Anne is now curator of paintings at the Musée d'Orsay.The Biafran war, 1967 - 1970, was the first major conflict in post-colonial Africa, and when images of starving Biafran children with distended bellies began to be seen in the West, the modern humanitarian aid industry was launched. Award-winning novelist Chigozie Obioma has turned to the Biafran War for his new novel, The Road To The Country, which takes the reader to the front lines of the ferocious military confrontation.Presenter: Nick Ahad Producer: Ekene Akalawu

durée : 01:29:32 - Toute une vie - par : Luc Ponette - Edgar Degas a eu une longue carrière, près de soixante ans, durant laquelle il n'a cessé d'expérimenter des techniques diverses - peinture, pastel, dessin, sculpture - pour trouver des expressions novatrices. Portrait de ce peintre mal connu pour qui la recherche de la vérité était toute sa quête. - invités : Martine Kahane Conservateur général du patrimoine; Henri Loyrette Conservateur et historien de l'art; Anne Roquebert; Anne Pingeot Historienne de l'art

Linda Tugnoli"Art Night""Il volto e l'anima. Indagine sul ritratto"Mercoledì 24 aprile 2024 alle 21.15 su Rai 5Art Night Il volto e l'anima. Indagine sul ritratto Il volto umano: la prima forma che si distingue, appena nati. La prima che si cerca di rappresentare. Un soggetto che ha attraversato tutta la storia dell‟arte occidentale. In tempi molto recenti, però, è stato però varcato un confine invisibile. Lo racconta “Art Night” in onda mercoledì 24 aprile alle 21.15 in prima visione su Rai 5 con Neri Marcorè, con un documentario di Linda Tugnoli prodotto da Mark in video. Uno studio recentissimo dell‟Australian National University ha messo in luce come, nei ritratti fotografici, i volti prodotti dall‟Intelligenza Artificiale siano ormai percepiti come più veri del vero. E‟ la soglia di una nuova era? Anche nell‟arte la rivoluzione è già iniziata. Il collettivo Obvious ha creato il primo ritratto creato con l‟Intelligenza Artificiale battuto all‟asta da Christie‟s a più di 400.000 dollari e il ritratto è stato generato da un algoritmo che per produrlo ha analizzato circa 15.000 ritratti di varie epoche storiche. «Siamo stati creati per guardarci l‟un l‟altro» scriveva Edgar Degas che, a Parigi, prendeva l‟omnibus ogni giorno per potersi immergere quotidianamente in una folla di volti. E nel ritratto, ogni epoca ha espresso l‟idea che l‟uomo aveva di sé stesso. Per questo, interrogarsi sull‟interesse dell‟arte occidentale per il ritratto, cioè per la sua attitudine introspettiva, prevede delle domande che, se da una parte spaziano dalla pittura alla scultura, alla fotografia, alle opere realizzate con l‟ausilio dell‟intelligenza artificiale, dall‟altra si collocano necessariamente al confine tra storia dell‟arte, scienza e filosofia. La speculazione sul profondo attraverso la raffigurazione del volto significa innanzitutto analisi delle emozioni. All‟origine del ritratto moderno, nel senso appunto di questa capacità introspettiva, possiamo collocare Leonardo Da Vinci, con i suoi studi di fisiognomica e la sua raccomandazione di rappresentare i moti dell‟animo attraverso i tratti del volto: dal suo Trattato della Pittura: «Farai le figure in tale atto, il quale sia sufficiente a dimostrare quello che la figura ha nell‟animo.» Ma la geniale intuizione di Leonardo, ripresa da Degas nella sua idea che osservarci l‟un l‟altro sia l‟essenza dell‟umano, non riecheggia forse anche nelle recenti ricerche delle neuroscienze, tra cui un‟importantissima scoperta tutta italiana: quella dei neuroni specchio? Giacomo Rizzolatti, neuroscienziato di cui già più volte è stato fatto il nome per il Nobel, ha scoperto che il cervello risponde alle emozioni che legge sul volto di un altro con delle configurazionineuronali che non si limitano a “leggere” quelle emozioni ma, incredibilmente, le mimano, le riproducono. Il racconto di “Art Night” procede per suggestioni e per nuclei tematici, ma si appoggia anche a una solida linea del tempo che conduce dai volti quasi assenti nell‟arte rupestre del Paleolitico alle maschere funerarie egizie per poi riflettere sull‟originalità e la forza della ritrattistica romana nel campo della scultura. Si indagherà lo sviluppo della fisiognomica a partire dagli studi anticipatori di Leonardo al trattato cinquecentesco del Della Porta fino a Le Brun e agli sconfinamenti nello studio della follia e dell‟antropologia criminale di Lombroso. Parallelamente, si seguirà la ricerca della verità nel ritratto a partire dal „400, dove un punto di partenza può essere individuato nei sorrisi eternizzati dell‟Ignoto marinaio di Antonello da Messina e la sua più celebre controparte femminile, la Gioconda. La storia del ritratto si imbatte poi alla bizzarra vicenda umana e artistica di Lorenzo Lotto, che prelude alle vette della ritrattistica di Rembrandt, Velasquez, Vermeer, fino alla tappa definitiva della psicanalisi, che con Freud nel 1900 svela l‟esistenza di profondità fino ad allora insondate a pittori come Modigliani, Klimt, Schiele e poi ai surrealisti. Con la fotografia, che soppianta il ritratto e ne riprende all‟inizio certe caratteristiche (per esempio l‟assenza di sorriso, almeno fino all‟apparecchio portatile della Eastman-Kodak alla fine dell‟800) si entra in una nuova era, fino agli approdi più recenti che aprono nuove dimensioni nel futuro, dall‟arte digitale al deep fake. Nel programma intervengono Amy Dawel, Associate Professor, The Australian National University; l‟artista Pierre Fautrel, Obvious Ai & Art, Parigi; Francois Debrabant, Direttore Museo Preistorico La Sabline a Lussac- Les-Chateaux e Oscar Fuentes, archeologo del Centre National De Préhistoire; Anna Oliverio Ferraris, scrittrice e psicologa. Christian Greco, direttore del Museo Egizio, e Stefania Mainieri, ricercatrice del Museo Egizio, Fabrizio Paolucci, responsabile Collezione Antichità Classiche delle Gallerie degli Uffizi; Vincenzo Garbo, presidente della Fondazione Mandralisca a Cefalù e Antonella Tumminello, restauratrice; Flavio Caroli e Enrico Dal Pozzolo, storici dell‟arte; Giacomo Rizzolatti, del Dipartimento Medicina e Chirurgia dell‟Università di Parma, Simona Turco, funzionario archivista dell‟Istituto Centrale per il Catalogo e la Documentazione e Michele Smargiassi, giornalista.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Pasamos por la vida sin ver. Estamos tan ocupados en nuestro día a día que nos hemos acostumbrado a mirar las cosas superficialmente y no nos damos cuenta de lo que realmente pasa a nuestro alrededor. Hagan la prueba: ¿saben de qué color son las paredes de su centro de trabajo? ¿O qué ropa se ha puesto hoy su compañero de al lado? Si no conocen la respuesta, sepan que hay una solución para esta ceguera vital. Y nos la trae nuestro ‘Artesano', Pablo Ortiz de Zárate, que hoy se fija en la serie de bailarinas de Degas.

