Podcasts about french impressionism

It's June in Louisiana, which means the start of summer – and sweltering heat! Fortunately, there's plenty of cultural experiences to enjoy while keeping cool indoors. On this week's show, we learn about three immersive exhibits to explore in the Crescent City. We begin with the newest, which celebrates the life and art of one the founding fathers of French Impressionism. Claude Monet: The Immersive Experience brings the artist's world to life in downtown New Orleans. Executive producer John Zaller talks to us about the exhibition, and how Monet incorporated food into his artworks. Then, we visit a place for tourists and locals alike: Vue Orleans. Located at the foot of Canal Street, the multi-million-dollar multimedia experience includes a trip to the 34th floor for a 360-degree view of the city. We speak with Paul Flower, Lawrence Powell, and Jim Cortina – just three among the scores of technicians, architects, artists, and entertainers who made Vue Orleans possible. Finally, we meet legendary Louisiana director Glen Pitre, who along with his wife Michelle Benoit, created an immersive film experience for the Historic New Orleans Collection's Royal Street campus. "The French Quarter by Night" fills a room with imagery and sound, showcasing over three centuries of the Vieux Carré after nightfall. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

It's June in Louisiana, which means the start of summer – and sweltering heat! Fortunately, there's plenty of cultural experiences to enjoy while keeping cool indoors. On this week's show, we learn about three immersive exhibits to explore in the Crescent City. We begin with the newest, which celebrates the life and art of one the founding fathers of French Impressionism. Claude Monet: The Immersive Experience brings the artist's world to life in downtown New Orleans. Executive producer John Zaller talks to us about the exhibition, and how Monet incorporated food into his artworks. Then, we visit a place for tourists and locals alike: Vue Orleans. Located at the foot of Canal Street, the multi-million-dollar multimedia experience includes a trip to the 34th floor for a 360-degree view of the city. We speak with Paul Flower, Lawrence Powell, and Jim Cortina – just three among the scores of technicians, architects, artists, and entertainers who made Vue Orleans possible. Finally, we meet legendary Louisiana director Glen Pitre, who along with his wife Michelle Benoit, created an immersive film experience for the Historic New Orleans Collection's Royal Street campus. "The French Quarter by Night" fills a room with imagery and sound, showcasing over three centuries of the Vieux Carré after nightfall. For more of all things Louisiana Eats, be sure to visit us at PoppyTooker.com.

This episode reexamines some topics we have already looked at, but this time as context for one of history's greatest butcheries, rather than as pure film history. The development of cinema is intertwined with the forces that defined the 20th century. Today we explore how the First World War and the movies are cut from the same fabric, as we set the stage for some of the screen's greatest epochs -- German Expressionism, French Impressionism, Soviet Montage, and the Golden Age of American Silent Film. All that is tied up in The War, so let's start our journey facing it head-on. -JakeIf you would like to email the show, you can do so at historyoffilmpodcast@gmail.com.Support the show

A little girl wonders through French Impressionism.

