Podcasts about edouard manet

Yvette's stay at the Pont Royal Hotel, a former “writer's residence” turned hotel and later expanded to its impressive destination status, was enhanced by her opportunity to interview the general manager, Frederic Legallois.    The hotel is located on the Left Bank of the Seine River, where artists and intellectuals of the early and mid-20th century held court on café terraces in Saint-Germain-des-Prés. This neighborhood is a postcard-perfect vision of Paris: a grand, boutique-filled boulevard; café terraces practically made for people-watching; former residences turned into hotels; antique shops and bookstores spilling out on cobblestoned squares.    Yvette enjoyed the hotel staff's attentiveness to quality service, the art on display and the jazz performance in the hotel's well-appointed bar and lounge. The hotel's proximity to museums and gardens allowed Yvette to enjoy the beautifully manicured Jardin du Luxembourg, which dates back 400 years, and the Musee d'Orsay.   The Musee d'Orsay, which was originally established with loans from the Louvre, now claims the largest collection of impressionist and post-impressionist art in the world. Taking over a former Beaux-Arts railway station along the Seine River, this Museum holds masterpieces, which Yvette had an opportunity to enjoy, like Vincent van Gogh's “The Starry Night” and Edouard Manet's “The Luncheon on the Grass” and a very special find for Yvette, the American artist's James McNeill Whistler's “Whistler Mother.”

“Christian Krohg (1852-1925)“ Le peuple du Nordau Musée d'Orsay, Parisdu 25 mars au 27 juillet 2025Entretien avecServane Dargnies-de Vitry, Conservatrice en chef Peinture, musée d'Orsay, et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 24 mars 2025, durée 24'56.© FranceFineArt.https://francefineart.com/2025/04/04/3606_christian-krohg_musee-d-orsay/Communiqué de presse Commissariat :Servane Dargnies-de Vitry, Conservatrice en chef Peinture, musée d'OrsayVibeke Waallann Hansen, Senior curator, Nasjonalmuseet, OsloAprès Edvard Munch. Un poème de vie, d'amour et de mort (2022) et Harriet Backer. La musique des couleurs (2024), le musée d'Orsay clôt une trilogie consacrée à l'art norvégien du tournant du xxe siècle avec l'exposition Christian Krohg. Le Peuple du Nord.Il s'agit de la toute première rétrospective de l'artiste en dehors de la Scandinavie, venant à la suite de plusieurs expositions à Oslo et Lillehammer en 2012, puis à Copenhague en 2014. En mettant en lumière les oeuvres naturalistes et engagées de Krohg, le musée offre une nouvelle perspective sur l'art norvégien de la fin du XIXe et du début du XXe siècle. À travers un panorama approfondi du parcours artistique de Krohg, l'exposition s'attache à révéler sa modernité picturale et son engagement humaniste. Bohème et fervent défenseur des causes politiques et sociales de son époque, Krohg, également écrivain et journaliste, dépeint avec une profonde empathie la condition du peuple scandinave, le monde du travail, la misère, ainsi que les injustices subies par les femmes.« Le seul peintre capable de descendre de son trône et d'éprouver de la compassion sincère pour ses modèles » Edvard MunchLe parcours de l'exposition met en valeur ses liens picturaux avec les artistes français que Krohg découvre lors de ses séjours parisiens – notamment Gustave Courbet, Edouard Manet et les impressionnistes. Dans sa série des ma rins, poursuivie tout au long de sa vie, comme dans ses scènes de genre ou dans ses portraits, Krohg cherche à donner à ses oeuvres un sentiment d'immédiateté en utilisant des compositions déséquilibrées, des cadrages audacieux et des postures dynamiques. Son credo, « tout est une question de cadrage », est le fondement d'une recherche artistique d'une grande modernité. Membre de la bohème provocatrice de Kristiania – l'ancien nom d'Oslo –, Krohg fait polémique et scandale auprès de la bourgeoisie et des élites artistiques. Le visiteur découvrira dans l'exposition les portraits que l'artiste réalise des membres de ce milieu bohème et libertaire, ces jeunes artistes, écrivains et intellectuels qui se réunissent dans les cafés de la capitale et contestent avec vigueur la structure sociale dominante.Un Zola norvégien ?En 1886, Krohg publie son roman Albertine, histoire d'une ouvrière violée devenue prostituée, roman que la police saisit rapidement au motif qu'il porte atteinte aux bonnes moeurs. Malgré les controverses, Krohg défend sa liberté d'expression contre la censure. Il réalise alors son tableau le plus important, la grande toile Albertine tirée de son roman, poussant la provocation jusqu'à engager des prostituées comme modèles. Peu d'oeuvres d'art norvégiennes ont suscité un débat aussi intense, par la mise en lumière d'une facette particulièrement sombre de la société norvégienne. [...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Viaxamos ao París da 2ª metade do s. XIX, para descubrir algo máis sobre a Historia da Arte Contemporánea, seguindo a guia das obras seleccionadas polo grupo de Historia de Arte da CIUG para as probas PAU.Obra: O almorzo campestre, de Édouard Manet.Serie: Historia da Arte Contemporánea, Historia da Arte, 2º de Bacharelato. Músicas da sintonía (Creative Commons Attribution 3.0): District Four, de Kevin MacLeod (https://incompetech.com), Temptation March, de Jason Shaw (http://audionatix.com).Música: Preludio á sesta dun fauno, de Claude Debussy. CC BY-NC.4.0.Este pódcast está baixo a licencia CC BY-NC 4.0.Máis recursos en: facemoshistoria.gal

Practice, Progress, and Learn French Through Culture! Join 50k+ intermediate learners receiving my FREE weekly newsletter.

Black folks were in European paintings in the 19th and 20th centuries. A lot of the time, they were servants ... or shadows. Props in the background. But sometimes, they were the subject of portraits. Today, Katie and Yves go on a journey through a couple of these models' lives. See omnystudio.com/listener for privacy information.

Micaela and I are at Gare Saint-Lazare for a summer stroll. Gare Saint-Lazare is the oldest station in Paris, having been renovated for the 1889 Universal Exhibition, the same year the Eiffel Tower was built. After going up rue de Rome to the Pont de l'Europe, the site of two famous paintings: Edouard Manet's Le chemin de fer and Gustave Caillebotte's Pont de l'Europe, we'll head back down to the station via rue d'Amsterdam. Can you follow us?  So if you'd like to improve your French comprehension, discover this part of Paris and benefit from all the positive effects of the exact text, as well as the cultural notes, you could subscribe to the Cultivate Your French transcript at www.cultivateyoufrench.com. The subscription costs 4 euros a month and each new subscriber receives the 10 latest episodes.

Le Bon Bouquin, c'est le podcast qui ravive la flamme de la lecture qui sommeille en chacun de nous

Welcome to the Instant Trivia podcast episode 1179, where we ask the best trivia on the Internet. Round 1. Category: State Of The Book 1: "The Help". Mississippi. 2: "The Last Picture Show". Texas. 3: "Washington Square". New York. 4: "Centennial" by James Michener. Colorado. 5: "The Grapes of Wrath"--2 states please, where the story begins and ends. Oklahoma and California. Round 2. Category: Tell 1: Although he may be legendary, William Tell is one of the best-known heroes of this nation. Switzerland. 2: This form of "William" is in the German title of Friedrich Schiller's play about Tell. Wilhelm. 3: In the traditional William Tell story, this is the cause of death of the cruel governor Gessler. shot with an arrow. 4: It was Tell's response when Gessler asked what the extra arrow was for. to kill him if he missed with the first one. 5: The overture to this Italian composer's opera about William Tell is used to speed things up. Rossini. Round 3. Category: Guinness Animal Records 1: The largest one ever made by birds was built by bald eagles and weighed over 6,700 lbs.. a nest. 2: A Texas cat named Dusty must have been the cat's meow as she had 420 of these. kittens. 3: Some of these arthropods have as many as 750 legs, not a thousand as their name implies. a millipede. 4: The Gaboon viper has the longest of any snake, nearly 2". the fang. 5: It's the slowest-moving land mammal, and its name is a synonym for laziness. a sloth. Round 4. Category: The New York Times Style 1: An nytimes.com slide show on this woman's style included the red and black number from Election Night 2008. Michelle Obama. 2: Disco hoops and other styles of extravagant these "suggest you are taking the party with you". earrings. 3: A blog post notes that Junya Watanabe's Spring '09 collection continues to rely on this basic type of working pants. jeans. 4: In May 2008 the times reported on a more modest look in this wear, including boy shorts and halter tops. swimwear. 5: The times said this "NY" designer became "a Seventh Avenue original" using tights as a foundation for skirts and shirts. Donna Karan. Round 5. Category: A Success With Brush 1: In "The Story of Painting" Sister Wendy says, "He is much more than a painter of the fair and fat". (Peter Paul) Rubens. 2: An early 1730s work by Canaletto shows this canal city's "Quay of the Piazzetta". Venice. 3: There are 2 versions of John Singleton Copley's "Watson and" this sea predator in U.S. galleries. the Shark. 4: For your information, no, your six-year-old could not make paintings just like this man's 1952 "Convergence". (Jackson) Pollock. 5: Victorine Meurent, his favorite model, is the nude in his "Le dejeuner sur l'herbe". Edouard Manet. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used

durée : 00:15:49 - Les Odyssées - par : Laure Grandbesançon. - Amis ou rivaux, Edouard Manet et Edgard Degas s'observent, s'admirent, se jalousent, se fâchent ! Compétition ! Imitation ! Exaltation ! Création ! Et en toile de fond, Paris en plein chantier sous l'impulsion de Napoléon III.

Happy Wednesday BB's! We're so happy you're here to deep dive with Chelsea's lesson this week on our mysterious rich Impressionist leader - MANET! There will be hookers a plenty, WEIRD love triangles, and SHOCK SHOCK SHOCK!Thanks for listening!We love you!Xoxo- The Baroque B's

O ano de 2023 foi de muita cultura na programação da RFI Brasil. Nossa equipe vistou as principais exposições de arte não só da França, mas pelo continente europeu. Acompanhamos juntos o lançamento de obras de escritores brasileiros na Europa, comemoramos o reconhecimento de diretores nacionais nos principais festivais de cinema do mundo e nos encantamos com as histórias contadas por meio de fotografias, quadrinhos e encenações teatrais. Porém, foi também um ano em que guerras e conflitos tomaram conta do noticiário, e a cultura, como não podia deixar de ser, respondeu como forma de protesto contra esses movimentos ou para mostrar que a arte e o belo ainda prosperam, mesmo em tempos difíceis.Pinturas, esculturas e artes plásticasNo campo das artes é possível destacar homenagens a grandes nomes da pintura e da escultura, como a mostra que comemorou os 50 anos da morte de Pablo Picasso e a exposição que reúne, no Museu d'Orsay, as obras de Vincent Van Gogh no período passado no pequeno vilarejo de Auvers-sur-Oise, a cerca de 30 km de Paris, onde o artista viveu, morreu e está enterrado.Ainda no d'Orsay, uma outra exposição traçou um paralelo entre as obras de Edouard Manet e Edgard Degas, dois pintores que foram contemporâneos, frequentaram os mesmos círculos artísticos, mas seguiram caminhos diferentes, sempre mantendo uma certa rivalidade artística.Voltando um pouco mais no tempo, até o século 17, fomos até Amsterdam e Delft, na Holanda, para acompanhar duas exposições em homenagem ao mestre holandês Johannes Vermeer, nascido em 1632. Hester Schölvinck, chefe de coleção e apresentação do museu Prinsenhof, falou sobre a exposição “Delft de Vermeer”.“O objetivo da exposição é mostrar a Delft do século 17, período em que Vermeer viveu na cidade. Partimos do começo, com o que conhecemos e tentamos ir além,” contou. Artistas estrangeiros também foram destaque neste último ano aqui em Paris. A Fundação Louis Vuitton apresentou uma retrospectiva do artista americano Mark Rothko, um dos nomes mais importantes da pintura do século 20, ligado ao expressionismo abstrato.Já a exposição Paris et Nulle Part Ailleurs (Paris e nenhum outro lugar), reproduz a efervescência da capital francesa nos anos 1950 e 1960. Destacando os artistas estrangeiros que influenciaram a cidade-luz no pós-guerra, a mostra reuniu obras que narram o exílio, voluntário ou não, e a relação estabelecida com a França, como explica o curador, Jean-Paul Ameline:“Havia cerca de 7 mil a 8 mil artistas estrangeiros presentes em Paris nesses anos do pós-guerra, o que é evidentemente enorme. Nós escolhemos 24 que são característicos de diferentes tipos de expressão neste momento. Não mostramos apenas pinturas e esculturas, mas também colagem de objetos, que são importantes, e instalações, porque Paris era também um lugar onde outros movimentos se desenvolviam”.Meio ambiente como expressão culturalO meio ambiente e a cultura brasileira também foram temas de exposições artísticas. A mostra “Antes da tempestade”, apresentada pela coleção Pinault, no prédio histórico da Bolsa de Comércio de Paris, convidou a uma reflexão sobre as mudanças climáticas. E em Lodève, no sul da França, um misterioso mecenas francês apresentou a Ivonne Papin-Drastik, diretora do museu local, a sua curiosa e vasta coleção de pinturas brasileiras datadas do século 20. As obras foram catalogadas, organizadas e apresentadas na mostra "Brasil, Identidades", como ela mesma conta.“Para dizer a verdade, foi ele quem entrou em contato comigo e sugeriu que eu fosse ver sua coleção. A principio não vi uma maneira de como poderia encontrar uma forma coerente de mostrar esses pintores diferentes no Museu de Lodève. Então decidi pesquisar sobre esses artistas e percebi que havia um aspecto interessante, que é essa questão da identificação com o território e a impregnação desse imaginário que podemos ter”, explicou."Arado Torcido"Na literatura, diversos lançamentos de autores brasileiros marcaram o ano por aqui. O best-seller “Torto Arado” ganhou uma versão em espanhol, intitulada “Arado Torcido”. O autor, Itamar Vieira Júnior, participou de uma série de eventos em Madri sobre realidade rural brasileira relacionados à obra.Foi também a vez de obras focadas em temas sensíveis. O repórter João Alencar contou à RFI a experiência de cobrir um dos conflitos de maior impacto na geopolítica mundial no início do século 21. No livro “Ao Vivo da Ucrânia”, ele revela atrocidades cometidas por russos na guerra que dura quase três anos.Já a advogada e escritora Ruth Manus percorreu as cidades francesas de Paris e Lyon, além de fazer uma visita à Genebra, para o lançamento em francês de seu "Guia Prático do Antimachismo", que busca tratar do tema com pedagogia e, ao mesmo tempo, com ativismo e combatividade, como ela contou em visita aos nossos estúdios.“Eu adoraria que este fosse um livro 'démodé', que fosse um tema que já ficou no passado. Mas não é. Não é no Brasil, nem em Portugal, nem na França e imagino que isso se estenda a outros países. Fico muito feliz pela oportunidade de publicar aqui, mas ao mesmo tempo, fico triste de ver que num país desenvolvido como a França isso também seja necessário” comentou. Histórias do Brasil em QuadrinhosApesar de ser um tipo de literatura muito apreciada pelas crianças, as histórias em quadrinhos também podem abordar temas sociais e históricos bastante complexos. No último mês de setembro, o quadrinista franco-brasileiro Matthias Lehmann lançou o álbum “Chumbo” que, mesmo sendo em francês, conta a saga de uma família durante os anos de ditadura no Brasil. O autor contou para a RFI de onde surgiu a inspiração para o trabalho.“A minha mãe casou com um francês, veio morar na França há 40 anos e ela tinha uma saudade tremenda da familia, do Brasil e ela transmitiu esse sentimento para mim e minhas irmãs. Crescemos com esse apego muito forte pelo Brasil e sempre quisemos reafirmar esse lado brasileiro. Fazer o 'Chumbo' foi uma maneira de explorar a história brasileira, entender melhor o que é o Brasil e qual é o meu relacionamento com este país,” explicou.Vale destacar que as HQs são tema de um importante evento literário, que acontece na França todos os anos no mês de janeiro, o Festival Internacional de Histórias em Quadrinhos de Angoulême. O quadrinista brasileiro Marcello Quintanilha, que já conquistou dois prêmios no festival, teve uma retrospectiva da sua obra apresentada no icônico Museu de História em Quadrinhos de Bruxelas.“É incrível ter a possibilidade de expor no Centre Belge de la Bande Dessinée aqui em Bruxelas, porque Bruxelas é quase uma segunda pátria para as pessoas que se dedicam aos quadrinhos. Todo esse ambiente no que se refere ao quadrinho belga e franco-belga em maior medida é um ambiente no qual eu estou muito familiarizado”, afirmou.A sétima arte em 2023No cinema, os festivais europeus, mais uma vez, deram espaço para as temáticas brasileiras. O realizador carioca Leonardo Martinelli foi o vencedor do prêmio de melhor curta do Festival de Cinema Latino-Americano de Biarritz, com o filme Fantasma Neon.Já a edição de 2023 do Festival do Curta-Metragem de Clermont-Ferrand premiou as cineastas brasileiras Clara Anastácia e Gabriela Gaia Meirelles pelo filme “Escasso”. Elas conversaram com a RFI e falaram um pouco sobre esse projeto. Anastácia explica que a obra mistura um melodrama com a estética das favelas do Rio, focando no audiovisual brasileiro.“Escasso é uma entrevista, basicamente é um falso documentário. Um grupo de estudantes, ou de jornalistas, ou de filmmakers – a gente não coloca isso em pauta –  vai entrevistar essa mulher para entender qual é a dela nessa casa. A partir disso, ele discute território, ocupação, identidade, fé, culinária, entre muitas outras coisas, dentro de uma estética da comédia e desse humor trágico que o carioca tem”, descreve.Impossível falar em cinema sem falar no Festival de Cannes. Apesar de o Brasil não ter sido premiado, a participação do país na última edição do evento foi considerada um sucesso. Seis filmes foram selecionados em várias mostras e a presença no “Mercado do Filme” foi relevante.O chefe de Promoção Cultural do Instituto Guimarães Rosa do Itamaraty, Adam Jayme Muniz, falou sobre a importância da promoção do audiovisual como mecanismo de diplomacia cultural do Brasil.“O audiovisual é estratégico porque, de todas as linguagens artísticas e culturais, é a que consegue de forma mais eficaz promover a imagem do país no exterior. O audiovisual dialoga com todas as outras linguagens, a literatura, a música, a arte. É nesse contexto que o audiovisual se posiciona de forma estratégica e conta com esse apoio grande de diferentes agências do governo federal”, disse.Fotojornalismo ovacionadoNa fotografia, 2023 teve, como destaque, o mestre Sebastião Salgado apadrinhando um prêmio com tema humanista e ambientalista em Paris; moradores apresentando seus olhares pessoais do 11º distrito da capital francesa e o fotógrafo Emílio de Azevedo fazendo uma releitura das expedições do marechal Rondon, através do resgate dos arquivos militares e de viagens à Amazônia.  Teve também o festival de fotojornalismo Visa pour l'Image, que aproximou o público europeu de temas latino-americanos em Perpignan, no sul da França, no mês de setembro. O fotógrafo brasileiro Francisco Proner, que cobriu as eleições presidenciais de 2022 para o jornal francês Le Monde, teve sua obra apresentada e ovacionada pelo público presente.“O Brasil está muito em alta na Europa, tem muitas matérias sobre o Brasil, muito interesse, e acredito que os aplausos que recebi também foram para a vitória do Lula e para a derrota do Bolsonaro, não necessariamente para as fotos”, opinou. Teatro, circo e dançaNo teatro, circo, dança e política se misturaram em "23 fragments de ces derniers jours" (23 fragmentos dos últimos dias), um espetáculo bilíngue apresentado no Teatro Silvia Monfort. Enquanto o Festival de Avignon, no sul da França, destacou o trabalho da diretora Carolina Bianchi, uma das apostas da programação. E o Brasil esteve presente ainda no maior festival de marionetes do mundo, que contou com a participação do diretor Paulo Balardim com o espetáculo Habite-Moi, ou Habite-me, numa tradução livre para português."O espetáculo não apresenta uma história linear, mas três quadros que são intercalados por entreatos, que vão mesclar teatro de bonecos, máscaras e dança", diz. "É um jogo da atriz em cena. Ele vai orbitar no limite entre o inanimado e a vida e, dessa forma, fazer surgir presenças que vão contracenar com ela. Para isso, os bonecos vão adquirir vida e, à medida que vão sendo evocados, criam uma realidade ficcional íntima", completou. Há 60 anos, o Festival de Charleville-Mézières reúne artistas, marionetistas e um público de 170 mil pessoas para assistir às produções de mais de 80 companhias, de 25 países.No campo da cultura, o ano de 2023 foi de grandes eventos e importantes realizações não só para artistas e produtores, mas também para o público interessado, que pôde se divertir, se informar, torcer e se apaixonar com as obras, filmes, coreografias e espetáculos. E se “A arte é a mentira que nos permite conhecer a verdade”, como disse Pablo Picasso, que em 2024 possamos continuar a descobrir o mundo por meio da arte em todas as suas formas de expressão.

