Podcasts about Edvard Munch

Fluent Fiction - Norwegian: Newfound Inspiration: A Journey Through Munch's World Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2026-06-13-07-38-19-no Story Transcript:No: Lars stirret ut av bussvinduet, Oslo susende forbi, mens vårsolen skinte klart på himmelen.En: Lars stared out of the bus window, Oslo whizzing by, as the spring sun shone brightly in the sky.No: Han hadde følt seg fastlåst lenge, kreativiteten hans hadde tørket opp som en elv om sommeren.En: He had felt stuck for a long time, his creativity had dried up like a river in summer.No: Han hadde alltid beundret Edvard Munch, i håp om at kunsten kunne gi ham den inspirasjonen han desperat trengte.En: He had always admired Edvard Munch, hoping that art could give him the inspiration he desperately needed.No: Midsommernatt nærmet seg, og byen duftet av nyklippet gress og blomstrende liljekonvall.En: Midsummer night was approaching, and the city smelled of freshly cut grass and blooming lily of the valley.No: Ingrid var allerede på Munchmuseet.En: Ingrid was already at the Munchmuseet.No: Hun så opp på den minimalistiske moderne arkitekturen med store vinduer som badet galleriene i naturlig lys.En: She looked up at the minimalist modern architecture with large windows that bathed the galleries in natural light.No: Utenfor kunne hun se Oslofjorden blinke hver gang solen traff vannet.En: Outside, she could see the Oslofjorden sparkle every time the sun hit the water.No: Hun var på en studietur, men for Ingrid føltes det mer som en pilgrimsreise.En: She was on a study trip, but for Ingrid, it felt more like a pilgrimage.No: Hun ønsket å forstå hemmelighetene bak Munchs arbeid, hans evne til å skape kunst som rørte ved sjelen.En: She wanted to understand the secrets behind Munch's work, his ability to create art that touched the soul.No: Inne i museet gikk Lars forsiktig gjennom salene.En: Inside the museum, Lars walked cautiously through the halls.No: Han lot øynene gli over Munchs malerier, og prøvde å finne en gnist av noe nytt og spennende.En: He let his eyes drift over Munch's paintings, trying to find a spark of something new and exciting.No: Samtidig vandret Ingrid rundt med en skissebok i hendene, stoppet nå og da for å ta notater eller tegne et raskt omriss.En: Meanwhile, Ingrid wandered around with a sketchbook in her hands, stopping now and then to take notes or draw a quick outline.No: Da Lars nådde "Skrik", følte han en intens uro som han ofte hadde i det siste.En: When Lars reached "The Scream," he felt an intense unease that he had often had recently.No: Betallet og viktigheten i maleriet gjorde det vanskelig å se forbi sin egen usikkerhet.En: The power and importance of the painting made it difficult to see past his own insecurity.No: Ingrid kom opp ved siden av ham, og så på uttrykket hans.En: Ingrid came up next to him and looked at his expression.No: "Viktig, er det ikke?En: "Important, isn't it?"No: " sa hun forsiktig.En: she said gently.No: Lars nikket, til sin egen overraskelse fornøyd med å ha noen der som kunne dele øyeblikket.En: Lars nodded, surprisingly content to have someone there to share the moment.No: De fortsatte gjennom museet sammen, og lop ved lop begynte samtalen.En: They continued through the museum together, and little by little the conversation began.No: "Hva er din favoritt?En: "What's your favorite?"No: " spurte Ingrid, alltid nysgjerrig.En: Ingrid asked, always curious.No: Lars tenkte seg om, "Kanskje 'Livets dans'," svarte han til slutt.En: Lars thought for a moment, "Maybe 'The Dance of Life,'" he replied eventually.No: Det var der, foran det maleriet, de begge stoppet.En: It was there, in front of that painting, that they both stopped.No: Fargene, intensiteten, bevegeligheten i figurerne, alt føltes ladet med energi.En: The colors, the intensity, the movement in the figures, all felt charged with energy.No: "Se på måten lys og mørke spiller sammen," sa Ingrid og pekte.En: "Look at the way light and dark play together," Ingrid said, pointing.No: Lars så varmen i dansen, men også skyggen som alltid lurte i hver bevegelse.En: Lars saw the warmth in the dance, but also the shadow that always lurked in every movement.No: Sammen begynte de å snakke om hva de ønsket å uttrykke med kunsten sin.En: Together, they began to talk about what they wanted to express with their art.No: Lars om å finne igjen inspirasjonen.En: Lars about finding inspiration again.No: Ingrid om å finne mot til å stå på egne bein som kunstner.En: Ingrid about finding the courage to stand on her own as an artist.No: Da museet kunngjorde at det snart ville stenge, innså de begge at tiden hadde fløyet.En: When the museum announced that it would soon close, they both realized that time had flown.No: "Jeg tror jeg har funnet det jeg lette etter," sa Lars med et lite smil.En: "I think I've found what I was looking for," Lars said with a small smile.No: Ingrid lo, "Og jeg har funnet en ny venn.En: Ingrid laughed, "And I've found a new friend."No: " De gikk ut, den svale vårkvelden omringet dem.En: They walked out, the cool spring evening surrounding them.No: De bestemte seg for å møtes igjen, kanskje samarbeide om et prosjekt for å utforske de idéene de hadde diskutert.En: They decided to meet again, perhaps collaborate on a project to explore the ideas they had discussed.No: Sammen, med nyvunnet inspirasjon, dro de fra museet.En: Together, with newfound inspiration, they left the museum.No: Både Lars og Ingrid var klar over at møtet deres ikke bare hadde gitt dem en dypere forståelse av Munchs kunst, men også en oppdagelse av hverandre og av hva de kunne være i stand til å skape sammen.En: Both Lars and Ingrid were aware that their meeting had not only given them a deeper understanding of Munch's art, but also a discovery of each other and of what they might be capable of creating together. Vocabulary Words:whizzing: susendecreativity: kreativitetenadmired: beundretdesperately: desperatmidsummer: midsommernattapproaching: nærmetarchitecture: arkitekturennatural: naturligsparkle: blinkepilgrimage: pilgrimsreiseunderstand: forståsecrets: hemmelighetenecautiously: forsiktighalls: salenewandering: vandretsketchbook: skissebokoutline: omrissunease: uroinsecurity: usikkerhetcharged: ladetmovement: bevegelseexpress: uttrykkecourage: motcollaborate: samarbeideproject: prosjektexplore: utforskeinspiration: inspirasjonrealized: innsådiscovery: oppdagelsecreate: skape

Links Wasserfälle, rechts Wasserfälle, hinter jeder Kurve ein neues Panorama. Schmale Täler, rauschende Flüsse, saftiges Grün, Bergwände wie Kulissen aus einem Film. Jochen sitzt im Zug. Er ist in der Flåmbahn und denkt: Ich bin ja schon da. Der Weg ist das Ziel.Das ist Norwegen. In dieser Folge gibt es (fast) alle Facetten dieses Landes. Tamina ist mit den Hurtigruten vorbei an Fjorden, Gletschern und schwimmenden Saunen gefahren. Michi ist im Frühling in die Arktis gereist, nach Tromsø, und stand plötzlich vor einem Rudel Rentiere. Jochen hat das kulturelle Zentrum Oslo und das hinreißende Bergen für sich entdeckt. Hinzu kommen die Lofoten, ein grandioses Schienennetz, ein Land voller neuer Ideen und Aussichten wie aus dem Bilderbuch.–Bei „Bella Skandinavia" reisen Deutschlands bekannteste Urlaubs-Expertin Tamina Kallert (u. a. „WDR Wunderschön") sowie Jochen Schliemann und Michael Dietz von „Reisen Reisen – der Podcast" durch den magischen Norden Europas.

How Adobe Quietly Powers the World (and the AI Fight for Creators)This episode of Jimmy's Jobs of the Future visits Adobe's London headquarters to explore how Adobe's influence extends beyond Photoshop and PDFs into marketing technology that powers personalized experiences for major brands and institutions like Tesco, the Premier League, banks, Channel 4, Sky, Disney, and governments. VP Simon Morris explains Adobe's creative, document, and marketing solutions, how customer data is unified to deliver tailored communications, and highlights a campaign recreating Edvard Munch's physical brushes as Photoshop tools. The discussion covers Adobe's UK-wide initiatives, including tools for Women's FA Cup clubs, the Adobe Digital Academy, and government skills programs. Policy lead Stefanie Valdes-Scott addresses AI governance, creator protection, copyright, trust, content attribution via content credentials, and the unresolved tension between AI-enabled creativity and creators' fear of losing control of their work. 00:00 Adobe Hidden Influence 01:57 Quick Adobe History 02:45 Inside London HQ 04:15 Brands Powered By Adobe 05:40 Premier League Personalization 07:28 Banking Experience Design 10:05 Creativity Meets Data 13:11 Hiring Modern Marketers 14:08 Tools For Everyone 17:33 AI Productivity Debate 20:25 UK Initiatives And Skills 22:32 Creator Copyright Fears 24:01 Policy And AI Governance 25:31 Copyright And New Rights 30:30 Content Credentials Trust 32:55 Final Takeaways ********** Follow us on socials! Instagram: https://www.instagram.com/jimmysjobs Tiktok: https://www.tiktok.com/@jimmysjobsofthefuture Twitter / X: https://www.twitter.com/JimmyM Linkedin: https://www.linkedin.com/in/jimmy-mcloughlin-obe/ Want to come on the show? hello@jobsofthefuture.co Sponsor the show or Partner with us: sunny@jobsofthefuture.co Check out our clips channel here! ⬇️ https://www.youtube.com/@JimmysJobsClips Credits: Host / Exec Producer: Jimmy McLoughlin OBE Producer: Sunny Winter https://www.linkedin.com/in/sunnywinter/ Junior Producer: Thuy Camera Operations: Felix Cohen Learn more about your ad choices. Visit podcastchoices.com/adchoices

Iain has the chance to show off his Norwegian as he tells Laura about a notorious Norwegian bank heist. The case involves an Edvard Munch enthusiast, an accomplice disguised as a dog, and millions of kroner being weathered in a swimming pool.Murder They Wrote with Laura Whitmore and Iain Stirling is available twice a week on BBC Sounds. Subscribe now so you never miss an episode. Email us at lauraandiain@bbc.co.uk

This season's much anticipated auctions in New York have brought some records and eye-popping prices, including for works by Jackson Pollock, Constantin Brancusi and Mark Rothko, and some more middling results. Ben Luke talks to Judd Tully, who has been reporting on some of the sales for The Art Newspaper. The largest show of the art of James McNeill Whistler in Europe for more than 30 years has just opened at Tate Britain in London, and travels later in the year to the Netherlands, where it forms two shows, at the Van Gogh Museum in Amsterdam and The Mesdag Collection in The Hague. Ben takes a tour of the Tate show with its lead curator Carol Jacobi. And this episode's Work of the Week is the frieze made by Edvard Munch in 1922 for the women's canteen of the Freia Chocolate Factory in Oslo. The frieze remains in the collection of the Freia chocolate company today, but is on temporary loan to MUNCH, the museum in the Norwegian capital for the exhibition Edvard Munch and the Chocolate Factory. Our digital editor, Alexander Morrison, went to Oslo to speak to the curator of the exhibition, Ana María Bresciani, about the frieze.James McNeill Whistler, Tate Britain, London, until 27 September 2026; before splitting into two parallel presentations in the Netherlands, Whistler: Dandy and Disruptor, Van Gogh Museum, Amsterdam; Whistler: Loving The Netherlands, The Mesdag Collection, The Hague, both 16 October-10 January 2027.Edvard Munch and the Chocolate Factory, MUNCH, Oslo, until 11 October. Hosted on Acast. See acast.com/privacy for more information.