A Morning News Update That Takes Into Account The News Stories You Deem 'Highly Conversational' Today's Sponsor: Resume Solutionhttp://thisistheconversationproject.com/resumesolution Today's Rundown: Toy Story 5, Frozen 3 & Zootopia 2 Get Release Date Windowshttps://www.comingsoon.net/movies/news/1531226-toy-story-5-frozen-3-zootopia-2-get-release-date-windows Vegas mayor says A's should stay in Oakland, then walks it backhttps://sports.yahoo.com/vegas-mayor-says-stay-oakland-001442815.html Coke hopes to excite younger drinkers with new raspberry-flavored Coca-Cola Spicedhttps://www.yahoo.com/lifestyle/coke-hopes-excite-younger-drinkers-021238568.html Disney to invest $1.5 billion in ‘Fortnite' maker Epic Games to create games, entertainmenthttps://apnews.com/article/disney-epic-games-fortnite-deal-investment-2416beb86a5306476b5a11a4cfc9cab6 Savannah Chrisley Alleges Her Parents Have Not Spoken In A Year|https://okmagazine.com/p/todd-julie-chrisley-havent-spoken-phone-one-year-prison/ Jesus Commercials Return to Super Bowl: He Gets Us and Hallow to Air Adshttps://www.christianheadlines.com/contributors/michael-foust/jesus-commercials-return-super-bowl-he-gets-us-hallow-air-ads.html#google_vignette Yellowstone's Kelly Reilly, Cole Hauser and Luke Grimes Want Major Raises for New Spinoffhttps://www.yahoo.com/entertainment/yellowstone-kelly-reilly-cole-hauser-134421996.html Bill Maher Calls Kanye West a 'Charming Antisemite,' Won't Air Interviewhttps://www.thewrap.com/bill-maher-kanye-west-antisemite-tmz-investigates/ Website: http://thisistheconversationproject.com Facebook: http://facebook.com/thisistheconversationproject Twitter: http://twitter.com/th_conversation TikTok: http://tiktok.com/@theconversationproject YouTube: http://thisistheconversationproject.com/youtube Podcast: http://thisistheconversationproject.com/podcasts #yournewssidepiece #coffeechat #morningnews ONE DAY OLDER ON FEBRUARY 8:Ted Koppel (84)Seth Green (50)Cecily Strong (40) WHAT HAPPENED TODAY:2007: Model-actress Anna Nicole Smith was found unresponsive at the Seminole Hard Rock Hotel and Casino in Hollywood, Florida. She was pronounced dead at a local hospital a short time later. Her death was ruled an accidental drug overdose of a sedative.2012: Elizabeth Taylor's collection of artworks by Vincent Van Gogh, Camille Pissarro and Edgar Degas sold for over $17 million at Christie's in London.2016: Mexico's president announced the recapture of drug lord Joaquín “El Chapo” Guzmán. PLUS, TODAY WE CELEBRATE: Laugh and Get Rich Dayhttps://nationaltoday.com/laugh-and-get-rich-day/