This guided podcast tour brings to life, the top ten, must-see paintings in the National Gallery, London, England.   Perfect for visitors who want to maximise the time they have available in the National Gallery, by focusing on the most important artworks. The guided tour itself lasts for around 70 minutes, although it is suggested that you allow around two hours to include time for walking in between the paintings described and to look at other artworks on display.    For a free taster of this National Gallery, London podcast or to find a longer tour, as well as tours of other galleries, museums and places, please follow Painting Stories on Apple or Spotify Podcasts.   Each 'painting story' lasts for 6 to 7 minutes and is thoroughly researched and engagingly presented by Janet, an art historian with degrees from The Courtauld Institute of Art, University of London, and decades of experience of speaking to audiences in world-class galleries and museums.   You will learn about art and European history through the stories of paintings from the Italian Renaissance, the Spanish Inquisition, the Tudors, England nineteenth century, French Impressionism and, most famous of all, Vincent Van Gogh's The Sunflowers.   The artworks covered by the tour including (at the times in the podcast shown below):   Leonardo da Vinci       Virgin of the Rocks, 1490/91-1506/8           Room 9           03:43   Titian                           Bacchus & Ariadne, 1520                               Room 10         09:49      Hans Holbein              The Ambassadors, 1533                                  Room 12         16:24   Jan van Eyck                The Arnolfini Portrait, 1434                            Room 28         22:59   Diego Velazquez         The Rokeby Venus, c.1647-51                         Room 30         29:47   John Constable           The Haywain, 1821                                          Room 34         36:19   Turner                         The Fighting Temeraire, 1839                          Room 34         42:30   Claude Monet             The Water-Lily Pond, 1899                             Room 41         49:00   Georges Seurat           Bathers at Asniere, 1884                                 Room 43         55:37   Vincent van Gogh       The Sunflowers, 1888                                     Room 43         1:02:04     Music: George Frideric Handel, Water Music, Suite in F major (HWV 348), 1717. If you enjoy this podcast art tour, please do leave me a review.    Guidance is given within the podcast, to help listeners find the artworks discussed. However, the podcast host is not responsible for the accuracy of this guidance, nor any changes to the location, gallery closures or removal of the artworks.   Navigating the National Gallery can be difficult, so please do download and print a floor plan here: https://www.nationalgallery.org.uk/visiting/floorplans/level-2.   You may want to use this podcast to do a virtual tour of the National Gallery, using the paintings that you can find online here: https://www.nationalgallery.org.uk/paintings/search-the-collection.   The podcast has not been made in association with the National Gallery. All content of this podcast is owned by the host of the Painting Stories podcast.  

Celebrate Bastille Day with French guides. They'll explain the impressionist techniques perfected in the early 20th century, provide insider advice for designing the perfect Parisian itinerary, and help tackle the immense collection at the Louvre. For more information on Travel with Rick Steves - including episode descriptions, program archives and related details - visit www.ricksteves.com.

Historian Dr Alexis Bergantz from RMIT talks about the diplomatic fallout from the AUKUS security and submarine announcement, and why Australia should have seen France's hurt coming. NGV senior curators Dr Ted Gott and Dr Miranda Wallace discuss the pioneering artists and works featured in the NGV's latest major exhibition, French Impressionism from the Museum of Fine Art, Boston. Historian Barabara Minchinton discusses her new book, The Women of Little Lon: Sex Workers in Nineteenth-Century Melbourne.

NGV senior curators Dr Ted Gott and Dr Miranda Wallace discuss the pioneering artists and works featured in the NGV's latest major exhibition, French Impressionism from the Museum of Fine Art, Boston

Nous sommes avec Ted Gott, Senior Curator International Art de la NGV pour un aperçu de l'exposition French Impressionism dans le cadre des Winter Masterpieces. Cette exposition a lieu jusqu'au 3 octobre prochain. https://www.ngv.vic.gov.au/exhibition/french-impressionism

Monet, Renoir, Pissarro and more: 100+ masterpieces of French Impressionism come to Melbourne direct from Boston's Museum of Fine Arts  French Impressionism | NGV International | 4 June – 3... LEARN MORE The post French Impressionism National Gallery of Victoria appeared first on Sunday Arts Magazine.

Travel Editor Stephen Scourfield reports on the latest travel insurance developments with Allianz. Will Yeoman talks about the French Impressionism exhibition opening in Melbourne next month. (No bad impressions of French Impressionists, promise.). Mogens Johansen makes photographic mumbo jumbo a little clearer. We think. And Stephen chats with Steve Butler about the situation in the Kimberley. You need to know this.See omnystudio.com/listener for privacy information.