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Das kranke Kind“ von Edvard Munch aus dem Jahr 1896.

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Vampir im Wald“ von Edvard Munch, 1916 -1918.

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Geschrei/Der Schrei“ von Edvard Munch aus dem Jahr 1895.

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Zärtlichkeit“ von Maria Lassnig aus dem Jahr 2006.

This Sunday, 26 April, marks the 40th anniversary of the accident at the Chernobyl nuclear reactor in Soviet Ukraine. It is the most serious disaster ever to occur in the nuclear power industry, with widespread effects then and now. An exhibition at the Nikolaikirche in Potsdam, Germany, called The Chernobyl disaster: 40 years ago and yet still relevant, continues until Monday 27 April, and Ben Luke speaks to one of its organisers, Olha Kovalevska. A new exhibition at Munch, the museum in Oslo, explores the work of Paula Rego, with new research on her interest in the artist after whom the museum is named, Edvard Munch. Ben speaks to the curator of the exhibition, which is called Paula Rego: Dance Among Thorns, Kari J. Brandtzæg. And this episode's Work of the Week is Convolvulus (1940) by Gluck, the mononymous British painter. The picture is part of the exhibition called Handpicked: Painting Flowers from 1900 to Today, which opens this weekend at Kettle's Yard in Cambridge, UK. Ben speaks to its co-curator, Naomi Polonsky, about the work.The Chernobyl disaster: 40 years ago and yet still relevant, Nikolaikirche, Potsdam, Germany, until 27 April.Paula Rego – Dance Among Thorns, Munch, Oslo, 24 April-2 August; Paula Rego: Story Line, Victoria Miro, London, until 23 May.Handpicked: Painting Flowers from 1900 to Today, Kettle's Yard, Cambridge, 25 April-6 September Hosted on Acast. See acast.com/privacy for more information.

In this episode of The Halloween Podcast, we take a closer look at the life of Edvard Munch — the artist behind The Scream, one of the most recognizable and unsettling images ever created. But beyond the painting lies a story shaped by illness, loss, anxiety, and a lifelong struggle to understand the emotions that followed him. We explore Munch's early life, marked by tragedy and sickness, and how those experiences influenced his work. From The Sick Child to the moment that inspired The Scream, this episode breaks down the real events and emotional weight behind his art. We also examine Love and Pain, later known as Vampire, and how its interpretation added a darker, gothic layer to his legacy. This isn't a story about ghosts or legends — it's about something quieter, and in many ways, more unsettling. A look at how fear, grief, and memory can shape a person… and leave a lasting mark on the world. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

In this episode of the podcast we will be talking about Edvard munch his life and mental health the situation the led to him creating the scream as well as how he had a major role in expressionism the fin-de-siecle era and how his themes and ideas of expressing psychological themes have reappeared in modern art

Probst, Carsten www.deutschlandfunk.de, Kultur heute

Fluent Fiction - Norwegian: Rebirth Through Art: Sindre's Journey to Self-Rediscovery Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2026-03-28-07-38-19-no Story Transcript:No: På en solrik vårdag, da påskeliljer blomstret langs gatene i Oslo, gjorde Sindre og Laila seg klare for en tur til Munch-museet.En: On a sunny spring day, when daffodils bloomed along the streets of Oslo, Sindre and Laila prepared for a trip to the Munch-museet.No: Bygningen reiste seg majestetisk ved vannkanten med sine moderne linjer og store glassvinduer som speilet vårsolens glimt.En: The building rose majestically by the waterfront with its modern lines and large glass windows reflecting the glints of the spring sun.No: Det var Sindre sin første store utflukt etter operasjonen.En: It was Sindre's first big outing after his operation.No: Han følte seg spent, men også usikker.En: He felt excited, but also uncertain.No: Laila merket nervøsiteten hans.En: Laila noticed his nervousness.No: "Det kommer til å gå bra," forsikret hun, og gav ham en oppmuntrende klem.En: "It will be fine," she assured him, giving him an encouraging hug.No: Hun visste hvor mye kunst betydde for Sindre, spesielt Munchs mesterverk som alltid tente en gnist i ham.En: She knew how much art meant to Sindre, especially Munch's masterpieces that always ignited a spark in him.No: Inne i museet møtte duften av nyvasket glass og dempet belysning dem.En: Inside the museum, the scent of freshly cleaned glass and subdued lighting met them.No: Veggene var dekket med Edvard Munchs ikoniske verk—vibrerende, fargerike, og dype.En: The walls were covered with Edvard Munch's iconic works—vibrant, colorful, and profound.No: Sindre lente seg litt tyngre på stokken sin.En: Sindre leaned a little more heavily on his cane.No: Han ville så gjerne føle seg hjemme i kunsten igjen, slik han pleide.En: He longed to feel at home in the art again, as he used to.No: De fulgte stien gjennom rom etter rom.En: They followed the path through room after room.No: Noen ganger stoppet Sindre opp, trettheten tyngende på skuldrene hans.En: Sometimes Sindre paused, the fatigue weighing on his shoulders.No: Laila ventet tålmodig ved hans side, alltid klar med et oppmuntrende smil.En: Laila waited patiently by his side, always ready with an encouraging smile.No: "Bare ta den tiden du trenger," sa hun.En: "Just take your time," she said.No: Midtveis i besøket stanset de foran et nytt utstillingsområde.En: Midway through the visit, they stopped in front of a new exhibition area.No: Sindre så på et stort maleri—livlige farger som danset over lerretet, speilet Munchs mest intense følelser.En: Sindre looked at a large painting—lively colors dancing across the canvas, mirroring Munch's most intense emotions.No: Plutselig følte han noe bevege seg i brystet, en følelse av styrke og ro som smeltet i takt med fargenes intensitet.En: Suddenly, he felt something move in his chest, a feeling of strength and calm melting in sync with the intensity of the colors.No: Han innså at han var i stand til mer enn han trodde.En: He realized he was capable of more than he thought.No: Sindre, inspirert, bestemte seg for å fortsette.En: Inspired, Sindre decided to continue.No: Han kjente energien og inspirasjonen flomme gjennom seg, en strøm av trygghet midt i spring.En: He felt the energy and inspiration flow through him, a stream of confidence in the midst of spring.No: Det var som om Munchs kraftige uttrykk ropte til ham, hvisket ord av helbredelse.En: It was as if Munch's powerful expression called out to him, whispering words of healing.No: Push bort ubehaget, han smilte.En: Brushing away the discomfort, he smiled.No: Han kunne føle seg som seg selv igjen, kanskje ikke fullstendig enda, men på rett vei.En: He could feel like himself again, maybe not completely yet, but on the right path.No: Da de forlot museet, pustet Sindre inn den freshe vårduften.En: As they left the museum, Sindre breathed in the fresh spring air.No: Laila så på ham og bemerket glitringen i øynene hans.En: Laila looked at him and noticed the sparkle in his eyes.No: "Jeg visste du ville klare det," sa hun og lente seg mot ham.En: "I knew you would make it," she said, leaning against him.No: Sindre nikket.En: Sindre nodded.No: Livet var fylt med små gleder—en søsters støtte, vårsola som varmet, og kunsten som inspirerte.En: Life was filled with small joys—a sister's support, the warming spring sun, and art that inspired.No: Han følte seg sterkere, tryggere på veien framover.En: He felt stronger, more confident about the journey ahead.No: Dermed gikk de nedover gaten, mot en nystart, og Sindre visste at han, sakte, men sikkert, var på vei mot sitt gamle selv—med nye oppdagelser og en dypere takknemlighet for livets enkle gleder.En: Thus, they walked down the street, toward a fresh start, and Sindre knew that slowly but surely, he was on his way back to his old self—with new discoveries and a deeper appreciation for life's simple pleasures. Vocabulary Words:bloomed: blomstretmajestically: majestetiskwaterfront: vannkantenuncertain: usikkernervousness: nervøsitetencouraging: oppmuntrendemasterpieces: mesterverkignited: tenteiconic: ikoniskeprofound: dypeleaned: lentefatigue: tretthetmidway: midtveisexhibition: utstillinglively: livligeintensity: intensitetstrength: styrkeinspiration: inspirasjonstream: strømconfidence: trygghethealing: helbredelsediscomfort: ubehagsparkle: glitringenjourney: reiseappreciation: takknemlighetpleasures: glederprepared: gjorde seg klarereflecting: speiletfresh: fresheconfidence: tryggere

Season 27 @TalkArt continues with TRACEY EMIN. Hosted by @RobertDiament. An exclusive new interview recorded in Margate within Crossing Into Darkness, a group exhibition curated by Dame Tracey Emin including works by 21 international artists.Crossing Into Darkness brings together a group of artists whose works confront the darkness inherent in human experience, not as something to be feared but as a necessary threshold toward renewal. In times marked by upheaval and uncertainty, this journey feels both universal and deeply personal.Featuring works by David Altmejd, Georg Baselitz, Louise Bourgeois, Marlene Dumas, Tracey Emin, Laura Footes, Antony Gormley, Francisco Goya, Gilbert & George, Celia Hempton, Anselm Kiefer, Joline Kwakkenbos, Mark Manders, Danielle Mckinney, Lindsey Mendick, Juanita McNeely, Edvard Munch, Hermann Nitsch, Janice Nowinski, Anna Pakosz and Johnnie Shand Kydd.The title of the show is very self explanatory, especially for the times we are living in. But even so we have always had our own journeys. And I feel that we have to cross into darkness to find light. I'd like this show to be very emotionally immersive and people to feel the strength and vibrations within the works. I want people to know that art isn't just something that you look at. That it has a deeper purpose and can penetrate all souls. I love the idea of people coming to Margate on the greyest of winter days with gale force winds and crashing waves to make the pilgrimage to see the show.– Dame Tracey EminFollow @TraceyEminStudioSpecial thanks to @CarlFreedmanGalleryThis powerful group show runs until Sunday 12th April at Carl Freedman Gallery, Margate. Free entry, no booking required.Tracey Emin's major solo exhibition A Second Life runs until Sunday 31st August 2026 at Tate Modern, London. Tickets available from Tate. Hosted on Acast. See acast.com/privacy for more information.