"Art is something that makes you breathe with a different kind of happiness." That's a quote from the great Bauhaus textile artist Anni Albers that gets shared a lot, and is especially relevant for this week's episode of the podcast on the subject of art and joy. It's actually a little bit unclear what Albers means when she says that "art is a different kind of happiness," different from what? While many websites and even an art fair have borrowed this turn of phrase, it's difficult to find the original source. But the sort of fuzziness of the origins of the quote is perhaps symbolic of the subject itself. Art and happiness seem obvious enough—art gives people pleasure. People like art, looking at art, being surrounded by art, and talking about art. These things are all part of the definition of a life that is rewarding. But if you look closer to idea that art is happiness, it becomes more slippery, because most of what is considered important art is actually quite serious. The notion of art = happiness might even sound low-brow to a lot of listeners, conjuring up the PBS painter Bob Ross cooing that there are "no mistakes, only happy accidents." Comedies, too, rarely make the cut when it comes to awards for best picture or lists of all-time great films, and that's because art that takes emotions like fear, loneliness, or anger, and puts them in a form where we are compelled to look at and reckon with them. After all, that is one classical idea of what good art does—the Greek philosopher Aristotle's idea of art as catharsis. Or maybe the idea of happiness in art is considered lowbrow because it's corrupted by commerce. Getting back to that Anni Albers quote, it turns out to be from a 1968 interview with the artist for the Smithsonian's Archive of American Art, in which she's being asked about the value of craft. She says that she thinks that a lot of the late abstract expressionist painters, the people working in the style that had dominated U.S. art at that time, were trying too hard to go for psychodrama and seriousness. She said: "there's this too-conscious searching of your soul, which very often just turns into this kind of intestinal painting." But that's what Albers is drawing a contrast to, when she says in her full quote: "I have this very, what you call today, square idea, that art is something that makes you breathe with a different kind of happiness. The focus on angst as importance can distract from the pleasures that make art fundamentally valuable." She adds, "I find art is something that gives you something that you need for your life." That's a simple definition, but it means that the kind of happiness Albers is talking about isn't necessarily about art that just shows you happy things, obviously, though it can be that too. It can just be the happiness of an idea, finding its exact right form. This week on the podcast, we're doing something experimental. Artnet News is an art website, and we cover a lot of the stories around the controversies and personalities within the art-world writ large, and the art news is almost always by way of definition, about heavy matters. So as we wrap up this year and look to the next, we asked some of our writers to take some time from their busy work days and tell us about a specific piece of art that delights them. Artworks: Philip Dawe, The Macaroni, a real character of the late masquerade (1773)  Edouard Manet, The Balcony (1868–69)  Albert Edelfelt, Boys Playing on the Shore (Children Playing on the shore) (1884)  William Holman Hunt, The Light of the World (1900–04) Kano Masanobu, Bodhidarma in Red Robes (late 15th century) Gustav Klimt, The Black Feather Hat (1910) Tatsuo Miyajima, Painting of Change (2020) Pipilotti Rist, Ever Is Over All (1997) Florine Stettheimer, The Cathedrals of Art (1942)

"Art is something that makes you breathe with a different kind of happiness." That's a quote from the great Bauhaus textile artist Anni Albers that gets shared a lot, and is especially relevant for this week's episode of the podcast on the subject of art and joy. It's actually a little bit unclear what Albers means when she says that "art is a different kind of happiness," different from what? While many websites and even an art fair have borrowed this turn of phrase, it's difficult to find the original source. But the sort of fuzziness of the origins of the quote is perhaps symbolic of the subject itself. Art and happiness seem obvious enough—art gives people pleasure. People like art, looking at art, being surrounded by art, and talking about art. These things are all part of the definition of a life that is rewarding. But if you look closer to idea that art is happiness, it becomes more slippery, because most of what is considered important art is actually quite serious. The notion of art = happiness might even sound low-brow to a lot of listeners, conjuring up the PBS painter Bob Ross cooing that there are "no mistakes, only happy accidents." Comedies, too, rarely make the cut when it comes to awards for best picture or lists of all-time great films, and that's because art that takes emotions like fear, loneliness, or anger, and puts them in a form where we are compelled to look at and reckon with them. After all, that is one classical idea of what good art does—the Greek philosopher Aristotle's idea of art as catharsis. Or maybe the idea of happiness in art is considered lowbrow because it's corrupted by commerce. Getting back to that Anni Albers quote, it turns out to be from a 1968 interview with the artist for the Smithsonian's Archive of American Art, in which she's being asked about the value of craft. She says that she thinks that a lot of the late abstract expressionist painters, the people working in the style that had dominated U.S. art at that time, were trying too hard to go for psychodrama and seriousness. She said: "there's this too-conscious searching of your soul, which very often just turns into this kind of intestinal painting." But that's what Albers is drawing a contrast to, when she says in her full quote: "I have this very, what you call today, square idea, that art is something that makes you breathe with a different kind of happiness. The focus on angst as importance can distract from the pleasures that make art fundamentally valuable." She adds, "I find art is something that gives you something that you need for your life." That's a simple definition, but it means that the kind of happiness Albers is talking about isn't necessarily about art that just shows you happy things, obviously, though it can be that too. It can just be the happiness of an idea, finding its exact right form. This week on the podcast, we're doing something experimental. Artnet News is an art website, and we cover a lot of the stories around the controversies and personalities within the art-world writ large, and the art news is almost always by way of definition, about heavy matters. So as we wrap up this year and look to the next, we asked some of our writers to take some time from their busy work days and tell us about a specific piece of art that delights them. Artworks: Philip Dawe, The Macaroni, a real character of the late masquerade (1773)  Edouard Manet, The Balcony (1868–69)  Albert Edelfelt, Boys Playing on the Shore (Children Playing on the shore) (1884)  William Holman Hunt, The Light of the World (1900–04) Kano Masanobu, Bodhidarma in Red Robes (late 15th century) Gustav Klimt, The Black Feather Hat (1910) Tatsuo Miyajima, Painting of Change (2020) Pipilotti Rist, Ever Is Over All (1997) Florine Stettheimer, The Cathedrals of Art (1942)

Ett möte mellan två skandinaviska kvinnliga konstnärer i 1880-talets Paris. Venny Soldan agerar modell och Hanna Hirsch målar. Linda Fagerström reflekterar över allt som döljer sig i ett porträtt. Lyssna på alla avsnitt i Sveriges Radio Play. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes för första gången den 1 november 2017.Det är en januarimorgon i Paris 1887. Fuktig kyla sveper med flodvattnet längs Seines kajer. Drar utmed boulevarderna, förbi trottoarkaféernas skrangliga bord och letar sig fram över golvplankorna inomhus. Kallast är det förmodligen i konstnärsateljéerna i Montparnasse. I en av dem, på Rue Notre-Dame-des-Champs 53, möts konstnärerna Hanna Hirsch, 23 år och Venny Soldan, 24 år.Syftet är att arbeta på ett porträtt. Hanna Hirsch ställer sig vid staffliet. Venny Soldan, som idag tar på sig rollen som modell, sätter sig på golvet. Mattan är tunn och skrynklig, men skyddar från det värsta kalldraget. Bakom henne står en målarduk på sin spännram lutad mot väggen intill en gipsfigur, kanske en halvmeter hög.Venny Soldan är från Helsingfors, där hon gått fyra år på Finska konstföreningens skola. Hennes far är ingenjör och filosof. Hanna Hirsch har hemma i Stockholm utbildat sig i Konstakademins särskilda klass för kvinnor, kallad Fruntimmersavdelningen. Hon är dotter till musikförläggaren Abraham Hirsch. Efter giftermålet med konstnärskollegan Georg Pauli hösten 1887 byter hon efternamn och är i konsthistorien oftast kallad Hanna Pauli.Bägge kvinnorna hade kommit till Paris för att bli elever vid stadens fria konstnärsutbildningar med likvärdig undervisning för både kvinnor och män, en fransk nymodighet. Men den här dagen tillbringas alltså i ateljén.Medan Hanna Hirsch blandar färg på paletten, börjar de bägge kvinnorna prata. Ingen av dem vet ännu, att deras möte kommer resultera i ett porträtt som blir känt och omtyckt, att det samma höst ska ta sig genom nålsögat till den prestigefyllda och jurybedömda Parisutställningen Salongen – och småningom ska hamna i samlingarna på Göteborgs Konstmuseum.Medan Hanna Hirsch blandar färg på paletten, börjar de bägge kvinnorna prata.De diskuterar konstnären de bägge beundrar, Jean Bastien-Lepage, och den franska trenden plein-air-måleri. För dem, likt de andra skandinaviska konstnärer som kom till Paris under 1800-talets slut, var det nytt att arbeta utomhus i friska luften – ”plein air”. På kontinenten var det däremot vanligt att lämna ateljén för att skildra verkliga situationer och vardag. Likt flanörer strosade konstnärer som Jean Bastien-Lepage, Edouard Manet och Claude Monet längs stadens gator för att med skissblocket i hand iaktta det moderna livet. Ånglok, hundpromenader, bordeller och Moulin Rouges dansrestauranger – inget motiv var för simpelt.Som borgerliga flickor hade Venny Soldan och Hanna Hirsch inte riktigt samma möjligheter. Att sitta i hörnet på absinthaket för att teckna stadens larmande nöjesliv var otänkbart för dem. De enda kvinnor som förväntades vara där hörde till arbetarklassen: servitriser och prostituerade. Ingen borgerlig kvinna ville riskera tas för en sådan. Därför kunde de kvinnliga konstnärerna inte skildra de miljöer som i konsthistorien senare skulle kodas som tecken för det moderna: bardisken, cabaretscenen eller revyernas kvällsföreställningar.Vanligare i Venny Soldans och Hanna Hirschs motivkrets blev frukostbordet, verandan eller eftermiddagsutflykter till stranden och parken, alla ögonblicksbilder som vittnar om borgerliga kvinnors begränsade rörelsemöjlighet under slutet av 1800-talet – och som anger vilka situationer och platser Soldan och Hirsch hade att navigera mellan och konstnärligt förhålla sig till.Ändå utmanade de konventionerna på andra sätt; de hade dragit till Paris för att leva fria från föräldrarnas krav och kontrollerande blickar. Sedan 1881, då ogifta kvinnor i svensk lag blev betraktade som myndiga vid 21 års ålder, hade världen öppnat sig för dem. På åtminstone nästan samma villkor som sina manliga generationskamrater kunde de resa och leva självständigt.I den skandinaviska konstnärsgruppen i Paris fanns den självupptagne Carl Larsson, som aldrig missade ett tillfälle att uttrycka sin avsky för kvinnliga konstnärer. En kväll hade han inför gästerna vid en stor middagsbjudning skällt ut hustrun Karin Bergöö – också konstnär – då hon av misstag vält en stol, eftersom hon hade en baby i famnen. Säkert pratade Hanna Hirsch och Venny Soldan även om sådana händelser i vänkretsen under mötet i ateljén på Rue Notre-Dame-des-Champs, men det är också lätt att föreställa sig hur de sinsemellan diskuterar kompositionen, färgerna och vinklarna i målningen som växer fram.Att de kommer överens om att Soldans bekvämt framsträckta ben ska målas just så, trots att det innebär att undersidan på hennes smutsiga sko syns, och nästan trycks upp i ansikten på betraktaren. Att de skrattar åt hur provocerad konstpubliken kommer bli av det. Och, att de enas om att tiden är mogen för ett realistiskt porträtt av en kvinnlig konstnär: i enkla ateljékläder med färg på fingrarna. Inga koketterier, inga tvättade händer.Att de skrattar åt hur provocerad konstpubliken kommer bli av det.Ateljén såväl som konstnärsyrket, av tradition mansdominerad mark, har de erövrat. Men inte bara det: i porträttet möts de bägge kvinnorna också som konstnär och modell. Denna konsthistoriskt belastade konstruktion – ”konstnären och hans modell” – har de också gjort till sin: modellen är ju i det här fallet konstnär själv och allt annat än den namnlösa kvinna som vi i så många målningar sett ligga avklädd där strax bakom konstnären i fråga: en påklädd man, stolt poserande intill sitt objekt, modellen.Att den här modellen, Venny Soldan, istället skildras som ett subjekt är förstås den stora skillnaden. Och naturligtvis att hon inte är naken, utan bär enkel, höghalsad svart blus och en lång, vid kjol i samma färg. Sittande på golvet med benet rakt ut framför sig, verkar hon vara mitt i en tanke. Håret är bortstruket från ansiktet, hastigt uppsatt i praktisk frisyr. I handen klämmer hon en bit lera eller en sudd, som vore hon uppslukad av ett konstnärligt avgörande, koncentrerad inför en skiss. Eller kanske på vippen att formulera ett argument i diskussionen med Hanna Hirsch.I vilket fall som helst är hon alldeles obekymrad över att bli iakttagen och avbildad, helt oberörd över kroppens tyngd mot golvet och ryggens krökning. Hon är ande mer än kropp, helt tagen i anspråk av sin koncentration och inspiration.De upplevelserna bildade klangbotten i mötet mellan Hanna Hirsch och Venny Soldan den där kyliga morgonen. Erfarenheterna av det moderna livet, att leva bortom krav på ordnat liv med rutiner, etiketter och korsetter, delade de. Och då porträttet stod klart några månader senare, kunde det också förnimmas i själva bilden. Kanske särskilt i det djärva tilltaget att skildra Soldan som den yrkesperson hon är, klädd i slitna arbetsplagg sittande på golvet, men också att hon mitt i ett inspirerat ögonblick. Helt ointresserad av att behaga en manlig betraktare är hon istället en kvinna uppslukad av mötet med en annan kvinna, Hanna Hirsch – som för säkerhets skull signerade porträttet med både sitt för- och efternamn i tydliga versaler, mycket synligt helt nära Venny Soldans fot.Helt ointresserad av att behaga en manlig betraktare är hon istället en kvinna uppslukad av mötet med en annan kvinna.Därför kan man säga, att Hanna Hirschs porträtt av Venny Soldan skildrar ett möte mellan två målmedvetna, intellektuella kvinnor, på väg ut i det moderna livet – men också deras möte med detta liv; med Paris och en tillvaro som självständiga individer.Linda Fagerström, konsthistoriker och konstkritiker

Il 18 giugno si celebra la Giornata Mondiale del picnic. Storicamente il picnic viene associato alla Francia, ai quadri impressionisti di Edouard Manet o Claude Monet, ma vede i natali qualche tempo prima: alla fine del '600. Il picnic nasce, infatti, come esigenza da parte dei giovani aristocratici di relazionarsi in modo più informale rispetto ai banchetti solenni a cui dovevano partecipare. E quale modo migliore per festeggiare questa ricorrenza se non organizzando un picnic con i propri amici o con la propria famiglia?Villeroy & Boch ha pensato di elencare alcuni prodotti per la giornata del picnic imparando a rispettare l'ambiente anche a tavola, dicendo no a posate, bicchieri e piatti monouso in plastica. Le stoviglie Villeroy & Boch in ceramica restano una alternativa facile da portare con sé se si è in pochi, trasportate rigorosamente in un cesto da vimini. Il galateo del picnic sostenibile di Villeroy & Boch prevede dunque la scelta di stoviglie in ceramica, posate rigorosamente non in plastica e bicchieri e/o borracce ricaricabili.