Nous parlons avec Ted Gott, Senior Curator of International Art pour la NGV - National Gallery of Victoria. On fait le point sur l'exposition des Winter Masterpieces - French Impressionism du Museum of Fine Arts de Boston. L’exposition aura lieu du 4 juin au 3 octobre prochain. https://www.ngv.vic.gov.au/exhibition/french-impressionism/

Meg Slater, Assistant Curator of International Exhibitions at the NGV, talks with David and Sue about the Winter Masterpieces exhibition, from 04 June. This year it's French Impressionism from the... LEARN MORE The post FNL INTERVIEW – NGV appeared first on David and Sue.

Ted Gott talks to David and Neil about the National Gallery of Victoria’s French Impressionism.   The post Ted Cott- Curator National Gallery of Victoria – French Impressionism appeared first on Sunday Arts Magazine.

Tai Snaith returns to the studio for the fortnightly visual arts segment Art Attack, chatting about her artistic process whilst working from home, and reviewing Judy Watson and Yhonnie Scarce’s ‘Looking Glass’, on display at the TarraWarra Museum of Art. Described by curator Hetti Perkins as both “a love song and lament for country”, this exhibition sees Watson, a Waanyi artist, and Scarce, a Kokatha and Nukunu artist, explore the painful, dark history of the Australian landscape in poignant synergy. Jane Scott, Curator of Flesh After Fifty at the Abbotsford Convent introduces the exhibition’s program of events, challenging ageism, sexism, and body shame to celebrate and promote older women within the art world. Featuring commissions from 14 dynamic Australian artists, the exhibition includes talks from both artists and medical professionals on subjects such as menopause and family violence.Finally, Dr Miranda Wallace, Senior Curator at the NGV announces the gallery’s winter offering, French Impressionism, featuring 79 works which have never previously been exhibited in Australia. Presented in collaboration with the Museum of Fine Arts, Boston, the exhibition will chart the major developments of this artistic period through key figures such as Claude Monet, Pierre-Auguste Renoir and Edgar Degas. 

Since we cannot travel anywhere right now, naturally, all we can think about is … travel. When our music director decided to send everyone on a journey to France, he compiled the most beautiful French pieces ever recorded at Strings Pavilion. So, pour yourself a glass of Provence rosé for this episode, and imagine lavender fields. Music Director Michael Sachs hosts the program, and is joined by commentator Jamey Lamar, concertmaster of the LA Phil Martin Chalifour, and principal keyboardist of the LA Phil Joanne Pearce Martin.@01:15Meet your host, Music Director Michael Sachs. Michael Sachs talks about the connections between the four French composers. “When you think of French music with its intimate colors and lush fragrant elegance, all of these men were at the forefront of that golden age of French romanticism.”@ 03:18 Jump to the Debussy performed by Joyce Yang@ 06:13Joanne Pearce Martin explains just why Fauré wrote such beautiful music. “I’m issuing a spoiler alert here: but really, it’s one of the most dream-like and gorgeous 24 bars…”@ 08:29 Jump to the Fauré@ 24:30Jamey Lamar tells us about César Franck’s compositions that rekindled the public’s passion for “that rocketship of an instrument,” the organ. Lamar guides the listener through Franck’s early years, and Broberg’s “a real poet’s sensitivity and balance.”@ 28:22 Jump to the Franck, performed by Kenny Broberg @ 38:38Saint-Saëns was an accomplished pianist, but also loved the trumpet, Martin Chalifour says. Focusing on the “luscious” piece of music, Chalifour also shares how each player is highlighted in a special way in Saint-Saëns’ music.  “A good composer will make use of players sporadically and just engage them in the flow of the conversation but … like a zoom call, you know? Not everyone can speak at once!”@ 40:57Jump to the Saint-SaënsPieces PerformedDEBUSSY Préludes - Book 1, No. 12, MinstrelsJoyce Yang, PianoPerformed at Strings Music Festival in 2016FAURÉ Piano Quartet No.1 in C minor, Op. 15 III. Adagio IV. Allegro molto Martin Chalifour, ViolinRobert Vernon, ViolaMark Kosower, CelloJoanne Pearce Martin, PianoPerformed at Strings Music Festival in 2015FRANCK Prélude, Fugue et Variation, Op. 18 Kenny Broberg, PianoPerformed at Strings Music Festival in 2018SAINT-SAËNS Septet in E-flat Major for Trumpet, Piano, and Strings, Op. 65 IV. Gavotte et Final Martin Chalifour, ViolinJun-Ching Lin, ViolinRobert Vernon, ViolaMark Kosower, CelloTimothy Pitts, BassJoanne Pearce Martin, PianoMichael Sachs, TrumpetPerformed at Strings Music Festival in 2015About Strings Music Festival in Steamboat Springs, Colorado: Strings Music Festival presents music of the highest quality in an intimate mountain setting. Our summer festival includes a genre-spanning lineup featuring classical musicians from the nation’s top orchestras and chart-topping popular contemporary artists, all of whom perform in an intimate, 569-seat Pavilion nestled at the base of Steamboat’s mountains. Outside of our venue, we serve the community with a variety of free programming and an in-school education program called Strings School Days. This offering cultivates music appreciation and ability in Northwest Colorado’s K-12 students.StringsMusicFestival.com/donateFacebook.com/stringsmusicfestivalInstagram @stringsmusicfestival