Schneider, Anette www.deutschlandfunkkultur.de, Fazit

Inget monster har haft lika stor framgång i romaner och filmer som vampyren. Under sistlidna två sekler har åtskilliga blodsugande ädlingar och förförare spritt död och förintelse omkring sig – lyckligtvis bara i fiktionens värld. Vår tids filmvampyrer har emellertid föregångare, vilka våra förfäder och förmödrar tog på största allvar. Vampyrens utveckling från våldsam gengångare till modernt massmediafenomen är lång och krånglig.Själva ordet ”vampyr” är serbiska och spreds över Europa i mitten av 1700-talet, sedan en rapport från en österrikisk militärläkare, som trodde sig ha bevittnat en smärre vampyrismepidemi, blivit läst över hela kontinenten. Detta sammanföll med upplysningstidens ifrågasättande av folkliga vidskepelser, vilket förklarar varför vampyrerna plötsligt blev mycket populära att debattera i vetenskapliga kretsar.Dessförinnan hade vi dock haft en lång historia av iakttagelser och diskussioner om gengångare, vilka i allt väsentligt var regionala varianter av de serbiska vampyrerna. För skandinaviskt vidkommande kan vi spåra gengångartron tillbaka till våra äldsta historiska källor, till exempel isländska sagor och Saxo Grammaticus Gesta Danorum. Bockstensmannen, vårt mest kända svenska medeltida mordoffer, begravdes på ett sätt som vittnar om att mördarna fruktade att han skulle gå igen. Omvandlingen av dessa monster till dagens betydligt mer charmfulla bekantskaper – till exempel greve Dracula och Edward Cullen i Twilight – inleddes först under romantiken på 1800-talet.I detta avsnitt av podden Harrisons dramatiska historia samtalar Dick Harrison, professor i historia vid Lunds universitet, och fackboksförfattaren Katarina Harrison Lindbergh om vampyrer i historia och folklore.Bild: Vampyr II av Edvard Munch, 1895, public domain Munchmuseet, Oslo.Klippare: Emanuel Lehtonen Hosted on Acast. See acast.com/privacy for more information.

Vor uns liegt der Fjord, hinter uns eine Weltmetropole mit Herz - Oslo ist einmalig. Seine Nähe zur riesigen Natur Norwegens, seine phantastische Restaurant- und Bar-Szene, seine coolen Parks und schönen Viertel, sein phantastisches Opernhaus und das Museum zu einem der wichtigsten Maler überhaupt: Edward Munch ("Der Schrei"). Ein Tag? Ein Wochenende? Ein ganzes Jahr? Alles können wir uns in dieser Stadt vorstellen. Die Wege sind kurz, alles ist zu Fuß machbar, und wenn es schneller gehen muss, gibt es ein perfektes Nahverkehrssystem. Hinzu kommt eine wirklich einmalige Kulinarik. Zwischen Street Food und Fine Dining bietet Oslo das Beste vom besten - inklusive nordischem Einfluss, regionaler Küche und ganz viel Charakter. Von Menschen, die eine Idee von Stadt Leben, die etwas in uns hinterlassen hat. Nur Oslo kann so sein. Kommt mit!–Unsere Werbepartner findet ihr hier.Kommt zu unserer LIVE-Show:11.4.2026 Mannheim (SWR Podcastfestival)Tickets gibt es HIER.Jetzt den exklusiven Newsletter abonnieren unter reisenreisen.infoMehr Reisen Reisen gibt es bei Instagram –Opernhaus OsloDas ikonische Opernhaus direkt am Wasser wirkt wie eine begehbare Landschaft aus weißem Stein. Man läuft über das Dach, schaut auf den Fjord und bekommt sofort ein Gefühl für die besondere Verbindung von Architektur und Natur in dieser Stadt.https://www.instagram.com/operaen_https://maps.google.com/?q=Oslo+Opera+HouseAker BryggeDas ehemalige Werftgelände ist heute eine lebendige Promenade mit Restaurants, Cafés und Blick aufs Wasser. Besonders abends entsteht hier eine entspannte Stimmung zwischen Stadtleben und Fjord.https://maps.google.com/?q=Aker+Brygge+OsloMunch MuseumEin modernes Museum direkt am Wasser, das sich ganz dem Werk von Edvard Munch widmet. Der Bau selbst ist schon ein Statement, innen verbindet sich Kunst mit einer besonderen Ruhe.https://www.instagram.com/munchmuseum/https://maps.google.com/?q=MUNCH+Museum+OsloVigeland ParkEin weitläufiger Park mit beeindruckenden Skulpturen, die menschliche Emotionen und Beziehungen darstellen. Ein Ort, an dem man sich treiben lassen kann und immer wieder neue Details entdeckt.https://maps.google.com/?q=Vigeland+Park+OsloBarcode ViertelModerne Architektur direkt am Wasser, geprägt von schmalen, unterschiedlich hohen Gebäuden. Ein spannender Kontrast zur ruhigen Natur rund um Oslo und ein Symbol für die Entwicklung der Stadt.https://maps.google.com/?q=Barcode+Oslo Hosted on Acast. See acast.com/privacy for more information.

durée : 00:58:54 - Allons-y voir ! - par : Patrick Boucheron - Il a inspiré Edvard Munch, Rascar Capac et même l'emoji peur. Près de 150 ans après sa découverte, comment se tenir face au corps recroquevillé et parcheminé de l'homme Chachapoya, face au vide de ses yeux et à son cri, terrible et silencieux ? Comment réhumaniser les restes humains ? - réalisation : Laurence Millet - invités : Pascal Sellier Médecin et anthropologue, directeur de recherche au CNRS.; Aline Thomas Archéoanthropologue, enseignant-chercheur au MNHN dans l'équipe anthropologie évolutive; Giulia Puma Historienne de l'art italien de la Renaissance; Mathieu Potte-Bonneville Philosophe et directeur du département Culture et création du Centre Pompidou

Fluent Fiction - Norwegian: Discovering Inspiration: A Winter's Tale in Munchmuseet Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2026-02-27-23-34-02-no Story Transcript:No: Det var en kald vinterdag i Oslo.En: It was a cold winter day in Oslo.No: Snøen falt mykt utenfor vinduene, og den stille museumsgangen var som en oase midt i byens kjas og mas.En: The snow fell softly outside the windows, and the quiet museum hallway was like an oasis amidst the city's hustle and bustle.No: Sindre, en nysgjerrig og kunstnerisk tenåring, gikk med klassen sin på en skoletur til Munchmuseet.En: Sindre, a curious and artistic teenager, went with his class on a school trip to the Munchmuseet.No: Han følte seg litt underlegen blant klassekameratene sine, som var mer interesserte i matematikk og naturfag.En: He felt a bit inferior among his classmates, who were more interested in math and science.No: Museet var fullt av Edvard Munchs malerier, hver med sine egne historier og følelser.En: The museum was full of Edvard Munch's paintings, each with its own stories and emotions.No: Sindre kjente alltid et spesielt bånd til Munchs verk.En: Sindre always felt a special connection to Munch's work.No: Han ønsket å finne inspirasjon for et kunstprosjekt på skolen, å bevise for seg selv og de andre at han kunne skape noe meningsfylt.En: He wanted to find inspiration for a school art project, to prove to himself and others that he could create something meaningful.No: Da gruppen begynte den planlagte omvisningen, bestemte Sindre seg for å gå sin egen vei.En: When the group began the planned tour, Sindre decided to go his own way.No: Han ville oppleve kunsten uten distraksjoner.En: He wanted to experience the art without distractions.No: Ane, en praktisk og fokuserte klassekamerat av Sindre, la merke til hans fravær.En: Ane, a practical and focused classmate of Sindre, noticed his absence.No: Hun ble litt bekymret og bestemte seg for å lete etter ham.En: She became a bit concerned and decided to look for him.No: Sindre vandret alene, og lyset i museet kastet milde skygger over de store hallene.En: Sindre wandered alone, and the light in the museum cast gentle shadows over the large halls.No: Snøfnugg danset utenfor vinduet, og han mistet seg selv i maleriene.En: Snowflakes danced outside the window, and he lost himself in the paintings.No: Etter en stund stod han foran et spesielt maleri.En: After a while, he stood in front of a particular painting.No: Han stirret, fascinert, på Edvard Munchs "Skrik".En: He stared, fascinated, at Edvard Munch's "Skrik".No: Noe dypt inne i maleriet snakket til ham.En: Something deep within the painting spoke to him.No: For første gang følte han at hans følelser og tanker var forstått.En: For the first time, he felt that his feelings and thoughts were understood.No: Maleriet ga ham en følelse av validasjon og selvtillit.En: The painting gave him a sense of validation and confidence.No: Ane fant ham akkurat i det øyeblikket.En: Ane found him at that very moment.No: Hun sto stille og respekterte hans kontemplasjon.En: She stood still, respecting his contemplation.No: Uten ord visste hun hvor viktig dette var for ham.En: Without words, she knew how important this was to him.No: "Fant du det du lette etter?En: "Did you find what you were looking for?"No: " spurte Ane forsiktig.En: Ane asked gently.No: "Ja," svarte Sindre med et lite smil.En: "Yes," Sindre replied with a small smile.No: "Jeg vet hva jeg vil lage nå.En: "I know what I want to create now."No: "De vendte tilbake til gruppen.En: They returned to the group.No: Utad hadde lite forandret seg.En: Outwardly, little had changed.No: Men inni dem, var noe nytt og vakkert født.En: But inside them, something new and beautiful had been born.No: Sindre følte en ny styrke i seg selv, og Ane begynte å se kunst med nye øyne, verdsatt for mer enn bare sin praktiske verdi.En: Sindre felt a new strength in himself, and Ane began to see art with new eyes, appreciated for more than just its practical value.No: Sammen hadde de opplevd en liten transformasjon, drevet av kunstens tidløse kraft.En: Together, they had experienced a small transformation, driven by the timeless power of art.No: Når de forlot museet, visste de at de aldri ville glemme denne dagen.En: As they left the museum, they knew they would never forget this day.No: Det var et stille bånd mellom dem, en forståelse uten behov for ord.En: There was a silent bond between them, an understanding without the need for words.No: Vinterdagen rullet videre, men for Sindre og Ane, hadde noe dyrebart allerede begynt.En: The winter day continued on, but for Sindre and Ane, something precious had already begun. Vocabulary Words:inferior: underlegencurious: nysgjerrighustle and bustle: kjas og masoasis: oasecontemplation: kontemplasjonvalidation: validasjonartistic: kunstneriskinspiration: inspirasjondistracted: distraksjonerpractical: praktiskfocused: fokuserteconcerned: bekymretwandered: vandretgentle: mildeshadows: skyggersnowflakes: snøfnuggfascinated: fascinertconfidence: selvtillitrespecting: respektertetransformation: transformasjontimeless: tidløseunderstanding: forståelsebond: båndprecious: dyrebartteenager: tenåringpaintings: malerierstories: historieremotions: følelserprove: beviseschool trip: skoletur