Episode No. 630 features curators Stephan Wolohojian and Lisa Volpe. With Ashley Dunn and in collaboration with Laurence des Cars, Isolde Pludermacher, and Stéphane Guégan, Wolohojian is the co-curator of "Manet/Degas" at the Metropolitan Museum of Art, New York. The exhibition explores the artistic dialogue between Édouard Manet and Edgar Degas and considers their work in the context of their shared family relationships, friendships, and intellectual circles. It is on view through January 7, 2024. The exhibition catalogue was published by the Met. Bookshop and Amazon offer it for $32-60. Volpe is the curator of "Robert Frank and Todd Webb: Across America, 1955" at the Museum of Fine Arts, Houston. The exhibition presents the work the famed Frank and the enormously less-well-known Webb made as they traveled the United States on Guggenheim fellowships in 1955. It is on view through January 7, 2024. The excellent exhibition catalogue was published by the MFAH in association with Yale University Press. Amazon and Bookshop offer it for $25-47.

Katya Taylor is a curator, culture manager, lecturer, and mentor. She graduated from the Christie's Education College, Aspen Institute Kyiv alumni. Founder of the NGO Port of Culture, curator of the HeForShe Arts Week Kyiv 2018 & 2019, and author of the Women in Arts Award for UN Women (Ukraine). Author of the book Turnkey Art: Management and Marketing of Culture. Topics include: Schools attacked by Russians Pension tourism in occupied territories Christie's Education Artists Support Ukraine “Language is a political instrument” “Train to Victory" project How artists coping with the war MOMA renamed Edgar Degas' Russian Dancers as Ukrainian Dancers. Why it's so important? Rethinking the colonial past Malevich is Polish by origin? The Ukrainian trident is a symbol of identity that has kept Ukrainians together for the last thousand years https://www.instagram.com/kataylormade https://www.instagram.com/artists.support.ukraine https://www.instagram.com/port_agency

One of the biggest art events of the year is currently up at the Metropolitan Museum of Art in New York. That, dare we say, once-in-a-lifetime exhibition is “Manet/Degas.” Through more than 160 works of art, including landmark loans from dozens of institutions, it puts into dialogue two of the most famous French painters of the 19th century, Édouard Manet and Edgar Degas, born two years apart. The show has been a blockbuster, first when it debuted at the Musée d'Orsay in Paris, and now in its current iteration in New York City, and has attracted a chorus of rave reviews. One of the highlights, of course, is Manet's painting Olympia, a stunningly modern portrait that is on view for the first time on this side of the Atlantic. But there's so much more. Artnet's art critic Ben Davis recently had a moment to go to the exhibition, and spoke to editor Kate Brown about what stood out to him at this major museum event. We also dug into some of the unexpected history behind some of the artworks he discovered through the Met show, which may actually change the way you look at Manet and Degas, together and separately.  