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonory Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonory Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Josef Stalin’s death in 1953 marked a noticeable shift in Soviet attitudes towards the West.  A nation weary of war and terror welcomed with relief the new regime of Nikita Khrushchev and its focus on peaceful cooperation with foreign powers.  A year after Stalin’s death, author and commentator Ilya Ehrenburg published the novel that would give a name to this era, “The Thaw,” which probed the limits of cultural expression, now expanded by Khrushchev’s political pivot. One of the critical hallmarks of The Thaw is an almost immediate deluge of foreign culture into the Soviet Union, which for most of the population was entirely new: in pre-revolutionary Russia, culture was the prerogative of wealthy aristocrats and intellectuals, and for the much of the first three decades of the nascent Soviet state, access to foreign culture was strictly forbidden.  Suddenly, the vast country was flooded with international books, films, paintings, and music.  The impact was seismic, and the reverberations are still felt today. To See Paris and Die: The Soviet Lives of Western Culture(Harvard University Press, 2018), by Eleonor Gilburd, is a deep dive into this phenomenon, which spans period from the death of Stalin in 1953 to the invasion of Czechoslovakia in 1968.  Gilburd looks at the perfect cultural and social storm created by the combination of more liberal politics, foreign culture and the technology to make it accessible to 11 time zones.  But Gilburd doesn’t limit herself to the impact of culture on the Soviet population, rather she examines the ways in which Soviet cultural interpreters made foreign cultural artifacts “about us.” In Gilburd’s study, we see how translators dug deep into Russian street language to bring Holden Caufield to the page, how film distributors brought Fellini’s neorealism to the steppes of Kazakhstan, and how Ilya Ehrenburg gently reintroduced a nation to the beauty of French Impressionism.  This is as much a story of translators, commentators, and curators as it is of their audience. “To See Paris and Die: The Soviet Lives of Western Culture” was short-listed for the 2019 Pushkin House Prize. Eleonor Gilburd is an Assistant Professor of Soviet History and the College at the University of Chicago, and the author of “The Thaw: Soviet Society and Culture during the 1950s and 1960s.”  She received her Ph.D. from the University of California Berkley in 2010. Jennifer Eremeeva is an American expatriate writer who divides her time between Riga, Latvia, and New England.  Jennifer writes about travel, food, lifestyle, and Russian history and culture with bylines in Reuters, Fodor’s, The Moscow Times, and Russian Life.  She is the in-house travel blogger for Alexander & Roberts, and the award-winning author of  Lenin Lives Next Door:  Marriage, Martinis, and Mayhem in Moscow.  Follow Jennifer on Twitter, Instagram, and Facebook or visit jennifereremeeva.com for more information. Learn more about your ad choices. Visit megaphone.fm/adchoices

Paul Tucker is regarded as one of the world's foremost authorities on Claude Monet and French Impressionism. He has written (and edited) 11 books, curated over a dozen exhibitions, and was an Art History professor for 36 years.