 Dialogue à bâtons rompus avec Guillaume Durand, autour du thème central de son dernier ouvrage : Manet !   Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.

"When you're with a patient you take all that you know in your head, all the theory, and you throw it away. You have to listen to the patient and then maybe afterward something becomes clear - you use that ‘in-between' as a way maybe in the next session. But if you were sitting there and thinking: ‘Now the patient is in the paranoid/schizoid position…' that would be disastrous. You have to listen with your guts, your emotions, your intellect, and your body, in order to understand what is going on in a particular moment, in a particular session. Then later on you might be able to make sense of it through theory and through supervision."    Episode Description: We begin with considering the cultural and linguistic contributions to intrapsychic processes and the analytic encounter. Jeanne shares with us her life story involving her 'temporary' visit to California, which became a 37-year stay that included her becoming a psychoanalyst. We discuss the meaning to her and to her analysands of her being German and how she worked with that clinically. She moved to Vienna and began teaching and practicing analysis there, enabling her to compare the two psychoanalytic cultures and methods of practice. We also take up the importance of the German language as the vehicle through which Freud discovered the unconscious. Jeanne concludes by sharing with us her ongoing sense of feeling like an immigrant, a state of mind inherent in the analytic engagement.    Linked Episode: Episode 121: Polish Psychoanalysis, Ukraine and Intergenerational Trauma with Edyta Biernacka (Krakow) – IPA Off the Couch   Our Guest: Jeanne Wolff-Bernstein is a psychoanalyst living and working in Vienna, Austria. She is a member and training analyst at the Wiener Arbietskreis für Psychoanalyse, where she is a member on the Board. She is also the head of the Scientific Advisory Council of the Vienna Sigmund Freud Museum, where she had also been the Fulbright Freud Visiting Scholar in Psychoanalysis in 2008. Prior to moving to Vienna, Jeanne Wolff Bernstein was the past president and supervising and personal analyst at PINC (Psychoanalytic Institute of Northern California). She is still on the faculty at PINC and at the NYU Postdoctoral Program, New York, and teaches at the Wiener Arbeitskreis für Psychoanalyse (WAP) She has published numerous articles on the interfaces between psychoanalysis, the visual arts, and film. Her most recent publications include, Beyond the Bedrock in Good Enough Endings, (2010) ed. by Jill Salberg, The Space of Transition between Winnicott and Lacan in Between Winnicott and Lacan (2011) ed. by Lewis Kirshner, and the section on Jacques Lacan in The Textbook of Psychoanalysis as well as Living between two languages: A Bi-focal Perspective, in Immigration in Psychoanalysis, (2016) Dora, the unending and unraveling story, in Dora, Hysteria & Gender: Reconsidering Freud's Case Study, 2018 and Unexpected antecedents to the concept of the death drive: a return to the beginnings, in Contemporary Perspectives on the Freudian Death Drive, in Theory, Clinical Practice and Culture. 2019, 55-68.   Her last publication, resulting from the 2022 EPF congress on the subject of Ideals, is entitled From Narcissus to Echo: The Imaginary Working under the Mask of the Symbolic.   Her book on Edouard Manet, Framing the Past and the Gaze, is forthcoming. Recommended Readings:   Lots of Freud, over and over again.   Marcel Proust, A la recherche du temps perdu   Winnicott, several key essays, over and over again   Philip Sands, East / West Street and The Ratline   Francoise Davoine, History Beyond Trauma, Shandean Psychoanalysis  

Os dois pintores foram contemporâneos, frequentaram os mesmos círculos artísticos, mas seguiram caminhos diferentes, sempre mantendo uma certa rivalidade artística. Para compreender melhor essa atração e repulsão entre dois grandes nomes da pintura, o Museu d'Orsay, em Paris, apresenta uma exposição conjunta inédita de Edouard Manet e Edgard Degas. Patrícia Moribe, da RFISão 51 quadros, dois pastéis, dez desenhos, 16 gravuras e algumas cartas de Edouard Manet (1832-1883) junto a 40 telas, sete pastéis, 17 desenhos, dois monotipos, dois cadernos de desenhos e missivas de Edgard Degas (1834-1917). Manet formou-se com Thomas Couture, que tinha uma pincelada mais romântica. Já Degas se deixou inspirar por Ingrès, na atenção pelo desenho e pelo traço.O visitante poderá admirar os então escandalosos "Almoço sobre a relva", que mostra uma mulher nua em um piquenique com dois homens vestidos com trajes da época, e "Olympia", no qual uma prostituta nua aparece deitada em um divã, com a mucama negra. Ambos são de Édouard Manet. De Edgard Degas, estão expostas cenas de bar, como em "O Absinto", ou as eternas bailarinas, que também estão na exposição "Pastéis", na ala seguinte. “Tanto Manet quanto Degas têm um percurso parecido em certo sentido, porque nenhum deles pode ser classificado de maneira fácil, não são artistas que se enquadram em um movimento”, explica Felipe Martinez, pesquisador de pós-doutorado da USP e da Universidade de Amsterdã. “Não dá para a gente chamar, por exemplo, o Degas de impressionista, do mesmo jeito que a gente faz com o [Claude] Monet; é um artista que tem ali uma poética própria, um caminho próprio, embora ele tenha exposto com os impressionistas várias vezes”, diz Martinez. “Manet também expôs com os impressionistas, mas ele era uma espécie de mestre, um guia, da geração anterior; é um artista que ficou no meio do caminho entre a tradição e as pinturas impressionistas”, observa o brasileiro.BurguesiaOs dois artistas são do mesmo extrato social, filhos da burguesia. O pai de Manet foi um alto funcionário e o de Degas, banqueiro. Dessa forma, ambos puderam pintar e experimentar, sem a necessidade de vender quadros para viver. Apesar de suas carreiras correrem em paralelo, eles se frequentam, às vezes com algumas rusgas. Degas tinha uma clara admiração por Manet, tendo retratado o colega várias vezes. Já Manet nunca pintou o colega. Degas também foi um ávido colecionador de Manet, chegando a possuir mais de 80 obras de Édouard – das quais 31 estão na exposição. Em 1868 ou 1869, Degas retratou o casal Manet num momento de tranquilidade, ele esparramado no sofá e madame ao piano. Mas Manet achou que Degas não fez jus à beleza de sua querida Suzanne e simplesmente mutilou a obra, cortando a mulher pelo perfil. Furioso, Degas retomou-lhe o quadro e ainda devolveu outro que lhe fora dado por Manet como presente. A pintura sem o rosto de madame Manet, hoje propriedade do Museu de Arte de Kitakyushu, no Japão, está na exposição de Paris. Retratos do tempoManet e Degas são ávidos observadores do tempo em que vivem, lembra Felipe Martinez. “É o mundo moderno, das cidades, do mercado financeiro, da indústria”, explica. “Manet retrata as cartolas, a roupa preta, a fumaça das indústrias, as pessoas no parque, enquanto Degas, ao incorporar as bailarinas, tem uma visão mais naturalista, influenciada pelas teorias de determinismo social daquele momento.”“Degas pinta vários quadros relacionados com a Guerra Civil Americana e expressa claramente seu apoio à causa antiescravagista”, conta a curadora Isolde Pludermacher, à RFI. “Ele próprio viu de perto a escravidão em uma viagem que fez ao Brasil em 1948 e isso o revoltou. Já Degas tinha família em Nova Orleans, que vivia do comércio de algodão. Havia inclusive escravos no dote da mãe do artista. Ou seja, há também aspectos políticos que os diferenciam.”Viagem aos trópicosAos 16 anos, Manet tentou a carreira naval, embarcando em um navio-escola em direção ao Brasil. “Ele desenhou os marinheiros, o talento estava ali”, relata Felipe Martinez. “Mas em termos de cores, de luz, não acho que o Brasil tenha tido influência. Embora ele tenha visto a natureza brasileira e a paisagem exuberante do Rio de Janeiro, em nenhum momento Manet faz uma consideração de um pintor, de alguém que está olhando com os olhos de um pintor aquela paisagem”, opina. “Ele faz, sim, considerações muito interessantes sobre a sociedade brasileira, sobre como viviam as pessoas escravizadas, sobre como aquela sociedade funcionava, mas pela pintura dele não dá para gente dizer que ela foi influenciada, digamos, tecnicamente, pela passagem dele pelo Brasil", diz o pesquisador brasileiro.A exposição "Manet/Degas" fica em cartaz no Museu d'Orsay, em Paris, até 23 de julho. 

Victorine Meurent gaat ten onrechte de geschiedenisboeken in als prostituee die jong sterft. En dat komt allemaal omdat ze naakt poseert voor een aantal bekende kunstwerken van Edouard Manet. In werkelijkheid wordt Victorine 83 jaar oud en is ze geen prostituee, maar professioneel schildersmodel en kunstenaar. Toch blijft die schandaalreputatie haar achtervolgen, tijdens haar leven en zelfs na haar dood. Waarom? Ets van Olympia van Edouard Manet in het Rijksmuseum: https://www.rijksmuseum.nl/nl/collectie/RP-P-1947-4 Le déjeuner sur l'herbe van Peter van Straaten in het Rijksmuseum: https://www.rijksmuseum.nl/nl/collectie/RP-T-2011-64 Olympia van Edouard Manet in Musée d'Orsay: https://www.musee- orsay.fr/en/artworks/olympia-712 Le déjeuner sur l'herbe van Edouard Manet in Musée d'Orsay: https://www.musee- orsay.fr/fr/oeuvres/le-dejeuner-sur-lherbe-904 Le jour des Rameux (Palmzondag) door Victorine Meurent in Musée Municipal d'Art et d'Histoire: https://nl.m.wikipedia.org/wiki/Bestand:Le_jour_des_rameaux.jpg

Homme de télé et de radio, GUILLAUME DURAND est l'une des figures du journalisme français. Aujourd'hui directeur de l'information de Radio Classique, c'est aussi un homme de beau. Lauréat en novembre dernier du prix Renaudot-Essai pour son essai "Déjeunons sur l'herbe" consacré à Edouard Manet, GUILLAUME DURAND fait ainsi vivre l'héritage de son père Lucien, galeriste, en collectionnant les oeuvres d'art.Dans cet épisode passionné, GUILLAUME DURAND raconte une vie mêlant culture et élégance. Il raconte les grandes heures de Saint Germain et les styles incroyables des amis artistes de son père. Il évoque ses délires de lycéens, ses manies de journaliste et ses caprices de dandy. Il parle t-shirts de surf, bottes western, mocassins Weston et vestes Cifonelli... Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Although ekphrastic poetry (‘poetry about art') has been around for a long time, the majority of ekphrastic writing does little more than recapitulate and describe a painting. In ArtiFact #36, Alex Sheremet is joined by Jessica Schneider to discuss her recent book of ekphrastic poetry, “Ekphrasm”, and how her approach is different. From the use of recurring characters, to combining observations on photography with those on painting, to characterizing her various poetic narrators, to the use of psychological tricks, there is more to ekphrasis than meets the eye. Painters covered include Edouard Manet, Claude Monet, Paul Cezanne, Hilma af Klint, and others. Buy Jessica Schneider's “Ekphrasm”: https://www.amazon.com/Ekphrasm-French-Painters-Paintings-Natures-ebook/dp/B0B53ZB2TV Jessica Schneider's first poetry collection, “Wordshapes”: https://www.amazon.com/WordShapes-Selected-1999-2009-Jessica-Schneider-ebook/dp/B07HRDL58B/ To get the patron-only B Side to this conversation, support us on our Patreon page and get patron-only content: https://www.patreon.com/automachination B Side topics: Enneagram Type 5 & over-preparation; the role of enjambment, punctuation in poetry; does YouTube have an unfilled niche for great short poetry; Alex makes plans for capturing footage of the old brothel he grew up next door to; how footage of the 1945 Victory Day parade in Russia suddenly veers into greatness for 30 seconds; Bruce Ario as the most commercial and viral of poets; Jessica's earrings interfere with the show; “you're only as good as your last poem” as a psychological motivator; Alex's first draft of his Lunar New Year (2023) poem; exclusivity in the arts; Alex and Joel Parrish traveling to Minneapolis for footage related to Bruce Ario; on Malik Bendjelloul's “Searching for Sugar Man”, a biopic on Sixto Rodriguez; Sixto Rodriguez's excellence as a singer-songwriter; the emotional dilemmas of great artists; why animals can serve as a great example for human beings; Americans take the wrong lesson from Office Space; why every Twitter personality, no matter their politics or beliefs, sounds exactly the same; Russia Russia Russia; what gets lost in translation; Jim Morrison, The Doors, The Beatles and commercialism; Nuri Bilge Ceylan; Nassim Taleb snipes at Lex Fridman; do we need 6 months to read & digest The Brothers Karamazov; pitfalls of highly commercial marijuana legalization Subscribe to the ArtiFact podcast on Spotify: https://spoti.fi/3xw2M4D Apple Podcasts: https://apple.co/3wLpqEV Google Podcasts: https://bit.ly/3dSQXxJ Amazon Music: https://amzn.to/2SVJIxB Podbean: https://bit.ly/3yzLuUo iHeartRadio: https://ihr.fm/3AK942L Jessica Schneider's interview on ekphrasis with Ethan Pinch of  @AnthropomorphicHorse  – https://www.youtube.com/watch?v=xbjuQX_r_ho Vivian Maier footage used in video: https://www.youtube.com/watch?v=vDewAU-rgIM Read more from the automachination universe: https://automachination.com Read Alex Sheremet's (archived) essays: https://alexsheremet.com Follow us on Twitter: https://twitter.com/automachination Timestamps: 0:18 – an icebreaker: Jessica Schneider's disrespectful emails in preparation for our show 3:18 – how Jessica's approach to ekphrasis is different; Jessica's initial frustration with her poem on Mariupol & how it was improved 9:22 – Jessica Schneider's poem “Manet's Mirror”, after Edouard Manet's famous “A Bar at the Folies-Bergère”; how the introduction of Landon at the end of the poem takes it out of the painting's own diegetic universe; the Wallace Stevens / Sunday Morning connection; why memorizing poetry is excellent for poets 21:40 – Jessica Schneider's poem “What Monet Said”, after Claude Monet's “Woman with a Parasol – Madame Monet and Her Son”; Leonard Shlain's “Art And Physics” 29:35 – the drawing of Paul Cezanne's son; Jessica Schneider's “A Young Paul Asleep”; how details totally outside of Cezanne's drawing make their way into the poem 36:37 – Jessica Schneider's poem on Mariupol; how Cezanne's paintings of a forest serve as a ‘spiritual' backdrop to a seemingly unrelated poem 42:28 – poem on Paul Cezanne's father reading a newspaper; there has always been a lack of family support for artists; “reading” Cezanne's painting vs. writing the poem 50:54 – Camille Pissaro's Voisins; extracting (unexpected) value from a title 56:27 – Jessica's poem after Vivian Maier's photography; on the nature of “selfie” / self-portrait poetry; Alex gets in touch with his feminine side 01:05:34 – a poem after Hilma af Klint's “swan” series; how a series can change individual artistic objects; speculation on Hilma af Klint's desire to publicly release her work only after a substantial amount of time passed after her death 01:14:08 – discussing the patron-only show & a final, autobiographical poem from Jessica Schneider; a non-ekphrastic poem that nonetheless taps into some concepts of ekphrasis Tags: #poetry, #painting, #photography, #artpodcast, #cezanne, #monet

Melvyn Bragg and guests discuss one of the influential painters at the heart of the French Impressionist movement: Berthe Morisot (1841-1895). The men in her circle could freely paint in busy bars and public spaces, while Morisot captured the domestic world and found new, daring ways to paint quickly in the open air. Her work shows women as they were, to her: informal, unguarded, and not transformed or distorted for the eyes of men. The image above is one of her few self-portraits, though several portraits of her survive by other artists, chiefly her sister Edma and her brother-in-law Edouard Manet. With Tamar Garb Professor of History of Art at University College London Lois Oliver Curator at the Royal Academy and Adjunct Professor of Art History at the American University of Notre Dame London. And Claire Moran Reader in French at Queen's University Belfast Producer: Simon Tillotson

Melvyn Bragg and guests discuss one of the influential painters at the heart of the French Impressionist movement: Berthe Morisot (1841-1895). The men in her circle could freely paint in busy bars and public spaces, while Morisot captured the domestic world and found new, daring ways to paint quickly in the open air. Her work shows women as they were, to her: informal, unguarded, and not transformed or distorted for the eyes of men. The image above is one of her few self-portraits, though several portraits of her survive by other artists, chiefly her sister Edma and her brother-in-law Edouard Manet. With Tamar Garb Professor of History of Art at University College London Lois Oliver Curator at the Royal Academy and Adjunct Professor of Art History at the American University of Notre Dame London. And Claire Moran Reader in French at Queen's University Belfast Producer: Simon Tillotson

durée : 00:03:32 - Le Pourquoi du comment : histoire - par : Gérard Noiriel - Comment les impressionnistes ont-ils, dans le sillage d'Edouard Manet, amplifié un mouvement qui a remis en question l'univers de la peinture ?

durée : 00:03:32 - Le Pourquoi du comment : histoire - par : Gérard Noiriel - Comment les impressionnistes ont-ils, dans le sillage d'Edouard Manet, amplifié un mouvement qui a remis en question l'univers de la peinture ?