1917 reist Richard Strauss mit dem Bariton Franz Steiner für Liederabende nach Skandinavien. Am 23. Februar begegnet er in Oslo dem Maler Edvard Munch. Als er seine Bilder sieht, erkennt er: Der Mann ist genial.

Probst, Carsten www.deutschlandfunk.de, Kultur heute

Probst, Carsten www.deutschlandfunkkultur.de, Fazit

The first Art Basel Qatar art fair is now open in Qatar's capital, Doha, and The Art Newspaper's art market editor, Kabir Jhala, joins Ben Luke to discuss its impact, as well as reflecting on the wider artistic outlook in Qatar and the Middle East. The author of a new catalogue raisonné of the work of Albrecht Dürer argues that a painting of the artist's father in the National Gallery in London, long thought to be a copy after Dürer's original, is in fact an autograph work. Our special correspondent in London, Martin Bailey, tells us about the arguments for and against its authenticity. And this episode's Work of the Week is actually a pair of works. That is because there is a compelling double header opening at the Albertinum in Dresden this weekend, the exhibition Paula Modersohn-Becker and Edvard Munch: The Big Questions of Life. The exhibition's co-curator Andreas Dehmer discusses Selbstbildnis mit Hand am Kinn or Self-Portrait with Hand on Chin (1906) by Modersohn-Becker and Vampir or Vampire (1895) by Munch with our digital editor, Alexander Morrison.Art Basel Qatar continues until Saturday, 7 February.Christof Metzger, Albrecht Dürer: The Complete Paintings. Selected Drawings and Prints, Taschen, £175 (hb)Paula Modersohn-Becker and Edvard Munch: The Big Questions of Life, Albertinum, Dresden, 8 February-31 May.To buy The Art Newspaper's guidebook The Year Ahead 2026, an authoritative look at the year's unmissable art exhibitions, museum openings and significant art events, visit theartnewspapershop.com. £14.99 or the equivalent in your currency. Hosted on Acast. See acast.com/privacy for more information.

Jugend und Alter, Mutterschaft, Krankheit, Alter und Tod: Paula Modersohn-Becker und Edvard Munch gingen in ihrer künstlerischen Arbeit zentralen Fragen des Lebens nach. Erstmals wird beider Werk im Dialog gezeigt.

Nytt poddavsnitt ute! Vi har spanat in utställningar vi drömmer om att se under 2026 – i Norden, Europa och också en i USA. Det blir allt från renässansens perfektion till performance, konst i industrimiljöer och verk som nästan aldrig lämnar sina museer.I Norden tar vi upp Basquiat – Headstrong på Louisiana i Danmark, en utställning som fokuserar på Jean-Michel Basquiats teckningar på papper från början av 1980-talet. I Oslo visas Edvard Munch & The Chocolate Factory på MUNCH, där de målningar som Munch gjorde för Freias chokladfabrik 1923 presenteras tillsammans med skisser och arkivmaterial. I Sverige finns den fasta installationen Tidens rum – Vadstena klosterkyrka 1470 på Sancta Birgitta Klostermuseum, där kyrkorummet visualiseras med hjälp av ljud, bild och digital teknik.I Europa pratar vi om Van Eyck: The Portraits på National Gallery i London, där alla Jan van Eycks bevarade porträtt visas samlade. I Florens visas Rothko in Florence på Palazzo Strozzi med två satellitutställningar, där Mark Rothkos måleri sätts i relation till den italienska konsttraditionen. På Musée d'Orsay i Paris arrangeras Mary Cassatt: The Choice of Independence, en utställning som samlar målningar, pasteller och grafik från hela hennes karriär. I Rom visas Cartier and Myths på Kapitolinska museerna, där Cartiers smycken presenteras i dialog med antikens bildvärld.I USA tar vi upp Raphael: Sublime Poetry på The Metropolitan Museum of Art i New York, den första heltäckande presentationen av Raphael som har visats i USA, med verk inlånade från samlingar i Europa och Nordamerika.Lyssna om du vill få reslust, konstlust och en lista att spara inför 2026. Finns där poddar finns eller via link i bio!Support till showen http://supporter.acast.com/konsthistoriepodden. Hosted on Acast. See acast.com/privacy for more information.

Where in the world am I? In San Diego, talking about Oslo Part 1 Welcome back to the  Dr. Mary Travelbest Guide podcast. I had my second solo  90-day journey around the world, and I'm excited to connect with fellow travelers and share experiences. The FAQ is from Amara, who wants to travel more. She asked: How can I plan a trip like you do, Dr. Travelbest? Would I love to take some of the trips you have been on? I'm not sure where to start. I hear a lot from YOU, but how do I do it? Answer: Getting started is like this. Take small trips until you build up your travel muscles. I met a woman yesterday named Teresa who said she needs to read my books and here's why.. She's a single woman in her 70s and relies on her grown children for travel assistance. But they don't always want to go on the same trips as mom. So Teresa needs to manage her travel. I also think she needs to organize her phone apps so she can find the ones she needs quickly. If this is you, stick around. Some of this will flow into your DNA. I know it.   60-second confidence challenge Your challenge today is to plan a Step One Trip. That means you spend the night in a new city, by yourself. You book your room, meals, and itinerary yourself. You come home the next day, refreshed and confident that you can do anything! One night of travel can reset your travel confidence.   If you like today's Confidence Challenge, my book series delves deeper into Step 1 travel. Never heard of it? You will. It's been tried, tested, and trusted since 2020. You can find the series at the link in the description.    See Book A for addressing this concern..  Find it on the website​​ at https://www.5stepstosolotravel.com/ or on Amazon. It's a several-part series. Today's special destination is Oslo, Norway, Part 1, the intro of Oslo. Today we're heading north — to Oslo, Norway, a city surrounded by fjords and forests. Oslo is one of Europe's most accessible and progressive capitals, offering a calm, safe, and modern environment — perfect for solo women travelers over 50, including those using wheelchairs or mobility aids. Norway is a stunning country with a vibrant population of around 5 million, comparable to Montana's population and area, stretching over 142,000 square miles. The current exchange rate is favorable at $10 USD for 10.1 NOK, making it an exciting time to explore this beautiful land! The renowned Hurtigruten line makes it easy to connect with major cities and highlights throughout the region. There are so many incredible places to visit, including these: - Hammerfest - The breathtaking Svalbard and the Lofoten Islands - Crossing the Arctic Circle and visiting Trondheim—particularly special for Karin - The scenic Flåm Railroad - The unique Vigeland Sculpture Park - The fascinating Fram Museum - Tasty cloudberries - The architectural marvel of the Oslo Opera House - The Well spa, a relaxing retreat at just $65 per day, open from 10 AM to 10 PM, and includes food - Convenient Bus 81 for easy travel Italian traveler Julius highly recommends the Paradox optical illusions exhibit in Oslo—what a fun experience! Additional must-see spots include: https://www.paradoxmuseumoslo.com/en/ - An impressive castle - The immersive Vikings exhibit that captivated Debbie and Erik from Toronto, Canada, whom I had the pleasure of meeting on the train and spending the better part of the day with. https://www.science.org/content/article/thousand-year-old-viking-fortress-reveals-technologically-advanced-society   - The Bergen Hurtigruten line - Stunning views of the Skagerrak Strait - Enchanting Troll Forest - The magical Aurora Domes - An informative visit to Oslo City Hall and the Nobel Peace Center - The enchanting Munch Museum featuring "The Scream." - The lovely Bygdøy neighborhood You pronounce Bygdøy (a peninsula in Oslo) roughly as "BIG-day" (or "BIG-oy"), with the 'y' sounding like the 'i' in 'big' or 'ee' in 'see', and the 'ø' sounding like the 'i' in 'bird' or the 'u' in 'fur', making it close to 'BIG-doy' or 'BÜGD-oy' in Norwegian, but 'Big-Day' is a common English approximation.    For an unforgettable adventure, the "Norway in a Nutshell" tour can be completed in just 2 to 3 days.    Don't miss the dazzling Lofoten Islands, the majestic western fjords, and the charming Longyearbyen in Svalbard, along with Trondheim! Get ready for a fantastic journey through Norway! . - Library - Ibsens Gate - Tysnes Festival: A nearby island with many summer music events. People in Norway typically take two months of vacation. Education and healthcare are publicly funded through high taxes, which support strong economic conditions.  Activities and locations: - Cable car to Mt. Ulriken - Royal Gamlehaugen Castle and Park - Kayaking On my First Day in Oslo, I arrived at the Train station and found my hostel on Karl Lagerfeldsgate Street - Oslo K7 Hostel:  There were minor issues, such as being under construction, but it wasn't a bad experience. My initial Activities included: - Swimming in the sea with Nina from South Korea - Visiting the Opera House, the Munch Museum, and the library - Tasting hot dogs and even shopping for underwear. https://www.visitnorway.com/places-to-go/eastern-norway/oslo/oslo-opera-house/   Art, Architecture, and the Waterfront Start your day at the Oslo Opera House, an architectural masterpiece that rises from the fjord like a glacier. The sloping white roof is fully wheelchair-accessible, with gentle ramps leading to panoramic views of the harbor and the city skyline—a truly unique experience. https://www.visitoslo.com/en/articles/the-harbour-promenade/   From there, take a leisurely roll or stroll along the Harbor Promenade, a flat, scenic walkway that connects many of Oslo's major attractions. Stop by the MUNCH Museum, dedicated to artist Edvard Munch, whose "The Scream" is on display here. The museum is fully accessible with wide galleries, elevators, and a riverside café for a light lunch. https://www.munch.no/en/   In the afternoon, visit Akershus Fortress. While some cobblestone areas can be uneven, the main paths and museum sections are accessible, and the views of the Oslofjord are worth the effort. End your first day at Aker Brygge (BRU-geh), a lively waterfront district filled with accessible restaurants and outdoor seating for watching the sunset. Brygge, spelled, B R Y …..(Norwegian/Danish for "jetty" or "quay") is pronounced roughly like "BRÜ-geh" (German ü sound, short 'e' at the end) in Norwegian or "BRŒK-eh" (like 'brok' with a soft 'eh' sound) in Danish, involving a rolled 'r' and a rounded vowel, similar to the start of "burger" but with a distinct "oo" or "uh" vowel sound before the 'g' and 'e'.  https://www.visitoslo.com/en/activities-and-attractions/boroughs/aker-brygge-tjuvholmen/ My missteps: High prices were not expected I was not fully prepared for the high costs of dining and transportation in one of Europe's priciest cities. Many travelers like me mistakenly expect prices to match other European capitals. To make the most of my time, I purchased a 24-hour Oslo Pass for convenient access to public transport and popular attractions. Plus, I used a refillable water bottle and enjoyed picnic meals from local grocery stores and bakeries.        Connect with Dr. Travelbest 5 Steps to Solo Travel website Dr. Mary Travelbest X Dr. Mary Travelbest Facebook Page Dr. Mary Travelbest Facebook Group Dr. Mary Travelbest Instagram Dr. Mary Travelbest Podcast Dr. Travelbest on TikTok Dr.Travelbest onYouTube In the news  