The deadicated hosts travel to France for Jean Epstein's 1928 La Chute de la maison Usher (The Fall of the House of Usher), where we disappoint our film profs in our description of French Impressionism. We also talk about Edgar Allen Poe! Context 00:00; summary 28:41; discussion 33:47; ranking 57:45

Show Content: What does French Impressionism* have to do with Charlie Gard?  Yes, you read that right.

Hear about how the Bosphorus — the busy shipping canal that separates the European side of Istanbul from Asia — is a sentimental favorite among Turks. We’ll also learn why Croatia’s Adriatic coast tops so many travelers’ “must see” lists, and get inspired to enjoy Impressionist art in and around Paris, where it originated. For more information on Travel with Rick Steves - including episode descriptions, program archives and related details - visit www.ricksteves.com.

Maria at La Granja, 1907 Size: 67 1/8 in. x 33 1/2 in. (170.5 cm x 85.1 cm) Gift of Mr. Archer M. Huntington in memory of his mother, Arabella D. Huntington, 1925:1 Joaquín Sorolla y Bastida Sorolla was the most internationally famous Spanish artist of his day. Early in his career, he was greatly influenced by the realism of Velázquez and other artists of the 17th-century Spanish Golden Age, but he spent much time in Paris in the years around 1900 and developed a particular talent for combining traditional Spanish painting with the new approaches of French Impressionism and Post-Impressionism. Sorolla painted plein air portraits with great skill and success, starting with his family and later portraying even the king and queen of Spain. This portrait is of the artist’s daughter at age 17, when she had recently recovered from tuberculosis. She is shaded by trees that are not shown in the painting, but the juxtaposition of cool shadows with glowing patches of light is one of the artist’s trademarks, as is the deft manipulation of paint into thick impasto highlights.

In 1869, Monet was painting at La Grenouillere when he realized that the color of an object is modified: 1. by the light in which it is seen,2. by reflections from other objects, and3. by contrast with juxtaposed colors.Monet translated his observations into the glowing phenomenon we know as French Impressionism. Remember: “The color of an object is modified by the light in which it is seen.” Sunlight contains the full spectrum of visible light waves. When full-spectrum light falls on an object, the pigments in that object absorb (subtract) all the light waves except the ones you see. An orange appears orange because the orange light alone is not absorbed, but reflected back to your eyes. The primaries of Subtractive Color Theory (reflected light) are red, yellow and blue. This is useful when mixing paints, pigments and ink. CMYK is Cyan (blue) Magenta (red) Yellow (yellow) and K (black.) So why do televisions and computers have adjustments for red, green and blue? What happened to the yellow? http://mondaymemo.wpengine.com/?ShowMe=ColorTheory (A)Projected light doesn't use pigments, but creates color by adding light waves together. Red light and green light combine to make yellow light. Go figure. The primaries of Additive Color Theory are Red, Green and Blue. (Click the thumbnail of the RGB wheel to see enlarged RGB and CMYK color wheels along with a short, introductory video on color relationships.) Pennie and I met Nathan Bludworth while we were climbing a mountain of boxes at a wholesale electrical supply company whose owner had skipped town. If we could just figure out what we needed for the academy's new tower, we could buy it from the landlord for pennies on the dollar. But we had no idea what we needed. Noticing our confusion, Nathan – the only other customer in the place – said, “Do you guys need some help?” He looked friendly enough and he seemed to know what he was doing, so I blurted it out. “There's a certain kind of light above the tables at Houston's Restaurant that put a pool of light on each tabletop, but leave the chairs mostly in the dark. Those lights create an an amazing atmosphere we've never seen anywhere else. We're just trying to figure out how they did it.” Nathan smiled and stuck out his hand. “I'm Nathan Bludworth. I designed and installed the lights at Houston's.” Nathan Bludworth paints with light, just like Monet painted with color. The Color Rendering Index (CRI) measures color rendering from light sources with respect to natural sunlight. Natural sunlight equals 100 CRI, the best light available. So the closer the CRI number is to 100, the more closely colors will appear as they do in sunlight. Lights with the highest CRI numbers produce the clearest, most vibrant and natural-looking colors.Electric lights can vary in “color temperature” between 2,000 degrees Kelvin (warm) and 9,500 degrees Kelvin (cold.) Low-temperature lighting is progressively warmer (more red/yellow), while high-temperature lighting grows progressively colder (more blue). Natural sunlight – 100 CRI – is 5,000 degrees Kelvin. If the light contains no red wavelengths, the objects on which that light shines will not be able to reflect red back to your eyes… Monet was right. “The color of an object is modified by the light in which it is seen.” By using different bulbs – 2700 K, 3500 K, 5000 K and 6400 K – and shining them from different angles, Nathan Bludworth makes nature dance and glow and change colors as you move through it. Nathan is one of those people that Wizard Academy Cognoscenti call, “our brand of crazy.” You might http://bwlighting.net/BWGallery.htm (meet Nathan) during your next trip to Wizard Academy. If you're lucky, he'll teach you how to use light to give your customers whatever feelings you want them to have. Do we have the coolest business...