Vous l'aurez remarqué, depuis le premier épisode de PRÉSENT.E, dans chaque intro, je ne dresse pas le CV de l'artiste que je reçois. Que mon invité·e soit une star de l'art contemporain ou un ou une jeune artiste encore étudiante, je m'applique à me souvenir de la personne, de l'exposition, de la conversation ou même du post Instagram, grâce auquel j'ai découvert son travail. Parce que je pense que dans notre monde il est nécessaire de tisser des liens, d'expliciter le fait que tout est constellation et que le savoir et la connaissance ne tombent pas du ciel. Pour Rayane Mcirdi, j'ai dû aller chercher aux confins de ma mémoire pour me rappeler de la première fois que j'ai vu son travail. Je pensais que c'était il y a quatre ans, lors de l'été 2018 durant lequel je m'étais arrêtée devant une vidéo qui était montrée au festival Par amour du Jeu aux Magasins Généraux où Rayane exposait, une oeuvre qui s'appelle You'll Never Walk Alone dans laquelle on voit son cousin Samir jouer à FIFA. C'était mon souvenir le plus lointain mais hier Rayane m'a rappelée que la première fois qu'on s'était vraiment rencontré, c'était quelques mois plus tard, dans un bar, le soir du Prix Marcel Duchamp. Cela fait donc pile 4 ans qu'on se connait ! J'étais donc ravie de pouvoir discuter avec lui de cinéma, de devoir de mémoire, de voix marginalisées et de récits intimes... Les expositions : - "Par amour du jeu 1998-2018" aux Magasins Généraux du 9 juin au 5 août 2019, - "Les amis durent" à la galerie Anne Barrault jusqu'au 8 octobre 2022 avec Neïla Czermak Ichti, Flo*Souad Benaddi, Lassana Sarre, Ibrahim Meïté Sikely, Luna Petit. - "Désolé" à la galerie Edouard Manet de Gennevilliers du 3 octobre au 14 décembre 2019. Les films et réalisateurs : - La jetée et Sans soleil de Chris Marker, - Hou Hsia-Hsien, - Wong Kar-Wai Les artistes et critiques : - Neïla Czermak Ichti, - Horya Makhlouf, - Valentin Noujaïm, - Silina Syan, - Seumboy Vrainom :€, - Aïda Bruyère, - Zineb Sedira, - Mohamed Bourrouissa, - Julien Sirjacq. Épisode retranscrit : Disponible dans quelques jours !! Je me dépêche... Crédits : Présent.e est un podcast produit, réalisé et diffusé par Camille Bardin. Cet entretien a été enregistré le 6 septembre 2022 à Paris. Réalisation et mixage : Camille Bardin. Générique : David Walters.

Historiquement Vôtre réunit 3 personnages sacrément secrets : le peintre Edouard Manet (1832-1883) dont on connaît les célèbre toiles - comme “Le Déjeuner sur l'herbe”, mais beaucoup moins la vie, qu'il a tenté, et réussi, à préserver, avec une - supposée - compagne célèbre et peut-être même un fils caché… Puis, lui non plus n'a rien dit de sa vie : l'américain J.D. Salinger (1919-2010) et son célèbre roman “L'Attrape Coeur” qui a fait son succès. Un écrivain insaisissable et secret qui a vécu reclu pendant une grande partie de sa vie, refusant les interviews et surtout de se montrer. Et l'une des plus grandes stars françaises - et l'une des plus discrètes surtout : Mylène Farmer.

Historiquement Vôtre réunit 3 personnages sacrément secrets : le peintre Edouard Manet (1832-1883) dont on connaît les célèbre toiles - comme “Le Déjeuner sur l'herbe”, mais beaucoup moins la vie, qu'il a tenté, et réussi, à préserver, avec une - supposée - compagne célèbre et peut-être même un fils caché… Puis, lui non plus n'a rien dit de sa vie : l'américain J.D. Salinger (1919-2010) et son célèbre roman “L'Attrape Coeur” qui a fait son succès. Un écrivain insaisissable et secret qui a vécu reclu pendant une grande partie de sa vie, refusant les interviews et surtout de se montrer. Et l'une des plus grandes stars françaises - et l'une des plus discrètes surtout : Mylène Farmer.

My guest this week is the lovely Helen Fripp whose latest novel “The Painter's Girl” whisks us back to Paris in the 1860s. Helen is drawn to strong women who defy societal pressures and the expectations of their time. In “The Painter's Girl,” we meet Mimi Bisset. Born in the slums of Montmartre and forced to give up the child she had out of wedlock as a teenager, Mimi could easily have become a drunk, an absinthe addict, a sex worker, or all three, like so many around her. But Mimi's dreams are too big for her tiny corner of Paris and we're carried along as she joins a circus, becomes a muse to the great Impressionists, is reawakened as Edouard Manet's lover, and fights to become an artist in her own right.In our conversation, Helen shares what sparked the idea for her striking opening scene with a zebra running through the streets of Montrmartre, what her research uncovered about the Impressionists we think we know, how setting a story in the past sets her free, what draws her to strong women - and what they may have in common - and more. Then, she treats us to a reading from “The Painter's Girl.”https://www.helenfrippauthor.co.ukhttps://www.facebook.com/hfrippauthorhttps://twitter.com/helenfripphttps://www.instagram.com/helenfrippauthor/Join our Book Club: patreon.com/parisundergroundradioFind Us OnlineWebsite: https://www.parisundergroundradio.com/storytimeinparisFacebook: https://www.facebook.com/parisundergroundradioInstagram: https://www.instagram.com/parisundergroundradio/CreditsHost and Producer: Jennifer Geraghty. Facebook, Instagram, and Twitter: @jennyphoria; Website: http://jennyphoria.comMusic CreditsHip Hop Rap Instrumental (Crying Over You) by christophermorrow https://soundcloud.com/chris-morrow-3​ Creative Commons — Attribution 3.0 Unported— CC BY 3.0 Free Download / Stream: http://bit.ly/2AHA5G9​ Music promoted by Audio Library https://youtu.be/hiYs5z4xdBU​About UsSince well before Victor Hugo looked up at Notre Dame and thought, "Huh... what if a hunchback lived in there?" authors have been inspired by Paris. The Storytime in Paris podcast will help keep this tradition alive with short interviews and readings from your favorite contemporary authors with a French connection. Every episode will feature five questions, asked by you, our authors' biggest fans, and answered live on air. Then, our authors will treat us to a reading of an excerpt from their book. Who knows? Maybe you'll even be inspired to write your own Great French Novel. Happy listening! 

Ett möte mellan två skandinaviska kvinnliga konstnärer i 1880-talets Paris. Venny Soldan agerar modell och Hanna Hirsch målar. Linda Fagerström reflekterar över allt som döljer sig i ett porträtt. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Essän sändes för första gången den 1 november 2017.Det är en januarimorgon i Paris 1887. Fuktig kyla sveper med flodvattnet längs Seines kajer. Drar utmed boulevarderna, förbi trottoarkaféernas skrangliga bord och letar sig fram över golvplankorna inomhus. Kallast är det förmodligen i konstnärsateljéerna i Montparnasse. I en av dem, på Rue Notre-Dame-des-Champs 53, möts konstnärerna Hanna Hirsch, 23 år och Venny Soldan, 24 år.Syftet är att arbeta på ett porträtt. Hanna Hirsch ställer sig vid staffliet. Venny Soldan, som idag tar på sig rollen som modell, sätter sig på golvet. Mattan är tunn och skrynklig, men skyddar från det värsta kalldraget. Bakom henne står en målarduk på sin spännram lutad mot väggen intill en gipsfigur, kanske en halvmeter hög.Venny Soldan är från Helsingfors, där hon gått fyra år på Finska konstföreningens skola. Hennes far är ingenjör och filosof. Hanna Hirsch har hemma i Stockholm utbildat sig i Konstakademins särskilda klass för kvinnor, kallad Fruntimmersavdelningen. Hon är dotter till musikförläggaren Abraham Hirsch. Efter giftermålet med konstnärskollegan Georg Pauli hösten 1887 byter hon efternamn och är i konsthistorien oftast kallad Hanna Pauli.Bägge kvinnorna hade kommit till Paris för att bli elever vid stadens fria konstnärsutbildningar med likvärdig undervisning för både kvinnor och män, en fransk nymodighet. Men den här dagen tillbringas alltså i ateljén.Medan Hanna Hirsch blandar färg på paletten, börjar de bägge kvinnorna prata. Ingen av dem vet ännu, att deras möte kommer resultera i ett porträtt som blir känt och omtyckt, att det samma höst ska ta sig genom nålsögat till den prestigefyllda och jurybedömda Parisutställningen Salongen och småningom ska hamna i samlingarna på Göteborgs Konstmuseum.Medan Hanna Hirsch blandar färg på paletten, börjar de bägge kvinnorna prata.De diskuterar konstnären de bägge beundrar, Jean Bastien-Lepage, och den franska trenden plein-air-måleri. För dem, likt de andra skandinaviska konstnärer som kom till Paris under 1800-talets slut, var det nytt att arbeta utomhus i friska luften plein air. På kontinenten var det däremot vanligt att lämna ateljén för att skildra verkliga situationer och vardag. Likt flanörer strosade konstnärer som Jean Bastien-Lepage, Edouard Manet och Claude Monet längs stadens gator för att med skissblocket i hand iaktta det moderna livet. Ånglok, hundpromenader, bordeller och Moulin Rouges dansrestauranger inget motiv var för simpelt.Som borgerliga flickor hade Venny Soldan och Hanna Hirsch inte riktigt samma möjligheter. Att sitta i hörnet på absinthaket för att teckna stadens larmande nöjesliv var otänkbart för dem. De enda kvinnor som förväntades vara där hörde till arbetarklassen: servitriser och prostituerade. Ingen borgerlig kvinna ville riskera tas för en sådan. Därför kunde de kvinnliga konstnärerna inte skildra de miljöer som i konsthistorien senare skulle kodas som tecken för det moderna: bardisken, cabaretscenen eller revyernas kvällsföreställningar.Vanligare i Venny Soldans och Hanna Hirschs motivkrets blev frukostbordet, verandan eller eftermiddagsutflykter till stranden och parken, alla ögonblicksbilder som vittnar om borgerliga kvinnors begränsade rörelsemöjlighet under slutet av 1800-talet och som anger vilka situationer och platser Soldan och Hirsch hade att navigera mellan och konstnärligt förhålla sig till.Ändå utmanade de konventionerna på andra sätt; de hade dragit till Paris för att leva fria från föräldrarnas krav och kontrollerande blickar. Sedan 1881, då ogifta kvinnor i svensk lag blev betraktade som myndiga vid 21 års ålder, hade världen öppnat sig för dem. På åtminstone nästan samma villkor som sina manliga generationskamrater kunde de resa och leva självständigt.I den skandinaviska konstnärsgruppen i Paris fanns den självupptagne Carl Larsson, som aldrig missade ett tillfälle att uttrycka sin avsky för kvinnliga konstnärer. En kväll hade han inför gästerna vid en stor middagsbjudning skällt ut hustrun Karin Bergöö också konstnär då hon av misstag vält en stol, eftersom hon hade en baby i famnen. Säkert pratade Hanna Hirsch och Venny Soldan även om sådana händelser i vänkretsen under mötet i ateljén på Rue Notre-Dame-des-Champs, men det är också lätt att föreställa sig hur de sinsemellan diskuterar kompositionen, färgerna och vinklarna i målningen som växer fram.Att de kommer överens om att Soldans bekvämt framsträckta ben ska målas just så, trots att det innebär att undersidan på hennes smutsiga sko syns, och nästan trycks upp i ansikten på betraktaren. Att de skrattar åt hur provocerad konstpubliken kommer bli av det. Och, att de enas om att tiden är mogen för ett realistiskt porträtt av en kvinnlig konstnär: i enkla ateljékläder med färg på fingrarna. Inga koketterier, inga tvättade händer.Att de skrattar åt hur provocerad konstpubliken kommer bli av det.Ateljén såväl som konstnärsyrket, av tradition mansdominerad mark, har de erövrat. Men inte bara det: i porträttet möts de bägge kvinnorna också som konstnär och modell. Denna konsthistoriskt belastade konstruktion konstnären och hans modell har de också gjort till sin: modellen är ju i det här fallet konstnär själv och allt annat än den namnlösa kvinna som vi i så många målningar sett ligga avklädd där strax bakom konstnären i fråga: en påklädd man, stolt poserande intill sitt objekt, modellen.Att den här modellen, Venny Soldan, istället skildras som ett subjekt är förstås den stora skillnaden. Och naturligtvis att hon inte är naken, utan bär enkel, höghalsad svart blus och en lång, vid kjol i samma färg. Sittande på golvet med benet rakt ut framför sig, verkar hon vara mitt i en tanke. Håret är bortstruket från ansiktet, hastigt uppsatt i praktisk frisyr. I handen klämmer hon en bit lera eller en sudd, som vore hon uppslukad av ett konstnärligt avgörande, koncentrerad inför en skiss. Eller kanske på vippen att formulera ett argument i diskussionen med Hanna Hirsch.I vilket fall som helst är hon alldeles obekymrad över att bli iakttagen och avbildad, helt oberörd över kroppens tyngd mot golvet och ryggens krökning. Hon är ande mer än kropp, helt tagen i anspråk av sin koncentration och inspiration.De upplevelserna bildade klangbotten i mötet mellan Hanna Hirsch och Venny Soldan den där kyliga morgonen. Erfarenheterna av det moderna livet, att leva bortom krav på ordnat liv med rutiner, etiketter och korsetter, delade de. Och då porträttet stod klart några månader senare, kunde det också förnimmas i själva bilden. Kanske särskilt i det djärva tilltaget att skildra Soldan som den yrkesperson hon är, klädd i slitna arbetsplagg sittande på golvet, men också att hon mitt i ett inspirerat ögonblick. Helt ointresserad av att behaga en manlig betraktare är hon istället en kvinna uppslukad av mötet med en annan kvinna, Hanna Hirsch som för säkerhets skull signerade porträttet med både sitt för- och efternamn i tydliga versaler, mycket synligt helt nära Venny Soldans fot.Helt ointresserad av att behaga en manlig betraktare är hon istället en kvinna uppslukad av mötet med en annan kvinna.Därför kan man säga, att Hanna Hirschs porträtt av Venny Soldan skildrar ett möte mellan två målmedvetna, intellektuella kvinnor, på väg ut i det moderna livet men också deras möte med detta liv; med Paris och en tillvaro som självständiga individer.Linda Fagerström, konsthistoriker och konstkritiker

Syphilis has had such a long and storied history that you can read about it in Shakespeare's works, and find out that it claimed the lives of historic figures like Edouard Manet, possibly Oscar Wilde and of course, Al Capone. Setting aside its horrific effects for a second, you kinda have to respect its place in history. But before you go thinking that syphilis is a disease of a bygone era, it's actually still around affecting millions of people all over the world, closer to home than you might think. What is syphilis, and why has it made such a huge comeback lately? In this episode, I'll give you the lowdown on this STD, and how it came to have such a prominent place in history.   It's better to know that you have syphilis and to get tested right away because it is treatable. -Heather Bartos   3 Things We Learned From This Episode All the crazy ways people used to treat syphilis What's behind the unexpected comeback of syphilis Why syphilis isn't the death sentence it once was (if you get treated, that is)

Once upon a time, the Avenue de Clichy was the place to meet the great Impressionist painters. Why? Because this was the location of the famous CAFE GUERBOIS. In this episode, we check out the place where artist Edouard Manet used to buy his paint supplies, learn about Claude Monet's friends (and how they kept him alive), and stroll through the gorgeous little-known park of Batignolles. Visit my website for some images, to give you a better feel for the history here under our feet. As always, Improbable Walks is grateful to the technical expertise of Bremner Fletcher and to David Symons, the New Orleans accordion player who performs the Improbable Walks theme music.  