[REBROADCAST FROM October 3] A new exhibit at the Metropolitan Museum of Art spotlights the fraught relationship between French artists Édouard Manet and Edgar Degas, who often went back and forth between being friends, and rivals. We discuss the exhibit with curators Stephan Wolohojian, who worked on the paintings, and Ashley Dunn, who worked with drawings and works on paper. Manet/Degas is on view at the Met through January 7th.

[REBROADCAST FROM October 3] A new exhibit at the Metropolitan Museum of Art spotlights the fraught relationship between French artists Édouard Manet and Edgar Degas, who often went back and forth between being friends, and rivals. We discuss the exhibit with curators Stephan Wolohojian, who worked on the paintings, and Ashley Dunn, who worked with drawings and works on paper. Manet/Degas is on view at the Met through January 7th.

A new exhibit at the Metropolitan Museum of Art spotlights the fraught relationship between French artists Édouard Manet and Edgar Degas, who often went back and forth between being friends, and rivals. We discuss the exhibit with curators Stephan Wolohojian, who worked on the paintings, and Ashley Dunn, who worked with drawings and works on paper. Manet/Degas is on view at the Met through January 7th.

Extremely thrilled to have the inimitable and infinitely wise #real_one, artist Judy Glantzman, on the podcast this week. We cover her artistic beginnings in the East Village scene of the 80's (buckle up for some great stories), the vibrant multidisciplinary work coming out of her Upstate NY studio today, and everything in between. Also, don't miss her incredible philosophies about making art sprinkled throughout, and her essential tips for beating Artist's block. Judy is a painter, collage artist and sculptor and has been awarded grants from the Guggenhein Foundation, NYFA-NYSCA, Pollock Krasner Foundation and Anonymous Was a Woman. She is also an educator (RISD, Pratt, NYSS, etc.) and is open to artists who need some online feedback-just dm her at the IG below. Judy Glantzman is represented by Betty Cuningham Gallery in NYC. Also, find her on IG @judyglantzman Works Mentioned: The Pier (Abandoned Pier 34 in NYC) 1983-84 "The Missing Children Show" group mural installation with 5 other artists, incl David Wojnarowicz, in an abandoned factory building in Louisville, KY 1985 "Judy Glantzman Cuts Up Her Friends" 1985 exhibition of cut-out portraits at Steven Adams Gallery "A Valentine for Lila" 2006 "She Juggles" 2006 "After Donatello" 2015 "Dark Prayer" 2016 "Reach" 2017 "Dawn Clements" 2019 More reading/links: Essay "Judy Glantzman on Obituaries and Shadows | Art in Isolation" Painters on Painting blog 2020 Judy Glantzman interviewed on Beer with a Painter w/ Jennifer Samet for Hyperallergic blog Hyperallergic article by Allison Meier with photos of The Pier David Finn's photos of The Pier Press kit from The Missing Children Show 1985 Louisville Andreas Sterzing's photos of The Pier 1983-84 Artists mentioned: David Wojnarowicz, Mike Bidlo, John Fekner, Gordon Matta Clark, David Finn ("Masked Figures"), Kiki Smith, Huck Snyder, Peter Hujar Andreas Sterzing (photographer who documented the Pier), Charles Garabedian ("September Song," 2001 - 2003), Jacques Louis David, Francisco de Goya, Pablo Picasso ("Guernica"), Winslow Homer ("Dressing for the Carnival" 1877), Donatello, Charles Burchfield, Edgar Degas ("Little Dancer Aged 14" 1881), plus East Village galleries Civilian Warfare and Gracie Mansion Judy's Artist's Block Blockers (as summarized by Amy and her irrepressible need to be pithy): 1. Seed Theory (every part of a piece is a seed!) 2. Make a Doodle Painting *or* Make a Garbage Painting 3. Bravery Lives in the Living Room (and often in a basket!) 4. Nosy Nextdoor Neighbors 5. Be a Bad Art Student 6. Silly Geese Wear Paper Crowns 7. Your Work is Not Your Own 8. If You Think It, You Have to Make It 9. The Road to Freedom is Paved With Repetition (hot off the presses! in this ep!) Thank you, Judy! Thank you, Listeners! See you next time. ---------------------------- 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 ⁠⁠BuyMeACoffee⁠⁠ Donations appreciated! --- Send in a voice message: https://podcasters.spotify.com/pod/show/peptalksforartistspod/message Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support