Fluent Fiction - Norwegian: Finding Connection: A Journey Through Oslo's National Gallery Find the full episode transcript, vocabulary words, and more:fluentfiction.com/no/episode/2026-01-10-08-38-20-no Story Transcript:No: På den kalde vinterdagen hadde Nationalmuseet i Oslo en spesiell energi.En: On the cold winter day, the Nationalmuseet in Oslo had a special energy.No: Snøfnuggene dalte sakte ned utenfor, og dannet et mykt teppe over byens gater.En: Snowflakes fell slowly outside, forming a soft blanket over the city's streets.No: Inne var det travelt.En: Inside, it was busy.No: Elever fra forskjellige skoler gikk rundt i de store salene, hvor tidens kunstverk snakket ulike språk gjennom sine skiftende stiler og farger.En: Students from different schools walked around in the large halls, where works of art from different times spoke various languages through their shifting styles and colors.No: Sigrid gikk stille bak gruppen sin.En: Sigrid walked quietly behind her group.No: Hun var i sitt rette element her, omgitt av kunstverk som rørte ved hjertet hennes.En: She was in her element here, surrounded by artworks that touched her heart.No: Selv om hun elsket å være blant maleriene, følte hun ofte at hun var for seg selv, selv i mengden.En: Even though she loved being among the paintings, she often felt alone, even in a crowd.No: Ved siden av henne gikk Eirik.En: Next to her walked Eirik.No: Han var åpen og pratsom, og han kjente nok de fleste i klassen.En: He was open and talkative, and he probably knew most of the class.No: Eirik snakket om dette og hint, men Sigrid lyttet ikke.En: Eirik talked about this and that, but Sigrid wasn't listening.No: Hun drømte seg bort i et landskap av farger og penselstrøk.En: She was dreaming herself away in a landscape of colors and brushstrokes.No: Da de kom til en stor sal, stoppet Sigrid.En: When they reached a large hall, Sigrid stopped.No: Foran henne hang et maleri som fanget hennes oppmerksomhet.En: In front of her hung a painting that captured her attention.No: Det var et uttrykk for kaos og følelsesladet intensitet.En: It was an expression of chaos and emotional intensity.No: Det var som om maleriet snakket til hennes innerste tanker.En: It was as if the painting spoke to her innermost thoughts.No: Det var et snev av Melankoli av Edvard Munch, og hun følte at det speilet hennes egen verden.En: There was a hint of Melankoli by Edvard Munch, and she felt that it mirrored her own world.No: Eirik la merke til at Sigrid hadde stoppet opp.En: Eirik noticed that Sigrid had stopped.No: "Hva ser du på?" spurte han nysgjerrig.En: "What are you looking at?" he asked curiously.No: Sigrid nølte.En: Sigrid hesitated.No: Hun kjempet med seg selv.En: She was struggling with herself.No: Ønsket hun å dele det hun følte?En: Did she want to share what she felt?No: Hva ville Eirik si?En: What would Eirik say?No: Ville han forstå?En: Would he understand?No: Hun tok et dypt pust.En: She took a deep breath.No: "Dette maleriet," begynte hun, "det minner meg om... om hvordan jeg noen ganger føler meg isolert, selv når jeg er rundt andre."En: "This painting," she began, "it reminds me of... of how I sometimes feel isolated, even when I'm around others."No: Ordene kom forsiktig, nesten som en hvisken.En: The words came cautiously, almost like a whisper.No: "Det er som om Munch forstår det."En: "It's as if Munch understands that."No: Eirik så på maleriet, så tilbake på Sigrid og nikket sakte.En: Eirik looked at the painting, then back at Sigrid and nodded slowly.No: "Det er interessant," sa han, "jeg tror jeg skjønner hva du mener.En: "That's interesting," he said, "I think I understand what you mean.No: Det får meg til å tenke på hvordan ting kan være overveldende, men samtidig vakre."En: It makes me think about how things can be overwhelming, yet beautiful at the same time."No: Sigrid smilte forsiktig.En: Sigrid smiled gently.No: Det var første gang hun hadde delt noe så personlig med en klassekamerat, og det hadde ikke vært så skummelt som hun hadde trodd.En: It was the first time she had shared something so personal with a classmate, and it hadn't been as scary as she had thought.No: Eirik lyttet virkelig, og det var som å åpne en dør hun ikke visste fantes.En: Eirik really listened, and it was like opening a door she didn't know existed.No: De gikk videre gjennom museet, side om side, og delte små betraktninger om kunstverkene de så.En: They continued through the museum, side by side, sharing small observations about the artworks they saw.No: Sigrid oppdaget at det å dele sine tanker gjorde alt mye rikere.En: Sigrid discovered that sharing her thoughts made everything much richer.No: Hun innså at hun, ved å åpne seg opp, kunne skape bånd og finne fellesskap hun aldri før hadde opplevd.En: She realized that by opening up, she could create bonds and find a sense of community she had never experienced before.No: Utenfor dalte snøen fortsatt, men inne var Sigrid fylt med en ny følelse av tilknytning.En: Outside, the snow still fell, but inside Sigrid was filled with a new sense of connection.No: Hennes indre verden var ikke lenger en ensom plass; den var et sted for dialog og oppdagelse, og i dag hadde det kunnet begynne med et enkelt maleri.En: Her inner world was no longer a lonely place; it was a space for dialogue and discovery, and today it had been able to begin with a single painting. Vocabulary Words:snowflakes: snøfnuggeneblanket: teppehalls: saleneartworks: kunstverkshifting: skiftendetalkative: pratsomlandscape: landskapbrushstrokes: penselstrøkchaos: kaosemotional: følelsesladetintensity: intensitethint: snevmirrored: speiletcuriously: nysgjerrighesitated: nøltewhisper: hviskenoverwhelming: overveldendegently: forsiktigscary: skummeltdoor: dørobservations: betraktningercommunity: fellesskapconnection: tilknytningspace: plassdialogue: dialogdiscovery: oppdagelseshare: deleattention: oppmerksomhetinnermost: innerstecautiously: forsiktig

It's a new year, so why not start it off with a new constructor? That may or may not be Will's reasoning, but today's crossword is indeed a debut for Topher Booth, and it is an auspicious beginning. We were keen on the theme (and yes, there's a trace of a pun there), and found the rest of the clues to be just right for a Thursday. Apart from those mentioned in the podcast, we'd like to salute 47A, Prefix with genetics, EPI (ok, if you say so!); 54D, Kind of wind ... or an alternative to wind, SOLAR (brilliant!); and 46D, "Sit!", PARKIT (

El Patronato del Museo Picasso Málaga aprobó recientemente su programación expositiva para el 2026. Podremos ver confrontados con Picasso a figuras esenciales del arte moderno y contemporáneo como Edvard Munch, Elena Asins, Joana Vasconcelos y Miquel Barceló. Para conocer más detalles entrevistamos al director del Museo, Miguel López Remiro. Escuchar audio