Gerçek dünyada herkesi tatmin edecek cevabı bulmak zor. Ama öngörülemez cevaplar öngörülemez sorularla gelir. Hırsızımız cevapları bulmak için modern sanatın başlangıcı kabul edilen Eduard Manet'nin - "Kırda öğle yemeği" tablosunu konuşturuyor. Eser birçok anlam taşısa da anlamını yorumlayanlar temin ediyor. 1863 yılında Paris'in en ünlü sergisinden red alan bu eser nasıl oldu da sanatı doğa taklidi olmaktan ayırıp bizimle ilgili bir şeye dönüştürdü? Gelin potansiyelimizi birlikte çıkaralım. Keyifli dinlemeler.

In episode 210, Ann and Tru continue talking about Italian printmaking in the 16th century focusing on MarcAntonio Raimondi, Agostino Veneziano, Giulio Romano, and our first female artist, Diana Scultori. They take a deep dive into MarcAntonio's Judgment of Paris (after a drawing by Raphael), from which Edouard Manet extracted the figural group for Dejuener sur l'herbe. Plus, the 1527 Sack of Rome changes everything.

Welcome to the Instant Trivia podcast episode 287, where we ask the best trivia on the Internet. Round 1. Category: Forewords 1: This 1955 novel's foreword says, "I have no intention to glorify 'H.H.'....he is a shining example of moral leprosy". Lolita. 2: This author said that he would have offered the savage a third alternative if he were to rewrite "Brave New World". Aldous Huxley. 3: "Conrad begins (and ends) Marlow's journey... on the Thames, on the yawl, Nellie", says the foreword to this novel. Heart of Darkness. 4: Part 2 "is Lilliput in reverse, but...also offers some of" his "fiercest assaults upon the behavior of" his countrymen. Jonathan Swift. 5: A translator's introduction to this novel says that Dostoyevsky was, "Like Raskolnikov, up to the neck in debt". Crime and Punishment. Round 2. Category: Biography 1: She was one of the last stars in the studio system"The tobacco farmer's daughter from North Carolina was awed and intimidated by the luxury of the MGM system.". Ava Gardner. 2: Born in the West Indies in the 1750s, got involved in money matters, fatally wounded in a duel in 1804. Alexander Hamilton. 3: "Titan: The Life of" this 19th century oil baron gushes with the tale of history's first billionaire. (John D.) Rockefeller. 4: For many years our own Johnny Gilbert was her announcer. Dinah Shore. 5: Turned on in 1920, tuned in to LSD in the '60s, dropped out in 1996. Dr. Timothy Leary. Round 3. Category: Muscle Cars 1: A Plymouth named for this Warner Bros. cartoon character even had the horn sound to match. the Road Runner. 2: The 1968 Dart GTS was a muscle car from this maker. Dodge. 3: In the '60s Ford named a fastback after this newly opened Alabama speedway. Talladega. 4: The E-type by this British company was one of the first to offer independent rear suspension. Jaguar. 5: V-8 engines with major displacement are alliteratively called "big" this. big block. Round 4. Category: Dude, Where's My Carb? 1: This hormone secreted by the pancreas controls your carbohydrate metabolism. insulin. 2: A carbohydrate contains 4 of these energy units per gram, as opposed to 9 for a gram of fat. a calorie. 3: The main component of the cell walls of plants, this complex carbohydrate is what termites eat. cellulose. 4: The name of this variety of complex carbohydrate comes from an Old German word meaning "to be rigid". starch. 5: Carbohydrates are predominantly made up of these three elements. carbon, hydrogen and oxygen. Round 5. Category: Historical Paintings 1: Guido Reni could have called his painting of this ruler "T and A", "A" standing for asp. Cleopatra. 2: Around 1814 Pierre-Henri de Valenciennes painted this catastrophic 79 A.D. event. the eruption of Vesuvius. 3: She's the woman depicted here at the coronation of Charles VII. Joan of Arc. 4: Using newspaper accounts of the event, Edouard Manet painted the "Execution of" this emperor in Mexico. Maximilian. 5: Jacob Lawrence's Toussaint L'Ouverture series is a pictorial history of this country's slave rebellion. Haiti. Thanks for listening! Come back tomorrow for more exciting trivia!

Kunstenaar Jan Van Imschoot gaat in zijn schilderijen de confrontatie aan met de klassieke Westerse schilderkunst. Na een hommage aan de Nederlandse schilder Heda richt hij zijn blik op de Franse impressionist Edouard Manet. Jeroen Laureyns ontdekt het werk van de Belgische kunstenares Marianne Berenhaut. Ze werd geboren in 1934 maar haar oeuvre wordt pas ten volle ontdekt sinds ze de 80 voorbij is. Radiomaker Katharina Smets zwerft door Detroit in het kielzog van Belgische migranten.

Painted in 1873, The Railway is the last painting by Manet of his favourite model, fellow painter Victorine Meurent. We see her sitting with a sleeping puppy, a fan, and an open book in her lap, while a little girl watches the white clouds of steam as a train passes beneath them. But actually, we are seeing far more than that…For more information and to see the artwork being discussed please visit www.seventh-art.com/podcast

Ett möte mellan två skandinaviska kvinnliga konstnärer i 1880-talets Paris. Venny Soldan agerar modell och Hanna Hirsch målar. Linda Fagerström reflekterar över allt som döljer sig i ett porträtt. ESSÄ: Detta är en text där skribenten reflekterar över ett ämne eller ett verk. Åsikter som uttrycks är skribentens egna. Denna essä sändes första gången 2017. Det är en januarimorgon i Paris 1887. Fuktig kyla sveper med flodvattnet längs Seines kajer. Drar utmed boulevarderna, förbi trottoarkaféernas skrangliga bord och letar sig fram över golvplankorna inomhus. Kallast är det förmodligen i konstnärsateljéerna i Montparnasse. I en av dem, på Rue Notre-Dame-des-Champs 53, möts konstnärerna Hanna Hirsch, 23 år och Venny Soldan, 24 år. Syftet är att arbeta på ett porträtt. Hanna Hirsch ställer sig vid staffliet. Venny Soldan, som idag tar på sig rollen som modell, sätter sig på golvet. Mattan är tunn och skrynklig, men skyddar från det värsta kalldraget. Bakom henne står en målarduk på sin spännram lutad mot väggen intill en gipsfigur, kanske en halvmeter hög. Venny Soldan är från Helsingfors, där hon gått fyra år på Finska konstföreningens skola. Hennes far är ingenjör och filosof. Hanna Hirsch har hemma i Stockholm utbildat sig i Konstakademins särskilda klass för kvinnor, kallad Fruntimmersavdelningen. Hon är dotter till musikförläggaren Abraham Hirsch. Efter giftermålet med konstnärskollegan Georg Pauli hösten 1887 byter hon efternamn och är i konsthistorien oftast kallad Hanna Pauli. Bägge kvinnorna hade kommit till Paris för att bli elever vid stadens fria konstnärsutbildningar med likvärdig undervisning för både kvinnor och män, en fransk nymodighet. Men den här dagen tillbringas alltså i ateljén. Medan Hanna Hirsch blandar färg på paletten, börjar de bägge kvinnorna prata. Ingen av dem vet ännu, att deras möte kommer resultera i ett porträtt som blir känt och omtyckt, att det samma höst ska ta sig genom nålsögat till den prestigefyllda och jurybedömda Parisutställningen Salongen och småningom ska hamna i samlingarna på Göteborgs Konstmuseum. De diskuterar konstnären de bägge beundrar, Jean Bastien-Lepage, och den franska trenden plein-air-måleri. För dem, likt de andra skandinaviska konstnärer som kom till Paris under 1800-talets slut, var det nytt att arbeta utomhus i friska luften plein air. På kontinenten var det däremot vanligt att lämna ateljén för att skildra verkliga situationer och vardag. Likt flanörer strosade konstnärer som Jean Bastien-Lepage, Edouard Manet och Claude Monet längs stadens gator för att med skissblocket i hand iaktta det moderna livet. Ånglok, hundpromenader, bordeller och Moulin Rouges dansrestauranger inget motiv var för simpelt. Som borgerliga flickor hade Venny Soldan och Hanna Hirsch inte riktigt samma möjligheter. Att sitta i hörnet på absinthaket för att teckna stadens larmande nöjesliv var otänkbart för dem. De enda kvinnor som förväntades vara där hörde till arbetarklassen: servitriser och prostituerade. Ingen borgerlig kvinna ville riskera tas för en sådan. Därför kunde de kvinnliga konstnärerna inte skildra de miljöer som i konsthistorien senare skulle kodas som tecken för det moderna: bardisken, cabaretscenen eller revyernas kvällsföreställningar. Vanligare i Venny Soldans och Hanna Hirschs motivkrets blev frukostbordet, verandan eller eftermiddagsutflykter till stranden och parken, alla ögonblicksbilder som vittnar om borgerliga kvinnors begränsade rörelsemöjlighet under slutet av 1800-talet och som anger vilka situationer och platser Soldan och Hirsch hade att navigera mellan och konstnärligt förhålla sig till. Ändå utmanade de konventionerna på andra sätt; de hade dragit till Paris för att leva fria från föräldrarnas krav och kontrollerande blickar. Sedan 1881, då ogifta kvinnor i svensk lag blev betraktade som myndiga vid 21 års ålder, hade världen öppnat sig för dem. På åtminstone nästan samma villkor som sina manliga generationskamrater kunde de resa och leva självständigt. I den skandinaviska konstnärsgruppen i Paris fanns den självupptagne Carl Larsson, som aldrig missade ett tillfälle att uttrycka sin avsky för kvinnliga konstnärer. En kväll hade han inför gästerna vid en stor middagsbjudning skällt ut hustrun Karin Bergöö också konstnär då hon av misstag vält en stol, eftersom hon hade en baby i famnen. Säkert pratade Hanna Hirsch och Venny Soldan även om sådana händelser i vänkretsen under mötet i ateljén på Rue Notre-Dame-des-Champs, men det är också lätt att föreställa sig hur de sinsemellan diskuterar kompositionen, färgerna och vinklarna i målningen som växer fram. Att de kommer överens om att Soldans bekvämt framsträckta ben ska målas just så, trots att det innebär att undersidan på hennes smutsiga sko syns, och nästan trycks upp i ansikten på betraktaren. Att de skrattar åt hur provocerad konstpubliken kommer bli av det. Och, att de enas om att tiden är mogen för ett realistiskt porträtt av en kvinnlig konstnär: i enkla ateljékläder med färg på fingrarna. Inga koketterier, inga tvättade händer. Ateljén såväl som konstnärsyrket, av tradition mansdominerad mark, har de erövrat. Men inte bara det: i porträttet möts de bägge kvinnorna också som konstnär och modell. Denna konsthistoriskt belastade konstruktion konstnären och hans modell har de också gjort till sin: modellen är ju i det här fallet konstnär själv och allt annat än den namnlösa kvinna som vi i så många målningar sett ligga avklädd där strax bakom konstnären i fråga: en påklädd man, stolt poserande intill sitt objekt, modellen. Att den här modellen, Venny Soldan, istället skildras som ett subjekt är förstås den stora skillnaden. Och naturligtvis att hon inte är naken, utan bär enkel, höghalsad svart blus och en lång, vid kjol i samma färg. Sittande på golvet med benet rakt ut framför sig, verkar hon vara mitt i en tanke. Håret är bortstruket från ansiktet, hastigt uppsatt i praktisk frisyr. I handen klämmer hon en bit lera eller en sudd, som vore hon uppslukad av ett konstnärligt avgörande, koncentrerad inför en skiss. Eller kanske på vippen att formulera ett argument i diskussionen med Hanna Hirsch. I vilket fall som helst är hon alldeles obekymrad över att bli iakttagen och avbildad, helt oberörd över kroppens tyngd mot golvet och ryggens krökning. Hon är ande mer än kropp, helt tagen i anspråk av sin koncentration och inspiration. De upplevelserna bildade klangbotten i mötet mellan Hanna Hirsch och Venny Soldan den där kyliga morgonen. Erfarenheterna av det moderna livet, att leva bortom krav på ordnat liv med rutiner, etiketter och korsetter, delade de. Och då porträttet stod klart några månader senare, kunde det också förnimmas i själva bilden. Kanske särskilt i det djärva tilltaget att skildra Soldan som den yrkesperson hon är, klädd i slitna arbetsplagg sittande på golvet, men också att hon mitt i ett inspirerat ögonblick. Helt ointresserad av att behaga en manlig betraktare är hon istället en kvinna uppslukad av mötet med en annan kvinna, Hanna Hirsch som för säkerhets skull signerade porträttet med både sitt för- och efternamn i tydliga versaler, mycket synligt helt nära Venny Soldans fot. Därför kan man säga, att Hanna Hirschs porträtt av Venny Soldan skildrar ett möte mellan två målmedvetna, intellektuella kvinnor, på väg ut i det moderna livet men också deras möte med detta liv; med Paris och en tillvaro som självständiga individer. Linda Fagerström, konsthistoriker och konstkritiker

Historiquement Vôtre réunit 3 personnages sacrément secrets : le peintre Edouard Manet (1832-1883) dont on connaît les célèbre toiles - comme “Le Déjeuner sur l'herbe”, mais beaucoup moins la vie, qu'il a tenté, et réussi, à préserver, avec une - supposée - compagne célèbre et peut-être même un fils caché… Puis, lui non plus n'a rien dit de sa vie : l'américain J.D. Salinger (1919-2010) et son célèbre roman “L'Attrape Coeur” qui a fait son succès. Un écrivain insaisissable et secret qui a vécu reclu pendant une grande partie de sa vie, refusant les interviews et surtout de se montrer. Et l'une des plus grandes stars françaises - et l'une des plus discrètes surtout : Mylène Farmer.

Leonard Shlain (1937 - 2009) was a surgeon, inventor, and author whose 1991 book "Art & Physics: Parallel Visions in Space, Time, and Light" shaped much of our artistic thinking. Shlain's core argument is: the great (visual) artists are visionaries who are able to presage discoveries in other fields by cultivating their own, more individualistic work. But how can we actually use Leonard Shlain's theories for understanding individual works of art? And is this form of analysis enough? You can also watch this episode on our YouTube channel: https://www.youtube.com/watch?v=6nbQp9mGnHs Read the latest writing from the automachination universe: https://automachination.com Joel's website: https://poeticimport.com Read Alex's (archived) essays: https://alexsheremet.com Music sample: Lowkemia - "Lorem Ipsum" (CC BY-SA 3.0) Timestamps: 0:00 – Defining Leonard Shlain's core argument 5:20 – Does art ‘merely' organize one's perceptions? 9:28 – Joel: people don't want to parse out ambiguous terms 11:05 – Alex: nonvisual artists prefigure reality, as well 19:38 – Why society laughs at innovators 25:12 – Joel opines on the mutual benefits of art/science 29:30 – Euclidean geometry in ancient art 34:40 – Alex: art over-compensates for new knowledge 39:30 – Mosaic in the Middle Ages: Shlain's “just-so” story? 44:00 – Giotto's proto-perspective 48:57 – Joel on the need to contextualize Giotto & period art 55:05 – Alex: every artistic “problem” forces its own solution 57:50 – A few words on Leonardo da Vinci 01:05:56 – Joel shows off his woolen lamb 01:09:47 – Rembrandt's use of chiaroscuro 01:13:54 – Edouard Manet's “Luncheon on the Grass” 01:36:21 – Claude Monet's Rouen Cathedral series 01:50:04 – Van Gogh's “Wheatfield with Crows” 02:01:32 – Henri Matisse's “The Dance” 02:12:21 – Leonard Shlain's argument for Cubism 02:17:38 – Pablo Picasso's “Les Demoiselles d'Avignon” 02:29:50 – Alex: Marcel Duchamp was a lot more mature than big-name Modernists 02:32:52 – Marc Chagall's "I And The Village" 02:36:43 – Leonard Shlain on Asian art 03:01:49 – Hokusai's "36 Views of Mount Fuji" 03:43:17 – What does today's art tell us about society?