Glance at the headline above and you think, “Imaginary characters.” Add angels to that list and the category will blur to “Characters who do good” if you're a believer in angels, but will remain unchanged if you consider them to be imaginary. Change it to read “Peter Pan, Superman, Angels and Airplanes” and a new category will emerge, “Things that can fly.” Pattern recognition is an important function of the right hemisphere of your brain. Grouping is a form of pattern recognition. The Atomists of the late 1800's believed the nature of things to be absolute and not dependent on context. Gestalt theorists disagreed. They believed the human mind instinctively creates wholes out of incomplete elements and that the nature of a thing is greatly altered by its context. You've likely never heard of the Atomists. This is because they were wrong. The Gestalt Theorists, however, were right. They said that humanity's instinctive grouping of characteristics causes us to interpret things in predictable ways. The laws of organization that determine grouping are: (1) proximity – items will be grouped according to their nearness (2) similarity – items similar in some respect will be grouped together (3) closure – items will be grouped to complete a larger entity (4) simplicity – items will be organized into simple figures according to symmetry, regularity, and smoothness. Understand these laws of organization* and you will: (A.) enlarge your power to transfer perception, communicate. (B.) accelerate your ability to solve problems. New subject: Can you fly? Can you? Now let me ask differently: In your mind, can you? You probably weren't sure how to answer the first question, “Can you fly?” because you didn't know if I was being literal or figurative. When I asked the follow-up “Can you?” it triggered some doubt and caused you to think that perhaps I was asking if you could actually fly. Context matters. Claude Monet knew the color of an object would change according to the reflections of objects near it. This understanding of context allowed him to unleash a visual phenomenon known as French Impressionism. And great writers know the same thing; the meaning of a word is altered by the reflections of the words near it. John Steinbeck, in a note to his friend, Pascal Covici, said, “It is as though the words spread out like dye in water and color everything around them. A strange and mystic business, writing.” Choose your words according to the baggage they carry. And then pair those words with others that carry similar bags and watch for the reflected colors. Superman + Peter Pan = Imaginary Characters. Superman + Airplanes = Things That Can Fly. Teacher, are you ready to fly? Before you stretch your wings, let your face feel the glow from the words of the Great Ones. http://mondaymemo.wpengine.com/newsletters/read/1670 (John Steinbeck), http://mondaymemo.wpengine.com/newsletters/read/1669 (Tom Robbins), http://mondaymemo.wpengine.com/newsletters/voices-of-the-great-ones (Neal Stephenson)… You know your way to the bookstore, right? Happy flying, Roy H. Williams