On today's episode, an episode from our friends at Sotheby's exploring the remarkable collection of Leonard A. Lauder, one of the greatest collectors and benefactors of the arts in America. At its centre is Gustav Klimt's celebrated Portrait of Elisabeth Lederer, alongside works by Henri Matisse, Edvard Munch, Vincent Van Gogh and other luminaries of modern art. Ahead of Sotheby's landmark sale of this extraordinary collection this October, Curatorial and Collections Director at the National Portrait Gallery Flavia Frigeri, Sotheby's Chairman Impressionist and Modern Art Worldwide Helena Newman, and award-winning author James Stourton will join Director of Sir John Soane's Museum Will Gompertz for a special discussion. Together they will explore Klimt's enduring allure – from his luminous portrait of Elisabeth Lederer to the lyricism of the Attersee landscapes – as well as Leonard Lauder's vision and insights into his once-in-a-generation collection. This podcast was recorded at Sotheby's London in October 2025. And, to step further into the world of Sotheby's, you can visit any of our galleries around the world; they're open to the public. For more information, visit Sothebys.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Agradece a este podcast tantas horas de entretenimiento y disfruta de episodios exclusivos como éste. ¡Apóyale en iVoox! Episodio exclusivo para suscriptores de Se Habla Español en Apple Podcasts, Spotify, iVoox y Patreon: Spotify: https://open.spotify.com/show/2E2vhVqLNtiO2TyOjfK987 Patreon: https://www.patreon.com/sehablaespanol Buy me a coffee: https://www.buymeacoffee.com/sehablaespanol/w/6450 Donaciones: https://paypal.me/sehablaespanol Contacto: sehablaespanolpodcast@gmail.com Facebook: www.facebook.com/sehablaespanolpodcast Twitter: @espanolpodcast Hola, ¿cómo va todo? Por aquí ya nos estamos preparando para el frío, porque hace un año empezó justo en noviembre, aunque más bien en la segunda mitad del mes. Pero bueno, si la temperatura es parecida a la que tuvimos entonces, no está mal. Hizo mucho frío comparado con Madrid, pero nada del otro mundo. Con ropa de abrigo se arregla todo. Así que, me conformo con que este año sea más o menos igual. En cuanto a la noticia de hoy, está relacionada con lo que sucedió hace poco en el Museo del Louvre de París. No sé si lo habrás visto en las noticias. Si no es así, te lo cuento. Bueno, en realidad, te lo iba a contar igualmente. Para eso estoy aquí. Bueno, el caso es que el domingo 19 de octubre, a plena luz del día y mientras el museo del Louvre estaba abierto al público, cuatro ladrones disfrazados de obreros accedieron al interior de una sala del museo utilizando un montacargas. Un montacargas es un ascensor que se utiliza para subir y bajar cosas pesadas, de mucho peso. Pues bien, en apenas siete minutos, los ladrones se llevaron ocho joyas de la Corona francesa, entre ellas una diadema de perlas que perteneció a la emperatriz Eugenia y un conjunto de collar y pendientes de zafiros de la reina María Amelia. Y luego, durante la huida, dejaron caer una corona que resultó dañada. El valor estimado del botín supera los 88 millones de euros. Por si no lo sabes, en este contexto, el botín es la cantidad de dinero robada. Por ejemplo, los ladrones que robaron el banco se llevaron un botín de 1 millón de euros. Volviendo a la noticia del Louvre, la policía francesa ha detenido ya a varios sospechosos. Sin embargo, las joyas aún no han sido recuperadas. Bueno, eso es lo que pasó en París, pero yo siempre suelo hablarte de algo ocurrido en España. Y, como te decía antes, guarda cierta relación con el robo de las joyas francesas, aunque no es igual, ni mucho menos. Te hablo de la desaparición de un cuadro del pintor Pablo Picasso. Y antes de escuchar la noticia, como hago siempre, voy a darte algo de contexto. Y en este caso tengo que hablarte del autor de la obra desaparecida. Pablo Picasso nació en Málaga en 1881, y fue uno de los creadores del cubismo, un estilo que revolucionó el arte en el siglo XX. Además de pintar, también trabajó en escultura, cerámica, grabado y diseño teatral. Vivió gran parte de su vida en Francia y dejó un legado inmenso, con obras muy famosas como el Guernica o Las señoritas de Avignon. La obra de la que hablaremos hoy se titula Naturaleza muerta con guitarra, pintada en 1919. Es una composición de objetos cotidianos, como una guitarra y una botella, representados con formas geométricas y colores planos, típica del estilo cubista. Aunque no es una de sus piezas más conocidas, tiene un gran valor artístico y económico. Por cierto, si alguna vez vienes a España y quieres ver obras de Picasso, puedes visitar el Museo Reina Sofía en Madrid, donde se encuentra el famoso Guernica; el Museo Picasso Málaga, en su ciudad natal, que alberga una colección variada de pinturas, cerámicas y dibujos; el Museo Picasso Barcelona, con más de 4.000 obras, especialmente de su etapa juvenil; y el Museo Thyssen-Bornemisza, también en Madrid, que expone algunas de sus obras dentro de su colección de arte moderno. Y dicho todo esto, ya estamos preparados para escuchar la noticia de Radio Nacional de España. Como te explicaba antes, trata sobre la desaparición del cuadro de Picasso Naturaleza muerta con guitarra. Escucha con atención y te sigo contando cosas. “Estamos ahora en Granada, donde debería estar expuesto un Picasso desaparecido, ‘Naturaleza muerta con guitarra', pintado en 1919, salió de Madrid para ser prestado. La Policía Nacional investiga el extravío o robo, María Martín. Sí, era una de las obras que iban a exhibirse en la muestra ‘Bodegón' de la Fundación Caja Granada, pero nunca llegó. En estos momentos, la Policía Nacional trata de averiguar dónde desapareció este pequeño cuadro de Pablo Picasso datado en 1919 y asegurado en 600.000 euros. Se sabe que el cuadro ‘Naturaleza muerta con guitarra' salió del inmueble del propietario en Madrid, después la pieza se trasladó al almacén de la empresa, que contaba con medidas de seguridad, y días después trasladaron esta y otras obras de arte en un furgón hasta Deifontes, donde los conductores hicieron noche. Se desconoce en qué punto desapareció. Lo que sí se sabe es que no llegó a Granada. La investigación sigue abierta y, por el momento, no hay detenciones.” Un caso extraño, ¿verdad? Bueno, pues luego te cuento qué pasó en realidad, porque entre el día que escuché la noticia y el día de la grabación de este episodio, ya se ha resuelto esa desaparición. Pero antes vamos con las palabras que pueden resultar más complicadas. Expuesto: Que está visible o mostrado al público, especialmente en una exposición o museo. Ejemplos: El cuadro estuvo expuesto en el Museo del Prado durante tres meses. Los documentos confidenciales no deben estar expuestos en lugares públicos. Extravío: Pérdida de algo, especialmente cuando no se sabe dónde está. Ejemplos: El extravío del paquete ocurrió durante el transporte. Se denunció el extravío de una obra de arte muy valiosa. Exhibir: Mostrar algo públicamente para que otros lo vean, especialmente en una exposición. Ejemplos: Van a exhibir esculturas de artistas jóvenes en la galería. El museo exhibe una colección de arte moderno. Muestra: Exposición o presentación de obras, productos o elementos para que sean vistos por el público. Ejemplos: La muestra de fotografía estará abierta hasta el domingo. En la muestra se incluyen obras de Picasso y Dalí. Datado: Que tiene una fecha asignada, especialmente en documentos u obras de arte. Ejemplos: El manuscrito está datado en el siglo XV. El cuadro está datado en 1919, poco después de la Primera Guerra Mundial. Asegurado: Que tiene un seguro que cubre su valor en caso de pérdida o daño. Ejemplos: El coche está asegurado contra robos y accidentes. La obra de arte estaba asegurada en 600.000 euros. Inmueble: Edificio o propiedad que no se puede mover, como una casa o un local. Ejemplos: El cuadro fue retirado del inmueble del propietario en Madrid. Compraron un inmueble en el centro de la ciudad para abrir una tienda. Furgón: Vehículo cerrado y grande usado para transportar mercancías o equipaje. Ejemplos: Las obras fueron trasladadas en un furgón con medidas de seguridad. El furgón llegó a la galería con varias cajas de arte. Hacer noche: Pasar la noche en un lugar durante un viaje. Ejemplos: Los conductores hicieron noche a mitad de camino antes de seguir a Granada. Vamos a hacer noche en Zaragoza y continuar el viaje mañana. Muy bien. Pues ahora tienes que entender todo lo que vamos a escuchar por segunda vez. “Estamos ahora en Granada, donde debería estar expuesto un Picasso desaparecido, ‘Naturaleza muerta con guitarra', pintado en 1919, salió de Madrid para ser prestado. La Policía Nacional investiga el extravío o robo, María Martín. Sí, era una de las obras que iban a exhibirse en la muestra ‘Bodegón' de la Fundación Caja Granada, pero nunca llegó. En estos momentos, la Policía Nacional trata de averiguar dónde desapareció este pequeño cuadro de Pablo Picasso datado en 1919 y asegurado en 600.000 euros. Se sabe que el cuadro ‘Naturaleza muerta con guitarra' salió del inmueble del propietario en Madrid, después la pieza se trasladó al almacén de la empresa, que contaba con medidas de seguridad, y días después trasladaron esta y otras obras de arte en un furgón hasta Deifontes, donde los conductores hicieron noche. Se desconoce en qué punto desapareció. Lo que sí se sabe es que no llegó a Granada. La investigación sigue abierta y, por el momento, no hay detenciones.” Te adelanto que la desaparición se ha resuelto y no han arrestado a nadie. Por lo tanto, ¿qué habrá pasado? Bueno, luego te lo cuento. Así mantengo el suspense, el misterio. Ahora voy a contarte la noticia con otras palabras. En la información nos dicen que en Granada debía presentarse una pintura de Pablo Picasso, pero que nunca llegó al lugar previsto. La obra, titulada Naturaleza muerta con guitarra y realizada en 1919, fue enviada desde Madrid como parte de un préstamo para una exposición artística. La Policía Nacional está intentando esclarecer si se trata de una pérdida accidental o de un posible robo. El cuadro iba a formar parte de una muestra organizada por la Fundación Caja Granada, pero no se encuentra en el sitio donde debía exhibirse. En la noticia nos cuentan que la pieza salió de la vivienda del propietario en Madrid, y que fue trasladada a las instalaciones de una empresa especializada en transporte de arte, una empresa que contaba con sistemas de seguridad, claro. Días después, se cargó el cuadro junto a otras obras en un vehículo cerrado y se dirigieron a una localidad que se llama Deifontes, donde los conductores pasaron la noche. El día que apareció la noticia no se había determinado en qué momento exacto se produjo la desaparición. Lo único confirmado es que nunca llegó a Granada. Seguro que estás dándole vueltas a la cabeza pensando en qué pasó realmente. Pues no te preocupes que te lo cuento en un minuto, justo después de volver a escuchar la noticia. “Estamos ahora en Granada, donde debería estar expuesto un Picasso desaparecido, ‘Naturaleza muerta con guitarra', pintado en 1919, salió de Madrid para ser prestado. La Policía Nacional investiga el extravío o robo, María Martín. Sí, era una de las obras que iban a exhibirse en la muestra ‘Bodegón' de la Fundación Caja Granada, pero nunca llegó. En estos momentos, la Policía Nacional trata de averiguar dónde desapareció este pequeño cuadro de Pablo Picasso datado en 1919 y asegurado en 600.000 euros. Se sabe que el cuadro ‘Naturaleza muerta con guitarra' salió del inmueble del propietario en Madrid, después la pieza se trasladó al almacén de la empresa, que contaba con medidas de seguridad, y días después trasladaron esta y otras obras de arte en un furgón hasta Deifontes, donde los conductores hicieron noche. Se desconoce en qué punto desapareció. Lo que sí se sabe es que no llegó a Granada. La investigación sigue abierta y, por el momento, no hay detenciones.” Venga, te lo cuento ya. En realidad, el cuadro de Picasso no desapareció y tampoco fue un robo, sino simplemente un olvido. La obra no llegó a ser cargada en el camión de transporte. De hecho, el cuadro se quedó dentro del edificio del propietario, porque los encargados de recogerlo lo olvidaron allí. Subieron al camión otras obras, pero no esa. Y el asunto se resolvió porque una vecina entró al edificio, vio un paquete en el suelo y se lo subió a su casa pensando que era de Amazon. Así de sencillo. Qué cosas pasan, ¿verdad? En este caso, el cuadro de Picasso no se perdió. Pero a lo largo de la historia, muchas obras de arte han sido robadas o han desaparecido misteriosamente. Uno de los robos más famosos fue el de La Gioconda, también conocida como La Mona Lisa, de Leonardo da Vinci. En 1911, un empleado del Museo del Louvre se llevó la pintura escondida bajo su abrigo. El cuadro fue recuperado dos años después, pero durante la investigación incluso se llegó a interrogar a Picasso como sospechoso. Otro caso emblemático es el de El grito, del noruego Edvard Munch. Esta obra fue robada dos veces: la primera en 1994 y la segunda en 2004. Afortunadamente, en ambas ocasiones se pudo recuperar. También está el robo en el Museo Gardner de Boston, en 1990, donde desaparecieron once obras maestras de artistas como Rembrandt, Vermeer y Degas, valoradas en más de 100 millones de euros. Hasta hoy, muchas de esas piezas siguen sin aparecer. Incluso el propio Picasso ha sido víctima de robos auténticos. En 2010, su obra La paloma con guisantes verdes fue sustraída en París y aún no ha sido recuperada. Bueno, por suerte, la noticia de hoy ha terminado con final feliz, y espero que te haya servido para aprender cosas nuevas del español y del artista Pablo Picasso. Y antes de despedirme, vamos a repasar las palabras y expresiones que hemos visto hoy en detalle: Expuesto: Que está visible o mostrado al público, especialmente en una exposición o museo. Extravío: Pérdida de algo, especialmente cuando no se sabe dónde está. Exhibir: Mostrar algo públicamente para que otros lo vean, especialmente en una exposición. Muestra: Exposición o presentación de obras, productos o elementos para que sean vistos por el público. Datado: Que tiene una fecha asignada, especialmente en documentos u obras de arte. Asegurado: Que tiene un seguro que cubre su valor en caso de pérdida o daño. Inmueble: Edificio o propiedad que no se puede mover, como una casa o un local. Furgón: Vehículo cerrado y grande usado para transportar mercancías o equipaje. Hacer noche: Pasar la noche en un lugar durante un viaje. Si alguna vez haces noche en Madrid, recuerda que puedes ver algunas obras de Picasso en varios museos de la capital. No dejes pasar esa oportunidad. Por mi parte, es todo por hoy. Te agradezco mucho que sigas ahí apoyándome y te espero la próxima semana con más contenido exclusivo solo para ti. Adiós. Escucha este episodio completo y accede a todo el contenido exclusivo de Se Habla Español. Descubre antes que nadie los nuevos episodios, y participa en la comunidad exclusiva de oyentes en https://go.ivoox.com/sq/171214