Wir springen in dieser Folge ins 18. Jahrhundert, in welchem ein französischer Arzt namens Pierre Ordinaire ein Getränk erfindet, das Frankreich - und die Welt - nachhaltig prägen sollte. Das Getränk: Absinth! Wir sprechen über den Ursprung, seine Erfolgsgeschichte und schließlich sein eigenes Krankheitsbild: den Absinthismus. Das Episodenbild zeigt das in der Folge besprochene Gemälde von Edouard Manet, Der Absinthtrinker. Das erwähnte Buch heißt "Absinthe - Die Wiederkehr der Grünen Fee" von Mathias Bröckers, Chris Heidrich und Roger Liggenstorfer. Das erwähnte Paper zum Absinthismus heißt "Absinthism: a fictitious 19th century syndrome with present impact". NEU: Wer unsere Folgen lieber ohne Werbung anhören will, kann das über eine kleine Unterstützung auf Steady tun. Wer uns abseits davon finanziell unterstützen will, findet alle nötigen Information dazu hier. Wir freuen uns, wenn ihr den Podcast bei Apple Podcasts rezensiert oder bewertet. Für alle jene, die kein iTunes verwenden, gibt's die Podcastplattform Panoptikum, auch dort könnt ihr uns empfehlen, bewerten aber auch euer ganz eigenes Profil erstellen. Wir freuen uns auch immer, wenn ihr euren Freundinnen und Freunden, Kolleginnen und Kollegen oder sogar Nachbarinnen und Nachbarn von uns erzählt!

Jeanne DuVal was the beautiful muse of Charles Baudelaire and would inspire his glowing devotion. The Black Venus and Mistress of Mistresses as he called her is mostly unknown still to this day. Much of the details of her life are murky due to a fire that would destroy her vital documents. Jeanne was tall and beautiful and her striking looks got her a role on the stage. Performing at the Théâtre de la Porte Sainte Antoine, although she wasn't the best actor. A girl has to eat, so she became a prostitute for a short period. Nadar, the French photographer saw her on the stage and the two began an affair that lasted a year.  It was through Nadar that Jeanne and  Baudelaire would meet, but their love affair didn't start right away. One night in Montmartre Baudelaire came across Jeanne being harassed by a group of drunks and stepped in to save her. After that, the two began their 20-year tumultuous relationship. Baudelaire was already working on Fleur de Mal when the two began. Jeanne would inspire the flowery devotions of love and when things were bad would also inspire the hate-filled pieces.  Fleur de Mal covered everything from the transformation of Paris, which he was highly against, lesbianism, eroticism, and love. Many people loved it but just as many hated it. Baudelaire and his printer were prosecuted for “attack on public morals”. Living all over Paris, including the Hotel Lauzun on the Ile de la Cite and he rented a place for Jeanne just down the island on Rue le Regrattier. When they went through rough patches it wouldn't last long. He would be at her apartment giving her money and spending time together much to his mother's chagrin. Baudelaire's close friend Edouard Manet painted a portrait of Jeanne after seeing her only once. The “Mistress of Baudelaire” 1862 captures Jeanne seated on a couch with her legs up and enveloped in a large white skirt. Her arm over the back of the couch and her feet are placed in a strange way due to her paralysis, which many may never notice as the skirt shields most of her.  Shortly after Jeanne would die. More info and photos: https://www.claudinehemingway.com/paris-history-avec-a-hemingway-podcast-1Support Claudine on Patreon and get more of Paris and all her stories and benefits like discounts on her tours, custom history, and exclusive content  https://www.patreon.com/bleublonderougeFacebook https://www.facebook.com/BleuBlondeRougeInstagram https://www.instagram.com/claudinebleublonderouge/Join us every Sunday for a LIVE walkthrough Paris filled with history https://www.claudinehemingway.com/eventsSign up for the weekly Blue Blonde Rouge newsletter  https://view.flodesk.com/pages/5e8f6d73375c490028be6a76 Claudine Hemingway Bleu, Blonde, Rouge Author & historianPodcast La Vie Creative, Paris History Avec a Hemingway

In this episode, Craig tells us he's never much cared about writing lines or standing in or behind them. Edouard Manet (the famous French artist) said, “there are no lines in nature, only areas of colour, one against another.” Craig encourages us to actively observe queues, whilst in them.

Artist Eva Gonzalez may not be as well known as her fellow female impressionist artists but she should be. Born on April 19, 1849, in Paris, her father Emmanuell Gonzalez was a Spanish novelist and playwright and her mother was a trained musician. With their creativity handed down to her at a very early age, she was drawn to painting and sketching. A chance meeting through artists Alfred Stevens in February 1869 would put her on the path to being a known artist. Stevens took Eva to the studio of Edouard Manet who at the time was obsessed with anything Spanish and Eve had the look he loved. He immediately wanted to paint her and took her in as his one and only ever student. Manet was going through a lot at the time. The critics were slamming him for Olympia and Dejeuner sur l'herbe and he was starting to pull himself away from the art world and turn into a shut-in. Meeting Eve was just what he needed. His first painting of her premiered at the Salon of 1870, titled Mademoiselle Eve Gonzalez. Like her teacher Manet, Emile Zola came to her defense writing pamphlets supporting her art and gaining her more attention. In 1874 she moved to a softer touch and from Manet's style and continued to use her sister as her model. More info and photos: https://www.claudinehemingway.com/paris-history-avec-a-hemingway-podcast-1Support Claudine on Patreon and get more of Paris and all her stories and benefits like discounts on her tours, custom history, and exclusive content  https://www.patreon.com/bleublonderougeFacebook https://www.facebook.com/BleuBlondeRougeInstagram https://www.instagram.com/claudinebleublonderouge/Sign up for the weekly Blue Blonde Rouge newsletter  https://view.flodesk.com/pages/5e8f6d73375c490028be6a76Support the show (https://www.patreon.com/join/Laviecreative)

Badass Lady-Folk host Christine Sloan Stoddard interviews poet and translator Katherine E. Young.• Katherine E. Young's website: https://katherine-young-poet.com/• Webpage for Written in Arlington, including video links to previous readings (including "Live in Diane's Living Room"), publisher and ordering info: https://katherine-young-poet.com/arlington-anthology/• YouTube channel for Spoken in Arlington: https://www.youtube.com/channel/UCXGlsJwT-hLq30Rg12d-Z-Q• Live From Diane's Living Room! Ep. 9: Written in Arlington with Poet Katherine E. Young and Friends:https://bit.ly/3bB3p38• Publisher's webpage for Woman Drinking Absinthe: https://alansquirepublishing.com/bookstore/woman-drinking-absinthe/• "Bar at the Folies-Bergère" by Edouard Manet: https://en.wikipedia.org/wiki/A_Bar_at_the_Folies-Bergère#/media/File:Un_bar_aux_Folies-Bergère_d'E._Manet_(Fondation_Vuitton,_Paris)_(33539037428).jpg• Information about Look at Him: reviews, author and translator interviews, including video from the book launch with author Anna Starobinets, and publisher links: https://katherine-young-poet.com/anna-starobinets/• Host info: www.worldofchristinestoddard.com***The intro music comes from the song "Talking Hands" by Toxic Moxie.© Quail Bell Press & Productions, 2021, www.quailbell.com

Ann Beha from Ann Beha Architects talks about the Gardner Museum. Built by Isabella Stewart Gardner and opened to the public in 1903 this Venetian inspired palace houses a large collection of art objects. Additionally there is a wonderful open courtyard that contains seasonal flowers. This museum is famous for a high-profile burglary in 1990, when thieves dressed as police officers stole 13 paintings including: Rembrandt's Storm on the Sea of Galilee (1633), A Lady and Gentleman in Black (1633) and a Self-Portrait (1634); Vermeer's The Concert (1658-1660); Govaert Flinck's Landscape with an Obelisk (1638); five drawings by the Impressionist artist Edgar Degas; and Edouard Manet's Chez Tortoni (1878-1880). The works were never recovered, and the $5 million dollar reward remains unclaimed.

Méry Laurent, de son vrai nom Anne Rose Suzanne Louviot, est née à Nancy en avril 1849.Le Savez-vous ? Nancy, c'est le podcast quotidien de l'Est Républicain consacré à la ville et à tout ce que vous ignorez sur elle.Un podcast raconté par Jean-Marie Russe basé sur les articles réalisés par la rédaction locale de Nancy. See acast.com/privacy for privacy and opt-out information.

A piano teacher, unconfirmed paternity, and a lifetime of copying Spanish portraits--we look closely into the personal life of painter Edouard Manet. In our welcome back batch of Sex, Drugs, & Rococo, Impressionism, we focus on the portrait of "Boy with a Sword" as a glimpse into the Father of Impressionism's fatherhood.  In this episode, listeners will determine if paternity makes for a better portrait, and consider they ways Manet fathered, or didn't father, a movement.     Show Images:  l’Enfant à l'épée Edouard Manet 1861, oil on canvas, 51.6cm x 36.7cm The Metropolitan Museum of Art, New York   Show Sources: Web sources: Boy Carrying a Sword Art and History: The Mystery of Leon, Édouard Manet's Son Suzanne Manet https://www.wikizero.com/www/Suzanne_Manet http://www.edouard-manet.net/boy-with-a-sword/ http://www.visual-arts-cork.com/paintings-analysis/balcony-manet.htm https://gulbenkian.pt/museu/en/collection-of-stories/leon-edouard-koella/#:~:text=L%C3%A9on%20Leenhoff%20(1852%E2%80%931927),relationship%20with%20%C3%89douard%20shortly%20afterwards.   Texts: World Art: The Essential Illustrated History   

In this mini episode I will be analysing the painting Olympia by Édouard Manet, which was painted in 1863 and caused a huge scandal for it's salacious subject and unrefined technique. Although composed like a classical image of the Goddess Venus, this painting was thought to depict a prostitute, and was therefore considered highly problematic, due to it's contemporary display of direct brash female immorality. This also unveils the double standards in the art world as nude women has always been a hallmark in the academy and something wealthy men evidently enjoyed viewing. In this episode I will discuss the history of this work of art, why it was considered scandalous, the symbolism within the painting, Manet's artistic methods and the identities of the models, which can shed light on how women of colour were viewed. To suggest a painting and for visual references visit our instagram @themuseumoffemininity Sourceshttps://www.bbc.com/culture/article/20190320-how-art-history-erased-black-peopleArt of the Western World edited by Denise HookerArt the Definitive Visual GuideWays of Seeing by John Berger

This is a 4 part podcast series by National Museums NI, hosted by Curator of Art, Anna Liesching, which looks at exhibitions held in the Ulster Museum through the prism of the art of printmaking. In this episode, Anna chats to Dr Rachel Sloan, Assistant Curator of Works on Paper at The Courtauld, London, about the Ulster Museum’s latest exhibition, ‘Renoir and the New Era’, curated by Anna and which explores the Impressionists by taking Renoir’s masterpiece ‘La Loge’ as its centrepiece, alongside accompanying works on paper from the Ulster Museum’s collection. Anna and Rachel discuss prints in the exhibition, the place of printmaking in Impressionism and how important an artwork’s title can be for understanding its meaning. For a full audio tour of Renoir and The New Era, take the Smartify tour here or download the Smartify app. For further information on the artists and artworks discussed, follow the links below. Links Chicago Institute of Art  https://bit.ly/31wiQFG The Courtauld https://bit.ly/3od7WhI Courtauld Collections https://bit.ly/2HnQVAS Witt library https://bit.ly/3ofJEn8 Jacques Callot in The Courtauld collection https://bit.ly/3dPeQVy William Hogarth in The Courtauld collection https://bit.ly/3jkG4om Queue in front of butcher shop https://bit.ly/2XhIUmH Woman at a Window (1871-72) Edgar Degas (included Sickert’s anecdote in label) https://bit.ly/3jhFRlP Execution of the Emperor Maximillian Lithograph, Édouard Manet   https://bit.ly/2FPfF48 Berthe Morisot (1872) Edouard Manet (1832-1883) Ethcing  (in exhibition)  https://bit.ly/39RiJ95 Berthe Morisot with a Bouquet of Violets Edouard Manet (1832-1883) painting https://bit.ly/34pgjix Berthe Morisot (1872) Edouard Manet (1832-1883) Lithograph https://bit.ly/37sstJj Berthe Morisot drawing, with her daughter (1889) Berthe Morisot (1841-1895) (in exhibition) https://bit.ly/2wl4tHK Young Woman reclining  (1889) Berthe Morisot (1841-1895) (in exhibition) https://bit.ly/3e1su7R Marry Cassatt https://bit.ly/3kk4DTG Market at Gisors Camille Pissarro (1830-1903) (in exhibition) https://bit.ly/3aSGVsN An example of a Degas Monotype https://bit.ly/3kmwDpH Kermis at Hoboken (1559) Pieter Bruegel the Elder (ca. 1525-1569) original drawing https://bit.ly/31tcMNV Canaletto’s etchings of Venice https://bit.ly/34iJdR6

Out today, another story of one of the amazing women in French history. Victorine Meurent was born in Paris on February 18. 1844 and from an early age she was drawn to art. In 1862 Edouard Manet walked into Thomas Couture's studio and met a young girl. On this one day, Victorine-Louis Meurent was in Couture's studio when Manet arrived. She was just 16, with red hair and nicknamed La Crevette and would go on to become the muse for some of the biggest artists at that time. He would paint her for the first time in The Street Singer, with her piercing eyes that we would come to know so well in two of his most famous and controversial paintings.  Victorine would sit for him 8 or 9 times. Many may know her name because of one fantastic painting, Olympia. The painting that rocked the Salon of 1863 with its suggestive subject of the courtesan laying naked on her bed while her servant brings her flowers from one of her admirers. Given the name Olympia, a name associated with prostitutes and the many small elements that hint at her wealth, many of which transferred over to the model herself. Victorine was nothing close to the woman in the painting, Born to a well established artistic family she would become an artist herself and present her work at the Salon in 1870. However it is her Manet paintings that we know so well. Now the other most famous painting may or may not even be her. In 1862 when Manet painted Le Déjeuner sur l'Herbe, another painting that would shock the art world he may have used her as the model, but it is more likely that he used his lover Suzanne Leenhoff. However at the end he would use the face of Victorine to conceal the woman he was in a secret relationship with.She would sit for him a last time in 1873  for The Railway before they parted ways. Through her own art classes she preferred the academic style and Manet never liked being defined by any style. Sadly only two of her paintings remain at the museum in Colombes. Other than Berthe Morisot and Suzanne Valadon, , Victorine is a beautiful face we know so well from the brush of Manet. https://www.claudinehemingway.com/paris-history-avec-a-hemingway-podcast-1Support the show (https://www.patreon.com/join/Laviecreative)

Welcome back! Drema Drudge is an author and art critic. VICTORINE is the name of her new book about Edouard Manet's favorite model Victorine Meurent. Victorine is a fascinating character and while Drudge has fictionalized the story of this mysterious woman, she has researched and based the story in historical fact. If you love traveling to Paris, the history of the late nineteenth century, art criticism, female perspectives in a male dominated world, you will love this book.Join us as we discuss Drudge's writing process and the character that started it all. Victorine on Amazonwww.dremadrudge.comTwitter: @dremadrudgeInstagram: @dremadrudgeAs always, you can find me here:titlepagepodcast@gmail.comTwitter: @page_title & @alissacmilesInstagram: @titlepagepodcast & @alissacoopermilesTheme song is Keep It Loose by Sounds Like Sander.Thanks!Alissa C. Miles

Wenn zwei so unterschiedliche Menschen wie Lars Haider, Chefredakteur des Hamburger Abendblatts, und Alexander Klar, Direktor der Hamburger Kunsthalle, miteinander „Ich sehe was, was du nicht siehst“ spielen, kann es schnell zu Missverständnissen kommen. Während Haider das Bild, um das es in dieser Episode geht, „angenehm harmlos“ fand, war es für Klar „sehr anrüchig“: Es geht um Manets „Nana“, und am Ende um die Frage, was das mit dem Wendler und Laura Müller zu tun haben könnte – zwei Personen der aktuellen Zeitgeschichte, mit denen der Herr Kunsthallendirektor übrigens nichts anfangen konnte. Das Bild zum Mit-Anschauen gibt es hier: www.hamburger-kunsthalle.de/sammlung-online/edouard-manet/nana

Hola queridos amantes del arte, Hoy platicaremos sobre una impresionista que realizó obras dentro del impresionismo, un poco sobre Edouard Manet y reflexionaremos sobre la vida. Que lo disfrutes Carina García --- Send in a voice message: https://anchor.fm/arteyartistas/message

Author, writing coach, and podcaster Drema Drudge spoke with us about her new novel Victorine. Although Victorine Meurent was a talented painter, she is known mostly for her work as a model for famous painter Edouard Manet. Victorine is available today on Barnes & Noble and Amazon.Find out more at https://dremadrudge.com

Vingt-et-unième numéro de Chemins d'histoire, l'émission d'histoire de Radio Clype, animée par Luc Daireaux Émission diffusée le vendredi 21 février 2020 Thème : Edouard Manet (1832-1883), épisode 1 Invité : James H. Rubin, professeur d'histoire de l'art à l'université de Stony Brook. Emission enregistrée en juillet 2019.