Mary Cassatt was born in the US, but spent most of her life in France, where she became known as a prominent member of the Impressionist movement. She was known for her exquisite paintings and prints, many of them revolving around the intimate bond between mothers and children. She had a close working relationship with Edgar Degas. Her artwork can be found in renowned museums worldwide, including the Metropolitan Museum of Art in New York, the Musée d'Orsay in Paris, and the National Gallery of Art in Washington, D.C.Visit the website (herhalfofhistory.com) for sources, transcripts, and pictures.Support the show on my Patreon page for bonus episodes, polls, and a general feeling of self-satisfaction.Follow me on Twitter as @her_half. Or on Facebook or Instagram as Her Half of History.

From the Boston Tea Party to the Civil Rights Movement to Black Lives Matter, activists have long sought to bring pressing issues into the public consciousness. Climate activism is no different. This past Earth Day spawned a new ripple of climate activism. Activists protested at the headquarters of BlackRock in New York City, smeared paint on the casing around an Edgar Degas statue and even tried to block the entrance of the White House Correspondents dinner in DC. But that's not the only style of activism that's happening. Some are working from within big institutions to effect change. So what actions really move the needle? Guests:  Dana Fisher, Professor of Sociology, University of Maryland  Rose Abramoff, Earth Scientist and Climate Activist   Ilana Cohen, Lead Organizer, Fossil Fuel Divest Harvard For show notes and related links, visit ClimateOne.org. Learn more about your ad choices. Visit megaphone.fm/adchoices

From the Boston Tea Party to the Civil Rights Movement to Black Lives Matter, activists have long sought to bring pressing issues into the public consciousness. Climate activism is no different. This past Earth Day spawned a new ripple of climate activism. Activists protested at the headquarters of BlackRock in New York City, smeared paint on the casing around an Edgar Degas statue and even tried to block the entrance of the White House Correspondents dinner in DC. But that's not the only style of activism that's happening. Some are working from within big institutions to effect change. So what actions really move the needle? Guests:  Dana Fisher, Professor of Sociology, University of Maryland  Rose Abramoff, Earth Scientist and Climate Activist   Ilana Cohen, Lead Organizer, Fossil Fuel Divest Harvard For show notes and related links, visit ClimateOne.org. Learn more about your ad choices. Visit megaphone.fm/adchoices

Miss La La (1858-c. 1919) was the star act at what was considered the greatest show on earth. Her strength and perceived exoticism made her the perfect subject for the renowned painter, Edgar Degas.This month, we're talking about muses–women who were drivers of creativity and inspiration. Once again, we're proud to partner with Mercedes-Benz (whose famous namesake was inspired by a young muse named Mercedes). Tune in daily for stories of women whose lives inspired work that has shaped our culture.History classes can get a bad rap, and sometimes for good reason. When we were students, we couldn't help wondering... where were all the ladies at? Why were so many incredible stories missing from the typical curriculum? Enter, Womanica. On this Wonder Media Network podcast we explore the lives of inspiring women in history you may not know about, but definitely should.Every weekday, listeners explore the trials, tragedies, and triumphs of groundbreaking women throughout history who have dramatically shaped the world around us. In each 5 minute episode, we'll dive into the story behind one woman listeners may or may not know–but definitely should. These diverse women from across space and time are grouped into easily accessible and engaging monthly themes like Educators, Villains, Indigenous Storytellers, Activists, and many more.  Womanica is hosted by WMN co-founder and award-winning journalist Jenny Kaplan. The bite-sized episodes pack painstakingly researched content into fun, entertaining, and addictive daily adventures. Womanica was created by Liz Kaplan and Jenny Kaplan, executive produced by Jenny Kaplan, and produced by Liz Smith, Grace Lynch, Maddy Foley, Brittany Martinez, Edie Allard, Lindsey Kratochwill, Adesuwa Agbonile, Carmen Borca-Carrillo, Taylor Williamson, Ale Tejeda, Sara Schleede, and Alex Jhamb Burns. Special thanks to Shira Atkins. Original theme music composed by Miles Moran.We are offering free ad space on Wonder Media Network shows to organizations working towards social justice. For more information, please email Jenny at pod@wondermedianetwork.com.Follow Wonder Media Network:WebsiteInstagramTwitter