Filosof Einar Duenger Bøhn gjester Minervapodden for å diskutere sin nye bok om Odd Nerdrum, og hvorfor det å være konservative er den nye punken. Avisen Minerva finansieres av våre abonnenter: Gå til Minerva.no/abonnement for å bidra til at vi kan fortsette å lage podkast. Minervapodden er produsert av Avisen Minerva. Ansvarlig redaktør: Nils August Andresen.

I am so excited to say that my guest on the GWA Podcast is one of the most exciting young painters working today, Eva Helene Pade. Born in Denmark in 1997, and based in Paris – where we are recording today – Pade is known for her rich and emotionally-charged, large-scale canvases populated with figures that morph in and out of abstraction. Often set in a dreamworld that can feel akin to being lost in a dance or state of unconsciousness, with fiery blazes and dark intense shadows, Pade's paintings exist in places beyond the realm of our world. They are full of ambiguity: as a viewer, you are unaware of whether they are in day or night, heaven or hell, if the figures are male or female, or set in an ancient world or contemporary life. Stylistically, Pade seems to borrow from a lineage of Northern European figurative artists, from Edvard Munch to Otto Dix, creating work akin surrealism or expressionism: artistic movements born out of a time of political tumult, yet exude freedom and liberation in their subject and handling of paint. This creates an interesting conversation about the state of the world vs then, and now. But she also goes further, imbuing her work with ancient stories and figures – such as Eve or maybe Ophelia – and stories, such as Stravinsky's The Rite of Spring, a ballet she was inspired by after seeing a performance choreographed by Pina Bausch, the influential German dancer. And like Bausch, Pade was drawn to rework the story from a female lens, which served as the foundation for her first ever museum show at Arken Denmark, opening just a year after she graduated from The Danish Royal Academy of Fine Arts in Copenhagen… Today, we meet Pade in her Paris studio on a very hot day ahead of a new exhibition of paintings that opens at Thaddeaus Ropac in London in October, and I can't wait to find out more… Exhibition: https://ropac.net/exhibitions/764-eva-helene-pade-sgelys/ -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

Send us a textDescription: An immersive viewing of The Scream by Edvard Munch with reflection on fear, jaundice, aliens and anxiety.  Website:https://anauscultation.wordpress.comWork: By Edvard Munch - National Museum of Art, Architecture and Design, Public Domain, https://commons.wikimedia.org/w/index.php?curid=69541493  References:Friedlaender GE, Friedlaender LK. Edvard Munch and The Scream: A Cry for Help. Clin Orthop Relat Res. 2018 Feb;476(2):200-202. Rosenblum, Robert (1978). "Introduction". Edvard Munch: Symbols & Images (PDF). Washington, D.C.: National Gallery of Art. p. 8. Finger S, Sirgiovanni E. The electrified artist: Edvard Munch's demons, treatments, and sketch of an electrotherapy session (1908-1909). J Hist Neurosci. 2024 Jul-Sep;33(3):241-274.https://lighthouse.mq.edu.au/article/please-explain/october-2023/please-explain-why-do-we-scream 

Ralph Gleis, Generaldirektor der Albertina, kuratiert mit Gothic Modern eine Ausstellung, die Kunst des Mittelalters und der Frührenaissance aus der Perspektive der Moderne neu entdeckt. In dieser Folge des WELTKUNST-Podcasts „Was macht die Kunst?“ spricht er mit Lisa Zeitz über das große Interesse von Künstlerinnen und Künstler der Moderne an gotischen Bildwelten, die Ambivalenzen moderner Lebenswelten um 1900 – und darüber, warum Hässlichkeit, Düsternis und existenzielle Gefühle zu dieser Zeit so sehr faszinierten. Ein Gespräch über Edvard Munch, Egon Schiele, Paula Modersohn-Becker und ihre Rezeption von Hans Baldung Grien, Lucas Cranach und Matthias Grünewald. Es geht um Totentänze, Leidenschaften und Tabus – und über die Aktualität eines ästhetischen Denkens, das tief in die Vergangenheit reicht. Der WELTKUNST-Podcast „Was macht die Kunst?“ wird in Partnerschaft mit Volkswagen Group Culture produziert.

Zwischen gewaltlosem Anarchismus und völkischer Esoterik bewegten sich die vom Okkultismus beeinflussten Künstlerinnen und Künstler der Jahrhundertwende – eine Zeit gefährlicher Ambivalenzen, die der unseren gar nicht so unähnlich ist. Mit Bildern von Gertrude Honzatko-Mediz, Edvard Munch und düsteren Landschaftsszenen, die der Schriftsteller August Strindberg malte.

SIIIIIIIIIIIIIIIIIIIIIIIIIM! Rubem Alves disse que “a beleza é a face visível de Deus”. O poeta, educador e teólogo via na beleza a manifestação e materialização do Deus invisível. Mas se Deus se manifesta através da beleza, existe um padrão estético mais próximo ou mais distante de Deus? O que achamos bonito ou feio pode interferir na forma como nos relacionamos com o divino ou nossos conceitos de beleza obedecem exclusivamente a padrões culturais humanos? PARTICIPANTES:– Hernani Correa– Rodrigo Quintã– Andreia Santos COISAS ÚTEIS:– Duração:01h00m06s– Feed do Crentassos: Feed, RSS, Android e iTunes: crentassos.com.br/blog/tag/podcast/feed Para assinar no iTunes, clique na aba Avançado, e Assinar Podcast. Cole o endereço e confirme. Assim você recebe automaticamente os novos episódios.– Antigo Canal do Telescópio no Youtube CITADOS NO PROGRAMA:– Filme “Lilo & Stitch– Boneco Labubu– Álbum “Colcha de Retalhos” de Coletivo Candiero– Série “Lúcifer”– Isaías 53:2-4– Ezequiel 28:17-18– Cubismo– Pintura “O Grito” de Edvard Munch– Clipe “São Paulo” de Anitta e The Weeknd– Banda Slipknot– Beethoven– Banda For Today– Podcast “Arquitetura, Liturgia e Espaços de Fé | Podcrent 141 (com Pra. Cynthia Muniz e Marcio Lima)” REDES SOCIAIS DO CANAL TELESCÓPIO:– Facebook do Canal Telescópio– Twitter do Canal Telescópio– Instagram do Canal Telescópio GRUPOS DE COMPARTILHAMENTO DA CRENTASSOS:– WhatsApp– Telegram TRILHA SONORA DO PROGRAMA:– Trilhas de direito livre JABÁS: REDES SOCIAIS: Críticas, comentários, sugestões para crentassos@gmail.com ou nos comentários desse post. OUÇA/BAIXE O PROGRAMA:The post Estética | Telescópio 155 appeared first on Crentassos Produções Subversivas.

Reber, Simone www.deutschlandfunk.de, Kultur heute

May 7, 1994. Edvard Munch's painting The Scream is recovered undamaged after being stolen from the National Gallery of Norway. This episode originally aired in 2024.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Back on this in 1994 the iconic "Scream" painting by Edvard Munch was recovered three months after it had been stolen. The robbery occured on opening day of the Winter Olympics, which were being held in Norway that year. It was found three months later and four men connected with the theft were convicted in 1996.  