Vingt-deuxième numéro de Chemins d'histoire, l'émission d'histoire de Radio Clype, animée par Luc Daireaux Émission diffusée le vendredi 21 février 2020 Thème : Edouard Manet (1832-1883), épisode 2 Invité : James H. Rubin, professeur d'histoire de l'art à l'université de Stony Brook. Emission enregistrée en juillet 2019.

Today we celebrate the amateur botanist who was a two-time governor of South Carolina and the birthday of a French modernist painter who left peonies. We'll learn about the man who brought European grapes to California and the most important Prussian garden-artist of the 19th century. Today’s Unearthed Words feature a poem about January. We Grow That Garden Library™ with a book that helps us truly see plants. I'll talk about a garden item that is absolutely adorable, and they come in a six-pack so you'll have plenty for gifts, and then we’ll wrap things up with a charming journal entry from one of my favorite garden writers. But first, let's catch up on a few recent events.   Subscribe Apple | Google | Spotify | Stitcher | iHeart   Curated Articles Orchid and Tropical Bonsai Show: Out of This World | Phipps Conservatory and Botanical Gardens | Pittsburgh PA Check out this post featuring a preview of the Orchid and Tropical Bonsai Show.   How to sow micro-leaves & sprouting seeds - The English Garden The English Garden @tegmagazine shared this great post about growing sprouts. Want a quick, tasty crop any time of year? Micro-leaves and sprouting seeds are the answer. You don’t even need any special equipment! This is an excellent introduction to microgreens from @tegmagazine.   Now, if you'd like to check out these curated articles for yourself, you're in luck, because I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community. There’s no need to take notes or search for links - the next time you're on Facebook, search for Daily Gardener Community and request to join. I'd love to meet you in the group.   Important Events 1822Today is the anniversary of the death of a two-time Governor of South Carolina, the founder of the University of South Carolina, a writer, and a botanist John Drayton. Drayton grew up in Charleston, a hub of botanical activity. He knew the French royal gardener Andre Michaux and his son, who had settled in the area. The Michaux's introduced the camellias and Indian azaleas; Joel Roberts Poinsett, the man who discovered the Poinsettia, was also a son of Charleston. And, the gardener Chancellor Waddy Thompson and Benjamin Perry also helped to shape the horticulture scene in the Greenville area. Drayton is remembered for his 1807 unpublished book “The Carolinian Florist.” Drayton listed almost a thousand plants, when they flowered, and where they could be found. Drayton presented his work to the South Carolina College library in 1807. The University South Carolina Society published it in 1943. Drayton explored Paris Mountain and the Greenville Area. He discovered the fragrant yellow honeysuckle (Lonicera flava Sims “Lah-NISS-er-ah FLAY-vah”) - commonly known as yellow honeysuckle - growing on the south side of Paris Mountain. The name Lonicera was derived from the name of the German herbalist Adam Lonitzer (1527-1586). The specific epithet "flava" and variations all reference the yellow ('flavus') or yellowish '(flavescens') color of the flowers. Honeysuckle is also known as woodbine or goat's leaf.   1832 Today is the birthday of the French modernist painter Édouard Manet (“Mah-nay”). His painting, 'Music in the Tuileries Gardens,' ("TWEE-luh-Reehs"), was his first significant work depicting modern city life. Manet grew peonies in his garden at Gennevilliers (“Jen-vill-EE-aye”). They were reportedly his favorite flower. Manet’s paintings of peonies were the perfect marriage of his skill and the subject. Manet’s loose brushwork was perfect for the petals and leaves. When the explorer Marco Polo saw peonies for the first time, he wrote that they were, “Roses as big as cabbages." In Chinese, the peony is known as the sho-yu, which means “most beautiful.” Traditionally, peonies are used to celebrate the 12th wedding anniversary. If you planted one on your Anniversary, the peony could outlive you. Peonies can live for over 100 years.   1862Today, the Hungarian vintner, Agoston Haraszthy, brought 1,400 varieties of grapevines from Europe to California and planted the first vineyard in the Sonoma Valley in California. Haraszthy's family was Hungarian nobility. Haraszthy had gotten hold of a book that reported the Wisconsin territory offered the finest land in America. So, in 1840, he immigrated to the United States. He quickly discovered Wisconsin was not the place for growing grapes. In short order, Haraszthy made his way to San Francisco during the Gold Rush. But San Francisco was not a fit with the grapes, either. It was foggy and cold. But then, in 1857, Haraszthy found the Sonoma Valley - called the "Valley of the Moon" by the writer Jack London. After a dozen years of searching, Haraszthy had found a place suitable for growing purple gold. The Sonoma Valley was the perfect place to grow European grapes - which were more delicate and finicky than North American wild grapes. Giddy with hope, Haraszthy built a white villa for his wife and six children on a property he named Buena Vista or “Good View.” Haraszthy also brought many European growing methods to his estate in California. First, he grew the grape plants closer together. This was something other growers found unwise. But Haraszthy knew that growing grapes near each other stressed the vines, which in turn, made better-tasting grapes. Second, Haraszthy was the first vinedresser to grow his grapes on the mountainsides in California. There is an old saying that the God of wine, Bacchus, loved the hills. Well, Haraszthy’s grapevines loved them, too. Finally, Haraszthy performed a green harvest - something no one had ever heard of - Least of all Haraszthy’s neighbors. Today the technique is known as dropping fruit; it merely means doing an initial early harvest of some of the grapes. The benefit of fewer grapes on the vine is that it improves the flavor of the remaining grapes. Haraszthy also brought in a team of Chinese laborers, and they worked to dig out the first wine caves in the state. The most impressive accomplishment included a 100-foot-deep stone wine cellar built on the side of a hill. In 1863, Haraszthy incorporated his vineyard as the Buena Vista Vinicultural Society. Thanks to investors, Haraszthy purchased an additional 4,000 acres making Buena Vista the second largest vineyard in the state. In 1866, a vine disease swept through the area. Haraszthy’s neighbors reactively blamed his unique growing methods for the small tasteless grapes and the brown, dying vines. In reality, the disease was Phylloxera, which is caused by an aphid that attacks vine roots. Phylloxera causes grapes to harden on the vine. It wiped out Buena Vista. Haraszthy filed for bankruptcy. With his vineyard and his reputation in tatters, Haraszthy went south to Nicaragua. He planted a massive sugar plantation, and he planned to make and sell a new beverage: rum. But, on July 6, 1869, as he was reaching for a vine while crossing a river on his property. He lost his balance, fell into the river, and was eaten by an alligator. Today, Haraszthy is remembered as “The Father of California Viticulture” (Wine-Making). In 1946, a plaque to Haraszthy was dedicated on the plaza of Sonoma. In March 2007, Haraszthy was inducted into the Vintners Hall of Fame by the Culinary Institute of America.   1866Today is the anniversary of the death of Prussian landscape architect and gardener Peter Joseph Lenné ("Linny"). Lenné is regarded as the most important Prussian garden-artist of the 19th century. He was the director of the Royal Botanic Gardens in Berlin and Potsdam. Peter came from a long line of gardeners. In many respects, his accomplishments mirror those of his younger colleague across the ocean, Frederick Law Olmsted. Lenné cofounded a Royal Horticultural Society in Germany. He worked tirelessly designing parks and landscape areas with green spaces. Lenné admired William Kent, whom he named “the father of the new landscape architecture.” Lenné established English landscape garden designs in Germany. Many of his designed spaces are now UNESCO World Heritage Sites. Lenné’s legacy includes over 100 designed spaces from including parks, gardens, canals, and avenues. Rauch memorialized Lenné with a large bust in the garden of the new palace in Potsdam. The Magnolia Lenne variety was named in his honor. Today, the Peter-Joseph-Lenné-Prize of Berlin awards fresh and creative ideas for design, planning, and use of plants in garden architecture and landscape planning.   2009The Denver Post reported that a retired English professor and amateur botanist named Al Schneider and a Colorado State University Botany student named Peggy Lyon discovered a new plant in the Asteraceae, or sunflower, family and it was called Gutierrezia elegans. ("Goo-tee-ah-REEZ-ee-ah") Al and Peggy named their variety “elegans” for its elegant qualities of symmetry. The common name of the plant that Al and Peggy discovered is the Lone Mesa snakeweed. The Spanish botanist Mariano La Gasca, who originated the Gutierrezia genus named in honor of the apothecary and professor Pedro Gutiérrez Bueno. Gutierrezia is a group of flowering plants native to western North America and western South America. Native peoples have regarded this plant family as an essential source of medicine, and plants of this genus are known generally as snakeweeds or match weeds.   Unearthed Words The days are short The sun a spark Hung thin between The dark and dark. Fat snowy footsteps Track the floor And parkas pile up Near the door. The river is A frozen place Held still beneath The trees' black lace The sky is low. The wind is gray. The radiator Purrs all day. — John Updike, January   Grow That Garden Library The Cabaret of Plants by Richard Mabey Richard Mabey has a passion for plants that come through in this beautiful book called The Cabaret of plants. As a naturalist, Richard says, he has written, "a story about plants as authors of their own lives and an argument that ignoring their vitality impoverishes our imaginations and our well-being.” Mabey is a naturalist with the voice of a poet. Mabey challenges ordinary perceptions of plants: that they are inactive, that they are background, or that they are simply props for the outdoors. Like Peter Wohlleben, Mabey sees these plants as having a self. "The Cabaret of Plants" is loaded with beautiful stories and tidbits from science, literature, and botany. It's engaging and challenging and inspiring. Mabey has been interacting with the natural world for over four decades. His 1972 book called “Food for Free” was revolutionary and taught readers how to forage. This book came out in 2015. You can get a used copy of The Cabaret of Plants by Richard Mabey and support the show, using the Amazon Link in today's Show Notes for under $5.   Great Gifts for Gardeners 6 Pack Ceramic Succulent Planter Pots Set, Wirezoll 6 Cute Owl Bonsai Pots with 3 Gardening Hand Tools for Home and Office Desktop Decoration (6) $19.99 Great decor for desk, bookshelf, dining table, living room, hosting room, etc. Great gift idea for friends and family who love indoor gardening/succulents/cactus/cacti Mini unique succulent pots, they’re perfect for showing your lovely succulent. Adding a touch of animal forest accent to your house and create your own little urban jungle with these cute owl succulent planters. Meticulously handcrafted and glaze firing, smooth glaze, and bare clay create an interesting visual contrast. Due to handcrafted, every owl planter’s glaze is different, but overall is consistent The six pcs mini owl planters are made of superior quality and breathable ceramics baked in high temperatures, which are good for your plants Each mini plant pot has its own unique owl face. Those little button eyes and beaks will make you smile every time you see your adorable owl succulent pots.   Today’s Botanic Spark 1942Today the garden writer Elizabeth Lawrence wrote to her friend, the playwright, Ann Preston Bridgers: “We had thin toast and your wild strawberry jam for tea this afternoon by the fire in my studio... Bessie and I took a salad and a pan of rolls and went to have supper with your family last night. Mrs. B. insisted upon adding both ham and chicken. We had [Ann’s mountain friend] Blanche’s walnuts for dessert. And Robert and I made Cleopatras, not so good, somehow, like the ones at Christmas… I must put the puppy to bed before he chews up all the files of Gardening Illustrated.”

In questo Episodio di Contaminazione Artistica vi racconto la Storia del Grande Artista francese Edouard Manet

#5 LOS IMPRESIONISTAS En este podcast, se presentará la corriente impresionista a través de un breve recuento de sus orígenes y una pintura. Se trata de “El balcón” pintada por Edouard Manet, el precursor del movimiento, que data de 1868-69, y que se encuentra en el Musée d’Orsay en París. El entorno, especialmente la revolución industrial que tuvo un impacto social importante, llamaba a una nueva manera de representar al mundo deshaciéndose de los modales académicos estrictos. Una manera fue simplemente de salir del estudio y pintar a la luz del día. El regalo de los impresionistas es justamente su nueva manera de representar la luz y sus efectos, y por ende los colores, los rostros y más generalmente el ambiente. Pudieron así abrir la puerta artística para el pleno desarrollo de la imaginación y salir de los candados de lo convencional. Muchas gracias. Una serie sobre el arte a través del la historia y las culturas. Se presentarán obras que transcienden el tiempo por su belleza y por lo que nos cuenta. Historia del arte con Kenza - Obras que encienden el asombro. Nos puedes seguir a través de la cuenta Instagram Historia.del.arte.con.kenza, para descubrir las obras del podcast y muchas más. Producido por Rojo venado

A recent Paris exhibition honouring forgotten black models of modern art has shone a spotlight on black identity in a society where race remains a controversial subject. France has been multicultural "since the 19th and 20th century", says Denise Murrell, co-curator of Le Modèle Noir or Black Models. The landmark exhibition on modern art’s forgotten black models ran from March to July at Paris’ Orsay museum. On Friday 13 September, it was due to premiere at Pointe à Pitre in Guadeloupe. The lavish show, portraying people of colour in French art from the country’s final abolition of slavery in 1848 until the 1950s, “shows without question that there was a black presence in the heart of cultural activity in the 19th century,” mirroring “today’s diverse, contemporary society”, Murrell told RFI. Yet these figures were left out of history. The four-month long exhibition sought to give them back their identity, by renaming leading paintings in the models’ names. Portrait of a Negress thus became Portrait of Madeleine and Edouard Manet’s Olympia, showing a reclining nude prostitute, has been renamed Laure, in honour of the black maid in the background. Being ignored “Madeleine, the black woman in the painting, has been subject to a silencing or obliteration of her identity by a generic title…so being able to rename her was important,” continues Murrell. Similarly, Laure, who inspired one of Manet’s most important works, is barely noticed, and extensive scholarship on the work has focused more on the cat than the servant stooping down to offer flowers to the white woman. “Laure was emblematic of the condition of the diaspora, being invisible even though one is in plain view. I wanted to do something about it,” comments Murrell. Revealing the maid’s identity became the foundation of the curator’s doctoral dissertation, Seeing Laure, Race and Modernity from Manet’s Olympia to Matisse, Bearden and Beyond, and an earlier exhibition of Le Modèle Noir in New York that Murrell curated called, Posing Modernity: The Black Model from Manet and Matisse to Today. Black studies Over 400,000 visitors flocked to the Orsay museum to see Laure and many of the other Black figures in French art such as Haitian model Joseph, who was the central figure of Gericault’s famous painting the Raft of the Medusa. Joseph was portrayed as the hero in the artwork – the one who called for rescue for the other stricken crewmembers. In an era where slavery was still rampant, such a favourable portrayal was a clear call for abolition. For Murrell, the success of Le Modèle Noir is a clear sign of the "hunger" in France for information on the subject, which has "historically not been widely discussed”, she says. While the representation of black people has become a topic in the history of art on both sides of the Atlantic, research in black studies is relatively new in France. Breaking the mould of mental slavery Le Modèle Noir exhibition was the first of its kind in Paris, while London and the Netherlands have already drawn crowds to shows such as Black Chronicles at the National Portrait Gallery and Black Is Beautiful at Amsterdam’s Newe Dirk museum.  Republican values The term "race" remains controversial in France.  Advocates of strict secularism are against defining society in racial terms, saying it undermines the French Republican value that “everyone is equal".  Last year in June, the government removed the word from the constitution, arguing it was a "made-up social construct". Former president François Hollande, in his 2012 election campaign, said the term “has no place in the Republic”. Collecting statistics based on race remains illegal. Critics say that such apparently lofty ideals conceal the extent of racial discrimination in France. Murrell believes embracing black identity in France could, in fact, reinforce the foundations of the Republic. “I think recognition of France’s multiple heritage and the contribution of people of colour to French society can only strengthen Republican ideals,” she says, “because it creates a sense of belonging for populations who may perhaps feel they have been ignored. “I think that part of the ability to improve the condition of the diaspora is to hear the voices of people from the diaspora.”  To hear more stories like this, subscribe to RFI's diaspora series on iTunes or Google podcasts.