GBH executive arts editor Jared Bowen discusses an Edvard Munch exhibit at the Harvard Art Museum and Francis Ford Coppola at a 'Megalopolis' showing at the Coolidge Corner Theater.Patty Tahalongva is director, producer and writer of PBS Frontline's latest film "Alaska's Vanishing Native Villages." She joins via zoom to discuss the film, which follows the immediate impacts of climate change on indigenous communities forced to relocate.Naturalist and author Sy Montgomery talks about crows with math skills, booze-fueled feasts for wild chimps and the Cape Ann woodpecker.Former Suffolk County Sheriff Andrea Cabral on the Justice Department halting funds for victims of hate crimes and child abuse, and a new report from Harvard University report on antisemitism and Islamophobia on campus.

Biola University theology professor Thaddeus J. Williams has written a great book on living in today's culture titled, “Don't Follow Your Heart: Boldly Breaking The Ten Commandments of Self-Worship.” Williams enlightens readers, young and old, on how to identify the cultural lies we so easily believe, all of which are cultural lies that point us in the direction of worshipping and serving ourselves, rather than worshipping and serving God. Share these timely words from Williams with your kids: “ The more you worship yourself, the less you become your self. You become a shadow, a specter, and unself. The longer and deeper you stare into the mirror, looking for answers, the more it will feel like looking at Edvard Munch's “the Scream.” This is the strange paradox of self-worship. Why? It's simple. You were not designed to be the center point of your own psyche. You are not God. Self-deification is a bust.” Teach your children that have been made to worship God.

An artist's job is to create works that attract attention or evoke emotion -- a dramatic story, a colorful moment, or an inspiring person. It's no wonder that throughout history, painters and sculptors have chosen to depict Jesus; He makes great subject matter for art. Leonardo da Vinci, Michelangelo, Donatello, Rembrandt, and thousands more have helped us visualize the life, ministry, and miracles of Christ. Join Horizon for The Master's Touch as we examine some of history's greatest masterpieces and the powerful Biblical moments that inspired them.

An artist's job is to create works that attract attention or evoke emotion -- a dramatic story, a colorful moment, or an inspiring person. It's no wonder that throughout history, painters and sculptors have chosen to depict Jesus; He makes great subject matter for art. Leonardo da Vinci, Michelangelo, Donatello, Rembrandt, and thousands more have helped us visualize the life, ministry, and miracles of Christ. Join Horizon for The Master's Touch as we examine some of history's greatest masterpieces and the powerful Biblical moments that inspired them.

Samira Ahmed and guest critics - the novelist and anthropologist Tahmima Anam and Ben Luke from the Art Newspaper - give their verdict on the week's cultural releases. They've been to see Cate Blanchett in Anton Chekhov's play The Seagull at the Barbican Centre. The classic drama still features characters from Russian nobility – but it's given a modern-day treatment including VR headsets and quad bikes. They have also watched Sister Midnight, a film about a young bride called Uma who joins her husband in Mumbai but struggles to adapt to her new life and connect with the man she knew as a childhood friend. She wanders the streets, drawn to the moon and becomes an accidental outlaw.Also under consideration are portraits in an exhibition at the National Portrait Gallery by Edvard Munch – an artist best known for his painting The Scream. Plus we pay tribute to Five Star's Stedman Pearson who's died at the age of 60.Presenter: Samira Ahmed Producer: Claire Bartleet

What can the history of science tell us about the world we live in today and where we might be headed tomorrow? To find out, Dr. Charles Liu and co-host Allen Liu welcome historian of science Rebecca Charbonneau, PhD from the American Institute of Physics and the National Radio Astronomy Observatory with expertise in radio astronomy and the search for extraterrestrial intelligence (SETI). This episode kicks off with Allen and Chuck talking about January's Lunar Occultation of Mars. You can see a photo taken by Chuck on our YouTube Community tab. And then it's time for today's joyfully cool cosmic thing: a recent paper in the Astrophysical Journal Letters confirming there are galaxies that were fully formed just 400 million years after The Big Bang. Chuck, who studies galactic evolution, tells us why this changes our understanding of galaxy formation. Rebecca talks about how new ideas can be controversial and how personalities, politics and cultures can impact the evolution of science. She brings up the current controversy in astronomy concerning the locations of terrestrial telescopes and the tension between scientific and cultural imperatives. She also recounts seeing people in Russia wearing NASA t-shirts and explains how NASA understood the importance of controlling the narrative, even inviting Norman Rockwell to popularize the space program. Our first question comes from Pablo P. on Patreon, who asks, “Can humanity be destroyed by AI powered by quantum computing?” Rebecca explains how during the Cold War, scientists on both sides engaged in “science diplomacy” that helped lower tensions. She applies this thinking to AI, pointing out that while a “Terminator-like” scenario is unlikely, public concern is causing the tech world to confront and grapple with real threats from AI like biases in hiring algorithms. Allen, a mathematician who writes about AI professionally, addresses whether AI powered by quantum computing is more dangerous than AI in general. Rebecca shares the terrifying story of a Soviet nuclear submarine and the US navy during the Cuban Missile Crisis that nearly started a nuclear war. The dissenting actions of a single officer named Vasily Arkhipov made the difference, and she wonders if AI would have made the same decision based on the available data. For our next question, we return to our Pablo P. from Patreon for his follow up: “How [do] we answer the question about whether or not we are engaging in self-destructive behavior?” Chuck and Rebecca discuss the confluence of astronomy and the military, and how the history of the SETI program highlights their shared concerns. You'll find out what the Drake Equation has to do with concepts like The Great Filter. Science, she reminds us, is a tool to try to get closer to the truth, but it's not always perfect in pointing out whether what we're doing is safe or potentially self-destructive. Then we turn to Rebecca's other big passion, art history and the window into the human experience that art provides. Charles brings up The Scream by Edvard Munch and the fact that it's actually a depiction of a real atmospheric event. Rebecca talks the use of fractal studies to determine the authenticity of Jackson Pollock art. She also explores the artistic value of scientific artifacts like the controversial plaque attached to Pioneer 10 depicting a naked man and woman, and the interstellar Arecibo Message, sent by Frank Drake in 1974. You'll even hear how Frank worked himself into the message and what that has to do with Albrecht Durer's self-portrait painted in the year 1500. Finally, we turn to what Rebecca's been up to recently. Her new book Mixed Signals came out in January of this year. Keep up with her on her website at and follow her on X @rebecca_charbon and on BlueSky @rebeccacharbon.bsky.social. We hope you enjoy this episode of The LIUniverse, and, if you do, please support us on Patreon. Credits for Images Used in this Episode: A young Milky Way-like galaxy and a background quasar 12 billion and 12.5 billion light-years away, respectively. – Credit: ALMA (ESO/NAOJ/NRAO), M. Neeleman & J. Xavier Prochaska; Keck Observatory Artist's concept of a high red-shift galaxy. – Credit: Alexandra Angelich (NRAO/AUI/NSF) John Young and Gus Grissom are suited for the first Gemini flight March 1965. Norman Rockwell, 1965. – Credit: Smithsonian National Air and Space Museum / Norman Rockwell Edvard Munch, 1893, The Scream. – Credit: Edvard Munch / National Gallery of Norway (Public Domain) Fractal study of Jackson Pollock art. – Credit: “Perceptual and physiological responses to Jackson Pollock's fractals,” R. Taylor, et al, Front. Hum. Neurosci., 21 June 2011. The Arecibo message. – Credit: Creative Commons NASA image of Pioneer 10's famed Pioneer plaque. – Credit: NASA Albrecht Durer self-portrait. – Credit: Albrecht Dürer - Alte Pinakothek (Public Domain)

This Weird Wednesday episode has the jumping robot that could help us discover our solar system, a salmon escape with a high bounty, the egg heist of the century, and dumpster diving for bitcoin. Plus, on This Day in History, we look back to 1994 – the day the famous painting The Scream was stolen from an art museum in Oslo. A Jumping Robot Could Leap Over Enceladus' Geysers - Universe Today NASA Awards 2025 Innovative Technology Concept Studies | NASA Jet Propulsion Laboratory (JPL) Company offers $45-per-fish bounty on 27,000 escaped salmon - UPI.com The heist of 100,000 eggs in Pennsylvania becomes a whodunit that police have yet to crack | AP News Man who lost £600m Bitcoin fortune considers buying landfill site to search for it | UK News | Sky News How two men stole Edvard Munch's The Scream in just 50 seconds — and how authorities managed to get the painting back - ABC News Contact the show - coolstuffcommute@gmail.com Learn more about your ad choices. Visit megaphone.fm/adchoices

As the world descended on Norway for the 1994 Winter Olympics, a determined thief set his sights on a Norweigian painting he'd coveted most of his life: Edvard Munch's The Scream. The daring theft of the world-renowned painting took less than a minute and prompted an undercover sting in hopes of retrieving the masterpiece. "Crimes of the Centuries" is a podcast from Grab Bag Collab exploring forgotten crimes from times past that made a mark and helped change history. You can get early and ad-free episodes on the Grab Bag Patreon page.  DON'T FORGET ABOUT THE CRIMES OF THE CENTURIES BOOK!  Order today at www.centuriespod.com/book (https://www.centuriespod.com/book)! Follow us on Instagram and Twitter: @centuriespod Episode Sponsors: Acorns. Head to acorns.com/cotc or download the Acorns app to start saving and investing for your future today! Apostrophe. Get your first visit for only five dollars at Apostrophe.com/COTC when you use our code: COTC. That's a savings of fifteen dollars! This code is only available to our listeners. Ollie Pet Inc. Give your pup a fresh start this new year by letting them taste test a personalized meal plan with Ollie! Head to Ollie.com/COTC tell them all about your dog, and use code COTC to get 60% off your first box of meals when you subscribe today! 

Dan Smith is the lead vocalist and primary songwriter of the British band Bastille, known for their anthemic, cinematic pop-rock sound. Born on July 14, 1986, in London, England, he rose to international fame with Bastille's breakout single, "Pompeii," in 2013, followed by the success of their debut album Bad Blood. Influenced by literature, film, and history, Smith's lyrics often explore themes of human emotion, social issues, and storytelling. Beyond Bastille, he collaborates with other artists and works on side projects, showcasing his versatility and passion for creative expression.Bastille's latest album, '&' (Ampersand), released on October 25, 2024, is a concept project delving into the lives of historical and mythological figures. The album comprises four parts, each focusing on different pairs of individuals, with songs like "Blue Sky & The Painter," inspired by artist Edvard Munch, and "Leonard & Marianne," exploring the relationship between Leonard Cohen and Marianne Ihlen.As part of the album Dan launched a new History/Music/Pop Culture Podcast MUSES which he does with Emma Nagouse (producer of You're Dead To Me) where they discuss these figures in history.