A recent Paris exhibition honouring forgotten black models of modern art has shone a spotlight on black identity in a society where race remains a controversial subject. France has been multicultural "since the 19th and 20th century", says Denise Murrell, co-curator of Le Modèle Noir or Black Models. The landmark exhibition on modern art's forgotten black models ran from March to July at Paris' Orsay museum. On Friday 13 September, it was due to premiere at Pointe à Pitre in Guadeloupe. The lavish show, portraying people of colour in French art from the country's final abolition of slavery in 1848 until the 1950s, “shows without question that there was a black presence in the heart of cultural activity in the 19th century,” mirroring “today's diverse, contemporary society”, Murrell told RFI. Yet these figures were left out of history. The four-month long exhibition sought to give them back their identity, by renaming leading paintings in the models' names. Portrait of a Negress thus became Portrait of Madeleine and Edouard Manet's Olympia, showing a reclining nude prostitute, has been renamed Laure, in honour of the black maid in the background. Being ignored “Madeleine, the black woman in the painting, has been subject to a silencing or obliteration of her identity by a generic title…so being able to rename her was important,” continues Murrell. Similarly, Laure, who inspired one of Manet's most important works, is barely noticed, and extensive scholarship on the work has focused more on the cat than the servant stooping down to offer flowers to the white woman. “Laure was emblematic of the condition of the diaspora, being invisible even though one is in plain view. I wanted to do something about it,” comments Murrell. Revealing the maid's identity became the foundation of the curator's doctoral dissertation, Seeing Laure, Race and Modernity from Manet's Olympia to Matisse, Bearden and Beyond, and an earlier exhibition of Le Modèle Noir in New York that Murrell curated called, Posing Modernity: The Black Model from Manet and Matisse to Today. Black studies Over 400,000 visitors flocked to the Orsay museum to see Laure and many of the other Black figures in French art such as Haitian model Joseph, who was the central figure of Gericault's famous painting the Raft of the Medusa. Joseph was portrayed as the hero in the artwork – the one who called for rescue for the other stricken crewmembers. In an era where slavery was still rampant, such a favourable portrayal was a clear call for abolition. For Murrell, the success of Le Modèle Noir is a clear sign of the "hunger" in France for information on the subject, which has "historically not been widely discussed”, she says. While the representation of black people has become a topic in the history of art on both sides of the Atlantic, research in black studies is relatively new in France. Breaking the mould of mental slavery Le Modèle Noir exhibition was the first of its kind in Paris, while London and the Netherlands have already drawn crowds to shows such as Black Chronicles at the National Portrait Gallery and Black Is Beautiful at Amsterdam's Newe Dirk museum.  Republican values The term "race" remains controversial in France.  Advocates of strict secularism are against defining society in racial terms, saying it undermines the French Republican value that “everyone is equal".  Last year in June, the government removed the word from the constitution, arguing it was a "made-up social construct". Former president François Hollande, in his 2012 election campaign, said the term “has no place in the Republic”. Collecting statistics based on race remains illegal. Critics say that such apparently lofty ideals conceal the extent of racial discrimination in France. Murrell believes embracing black identity in France could, in fact, reinforce the foundations of the Republic. “I think recognition of France's multiple heritage and the contribution of people of colour to French society can only strengthen Republican ideals,” she says, “because it creates a sense of belonging for populations who may perhaps feel they have been ignored. “I think that part of the ability to improve the condition of the diaspora is to hear the voices of people from the diaspora.”  To hear more stories like this, subscribe to RFI's diaspora series on iTunes or Google podcasts.

#5 Los impresionistas En este podcast, se presentará la corriente impresionista a través de un breve recuento de sus orígenes y una pintura. Se trata de “El balcón” pintada por Edouard Manet, el precursor del movimiento, que data de 1868-69, y que se encuentra en el Musée d’Orsay en París. El entorno, especialmente la revolución industrial que tuvo un impacto social importante, llamaba a una nueva manera de representar al mundo deshaciéndose de los modales académicos estrictos. Una manera fue simplemente de salir del estudio y pintar a la luz del día. El regalo de los impresionistas es justamente su nueva manera de representar la luz y sus efectos, y por ende los colores, los rostros y más generalmente el ambiente. Pudieron así abrir la puerta artística para el pleno desarrollo de la imaginación y salir de los candados de lo convencional. Muchas gracias. Historia del arte con Kenza Una serie sobre el arte a través del la historia y las culturas. Se presentarán obras que transcienden el tiempo por su belleza y por lo que nos cuenta. Una serie sobre el arte a través del la historia y las culturas. Se presentarán obras que transcienden el tiempo por su belleza y por lo que nos cuenta. Obras que encienden el asombro. Nos puedes seguir a través de la cuenta Instagram Historia.del.arte.con.kenza, para descubrir las obras del podcast y muchas más.

Edouard Manet hat von der Hinrichtung ein Bild gemalt, das als Meilenstein der Historienmalerei gilt. Das Gemälde ist ein Protest gegen den Imperialismus.

Actor Fiona Shaw unlocks the gaze of the most famous naked women painted by French Impressionist Edouard Manet. With contributions from novelist Julian Barnes and artist Michael Craig Martin. Produced for BBC Radio 3

Episode 4 of Standing on the Shoulders of Giants is all about creative theft and why it's totally cool. All artists steal, in some way or another, and that's not a bad thing! In this episode, we talk about Edouard Manet, who painted naked women that he stole. Fun fact: This whole episode is stolen from Radiolab!

Anna takes a look at Edouard Manet's rendition of the female nude and interviews figurative artist Lauren Mele who uses paintings as a tool to explore the beauty and power of the feminine. Plus, highlights from this week on Instagram.To get in touch visit Instagram @annagammansart or Facebook: @theartthenandnowshow. See acast.com/privacy for privacy and opt-out information.

In our 73rd episode, Lauren draws upon her vast art history knowledge to sketch out the lives (and well-known works) of three Artists You Should Know. Later, enjoy a quiz called “There’s No Right Way to Write a Quiz”! . . . [Music: 1) Max Richter, Vivaldi’s “Spring 1,” 2012; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]

This episode receives additional support from Reynolda House Museum of American Art, where you can find one of the nation's most highly regarded collections of American art on view in a unique domestic setting - the restored 1917 mansion of R. J. and Katharine Reynolds surrounded by beautiful gardens and peaceful walking trails. You can browse Reynolda's art and decorative arts collections and see what's coming next at their website,  reynoldahouse.org.  Gift-giving: it’s one of the primary ways to solidify a relationship. But what happens when gifting goes suddenly wrong, and alters a friendship for good? Please  SUBSCRIBE and REVIEW our show on Apple Podcasts! Twitter / Facebook/ Instagram   Episode Credits This is the third  of three episodes in collaboration with Sartle. Sartle encourages you to see art history differently, and they have a plethora of incredibly fun and informative videos, blog posts, and articles on their website. Production and Editing by Kaboonki. Theme music by Alex Davis.  Social media assistance by Emily Crockett. ArtCurious is sponsored by Anchorlight, an interdisciplinary creative space, founded with the intent of fostering artists, designers, and craftspeople at varying stages of their development. Home to artist studios, residency opportunities, and exhibition space Anchorlight encourages mentorship and the cross-pollination of skills among creatives in the Triangle. Additional music credits "Misterioso" by Dee Yan-Key is licensed under BY-NC-SA 4.0; "Turkey Vulture" by Chad Crouch is licensed under BY-NC 3.0 ; "Bond Band" by Yan Terrian is licensed under BY-SA 4.0; "Galamus (piano solo)" by Circus Marcus is licensed under BY-NC 3.0; "Simple Life" by Anton Khoryukov is licensed under BY-NC-SA 4.0; "Facing It" by Komiku is licensed under CC0 1.0. Ad Music: "Lonely Chicken Inside Shopping Mall (ID 122)" by KieLoKaz is licensed under BY-NC-ND 4.0; "The Valley" by Dee Yan-Key is licensed under BY-NC-SA 4.0; "Pillow Tree: Version 2" by UncleBibby is licensed under BY 4.0.  Links and further resources Manet and the Family Romance, Nancy Locke Olympia: Paris in the Age of Manet, Otto Friedrich The Art of Rivalry: Four Friendships, Betrayals, and Breakthroughs in Modern Art, Sebastian Smee The Telegraph: "Did Manet Have a Secret Son?" The Art Story: Edgar Degas The New York Times: "Degas and Mrs. Manet" Edouard Manet, Self-Portrait with Palette, 1878–1879 Edgar Degas, Self-Portrait, 1855 (detail) Edouard Manet, Le Déjeuner sur l’herbe (Luncheon on the Grass), 1862-1863 Edgar Degas, The Rehearsal of the Ballet Onstage, 1874 Edouard Manet, The Absinthe Drinker, 1859 (detail) Edgar Degas, Édouard Manet and Mme. Manet, 1868-69 Edouard Manet, Olympia, 1863 Learn more about your ad choices. Visit megaphone.fm/adchoices

Originally Released February 16th, 2017 Developed on the precipice between realism and abstraction, Impressionism is often considered the first truly modern art movement. Join the Babes as they discuss the birth of this seminal style and dig up some dirt on the most important members of the French Impressionist circle. Artists discussed: Claude Monet, Edouard Manet, Edgar Degas, Berthe Morisot, Mary Cassatt Censored episode available for download on our website. Check out our Patreon for bonus episodes! www.arthistorybabes.com Email: arthistorybabes@gmail.com Instagram: @arthistorybabespodcast Twitter: @arthistorybabes YouTube: The Art History Babes Learn more about your ad choices. Visit podcastchoices.com/adchoices

On this date in 1957, inventor Fred Morrison sold the rights to his flying disc to the Wham-O company. Here are some things you may not have known about the Frisbee. Morrison said the idea came to him while he and his future wife, Lucille, were tossing a cake pan back and forth on a beach in 1938. Another person offered them 25 cents for the pan. As the pan cost just 5 cents, Morrison figured there might be a business opportunity there. Following World War II, Morrison designed a more aerodynamically stable disc he called the Whirlo-Way. In 1948, he and a business partner began selling the discs at fairs and shows. In 1955, he designed a new model, called the Pluto Platter, which is the design he sold to Wham-O. A few months after buying the design, the company decided to change the name to Frisbee, after discovering that’s what college students in the Northeast called the Pluto Platter. The term Frisbee was derived from the Frisbie Pie Company, whose empty pie tins were tossed around the Yale University campus. Morrison described the name as “a horror. Terrible.” In 1964, the Frisbee was redesigned to increase the thickness of the rim, which made it much more controllable. After the redesign, sales of the disc soared. A class of sports was invented using the Frisbee, including Frisbee Golf and Ultimate Frisbee, among others. Although people use the name generically, the name Frisbee remains a trademark of the Wham-O company. The company was known for mailing reminder letters to newspaper writers who didn’t capitalize the name, along with a new Frisbee. The year after Wham-O bought the rights to the Frisbee, they introduced the Hula Hoop. The company introduced the Slip ’N’ Slide in 1961, followed by the Super Ball in 1965. According to Lamar Hunt, the late owner of the Kansas City Chiefs, the Super Ball’s name was the inspiration for the name of the Super Bowl. The company also marketed Silly String, the Hacky Sack and the Boogie Board. Our question: What type of action stabilizes a Frisbee in flight? Today is World Freedom Day in Taiwan and South Korea, and Bounty Day in the Pitcairn Islands. It’s unofficially National Pie Day, Measure Your Feet Day, and National Handwriting Day. It’s the birthday of U.S. Founding Father John Hancock, who was born in 1737; painter Edouard Manet, who was born in 1832; and Princess Caroline of Monaco, who turns 60. Because our topic happened before 1960, we’ll spin the wheel to pick a year at random. This week in 1972, the top song in the U.S. was “American Pie” by Don McLean. The No. 1 movie was “The Cowboys,” while the novel “Wheels” by Arthur Hailey topped the New York Times Bestsellers list. Weekly question: In the song “American Pie,” who is referred to as “The Jester”? Submit your answer at triviapeople.com/test and we’ll add the name of the person with the first correct answer to our winner’s wall … at triviapeople.com. We'll have the correct answer on Friday’s episode. Links Follow us on Twitter, Facebook or our website. Also, if you’re enjoying the show, please consider supporting it through Patreon.com Please rate the show on iTunes by clicking here. Sources https://en.wikipedia.org/wiki/January_23 https://en.wikipedia.org/wiki/Walter_Frederick_Morrison https://en.wikipedia.org/wiki/Frisbee https://en.wikipedia.org/wiki/Frisbie_Pie_Company https://en.wikipedia.org/wiki/Wham-O https://en.wikipedia.org/wiki/Bodyboarding https://www.checkiday.com/01/23/2017 http://www.biography.com/people/groups/born-on-january-23 http://www.bobborst.com/popculture/numberonesongs/ https://en.wikipedia.org/wiki/The_New_York_Times_Fiction_Best_Sellers_of_1972 iOS: http://apple.co/1H2paH9 Android: http://bit.ly/2bQnk3m

Mercury Rev, Daniele Silvestri, Stefano Bollani and more...

Petra Carlsson returns to the podcast for a theological conversation with Josef on a material understanding of sacramentality. The talk centers around the eucharist and makes use of thinkers and artists like Michel Foucault, Gilles Deleuze, Antonin Artaud, Georges Bataille, Edouard Manet and Diego Velázquez.

With John Wilson. We announce the winner of the inaugural Folio Prize and speak to her/him live from the ceremony in London. The £40,000 prize celebrates the best English-language fiction from around the world, regardless of form, genre, or the author's country of origin. Cézanne and the Modern is a new exhibition at the Ashmolean Museum Oxford, featuring the collection of Henry and Rose Pearlman. They began collecting in 1945 with a work by Jacques Lipchitz and it now includes a matchless group of paintings and watercolours by Paul Cézanne, as well as paintings and sculptures by artists including Paul Gauguin, Henri de Toulouse-Lautrec, Edouard Manet, Vincent van Gogh, and Edgar Degas. Curator John Whitely talks to John Wilson about the collection. John also talks to guitar hero Jeff Beck about a 50 year career that has seen him play with the likes of The Yardbirds, David Bowie, Eric Clapton and Morrissey. And as a new teen movie the GBF (Gay Best Friend) is about to open, writer Damian Barr looks at the appeal of the gay best friend in film. Producer Dymphna Flynn.

In 1863 Charles Baudelaire, wrote about the 'Painter of Modern Life' depicting the uniformity of male dress codes with its black suits, top hats and patent leather boots as having created 'a cortege of undertakers'. Whereas women's dress was constantly moving with the seasons and responding to passing styles, men's dress appeared remarkably static and unadorned. Drawing on the writings of Charles Baudelaire and Mallarmé and on the paintings of Constantin Guys and Edouard Manet, the lecture will examine the visual representation and cultural meanings of the habit noir. It will also consider the related British male types of the dandy and the swell. Were men in the nineteenth century really just a neutral backdrop to the ebb and flow of female fashion, or did men also engage in and explore sartorial style?The transcript and downloadable versions of the lecture are available from the Gresham College website: http://www.gresham.ac.uk/lectures-and-events/le-habit-noir-men-in-blackGresham College has been giving free public lectures since 1597. This tradition continues today with all of our five or so public lectures a week being made available for free download from our website. There are currently over 1,500 lectures free to access or download from the website.Website: http://www.gresham.ac.ukTwitter: http://twitter.com/GreshamCollegeFacebook: https://www.facebook.com/greshamcollege

On The Halli Casser-Jayne Show, Talk Radio for Fine Minds author James MacManus. MacManus began his career with The Guardian as a reporter in the London office and went on to become a foreign correspondent. Currently, James MacManus is the managing director of the Times Literary Supplement. His first book, Ocean Devil, was made into a film starring Jonathan Rhys Meyers. His new book is Black Venus, which tells the story of poet Charles Baudelaire and his love affair with Jeanne Duval - the woman he called the Black Venus - the striking Haitian cabaret singer who both inspired and tortured Charles Baudelaire to create poetry that would forever change the world of literature. Set against the heady backdrop of 19th Century Paris in the left Bank cafes and taverns frequented by such giants as Edouard Manet, Honore de Balzac and Alexandre Dumas this is riveting read.

Matthew Sweet with a review, from Lynda Neade, of the UK's first ever retrospective devoted to the portraiture of Edouard Manet. Maria Konnikova says that Sherlock Holmes can offer us the key to a world where we use our brains to their full potential. Alan Rusbridger and Matthew Taylor explore the status of the amateur in society and ask whether there has been a genuine shift in how we value the role of the non-professional. And Matthew Sweet talks to Norman Stone about his latest book: A Short History of World War II.

With Mark Lawson. Denzel Washington has won an Oscar nomination for his role in the film Flight. He plays an airline pilot who miraculously lands a stricken plane. At first he's hailed as a hero, but then questions start to arise about what actually happened. Denzel Washington reflects on the role, and his long Hollywood career. Manet: Portraying Life is the first major British exhibition of Edouard Manet's portraits - including 50 paintings as well as pastels and photographs from private and public collections from around the world. Novelist A S Byatt reviews. Bryan and Mary Talbot have won the biography category of this year's Costa Book Awards for their graphic memoir Dotter of her Father's Eyes. They discuss working as a husband and wife team and whether talking about work is banned at the dinner table. Producer Claire Bartleet.

Der berühmte Impressionist Edouard Manet lebte in der auf dem Ölgemalde dargestellten Villa. Treten Sie durch die Allee in den lichtdurchfluteten Garten ein. Aus der Podcast-Serie zu Highlights aus der Sammlung des Kunstmuseums Bern.

The famous impressionist painter Edouard Manet lived in the country house portrayed in the oil painting. The approach is a tree-lined path into a bright and sunny garden. From the podcast series on the highlights of the Kunstmuseum Bern Collection.

Le célèbre peintre impressionniste Edouard Manet vécut dans la villa représentée dans cette peinture à l'huile. Entrez dans l'allée du jardin inondé de lumière. Un podcast de la série sur les oeuvres phares de la collection du Musée des Beaux-Arts de Berne.

(1832-1883)

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