Podcasts about gericault

Hablamos con Luis Merino de lo Enigmas y Secretos de Irlanda del Sur. Gericault manifiesta en sus cuadros enigmas y realidades y hoy Miguel Rodríguez, nos los trae. Correo: laruedadelmisterio2010@gmail.com ®© La Rueda del Misterio

Essentiel – Le rendez-vous culture de RCJ – présenté par Sandrine Sebbane. Elle reçoit Dan Franck pour son livre « Le Roman des Artistes » aux éditions Grasset  À propos du livre : « Par le verbe, par le glaive » paru aux éditions Grasset  Voici le premier volume d'une tétralogie, Le roman des Artistes, qui racontera, de 1820 à 1885, la vie de tous les grands créateurs aux prises avec le temps des Révolutions (1830, 1848, La Commune…). On retrouve ici tout le talent addictif dont l'auteur a déjà fait preuve dans sa fameuse trilogie Le temps des Bohèmes (Bohèmes, Libertad et Minuit). Le cadre historique de ce premier volume va des Cent jours du « Vol de l'aigle » (le retour de Napoléon en 1815) à la veille de la Révolution de 1848 en passant par les Trois glorieuses. « Je m'en vais, Monsieur, et vous venez » dit Chateaubriand à Hugo, marquant la bascule vers le romantisme triomphant au terme de batailles homériques qui scandent cette vaste fresque dont les querelles esthétiques redoublent les révolutions politiques. Dumas, Hugo, Balzac, Marie d'Agoult, Lamartine, Musset, Sainte-Beuve, Vigny, Mérimée, Nerval, George Sand, Théophile Gautier, Chateaubriand, Marceline Desbordes, Baudelaire, Delphine Gay pour la plume ; Beethoven, Berlioz, Liszt, Chopin, Marie Pleyel pour la musique ; Gericault, Delacroix, Ingres pour le pinceau ; Mlle Mars, Marie Dorval, Juliette Drouet pour la scène : autant de personnages de chair et de sang dont nous partageons les combats, les engagements, les amitiés, les amours passionnées, les coucheries d'un soir (« J'ai eu Mérimée cette nuit, ce n'était pas grand-chose » dit George Sand…), les querelles, les brouilles et les réconciliations, le génie et les bassesses. Et voici que tous ces artistes qui sont devenus pour nous des « classiques » quittent la poussière des étagères et des bancs d'école pour s'ébrouer au grand vent de l'Histoire, dans un tourbillon palpitant où ils inventent à la fois la presse moderne, la littérature moderne et les lieux de la sociabilité littéraire (salons, etc).

Aujourd'hui, je vais vous parler du radeau de la Méduse  Crédit image : Le radeau de la Méduse. Théodore GERICAULT (1791 - 1824) © Photo RMN-Grand Palais - D. ArnaudetTexte : Isa B. Voix : Odile Dussaucy Production, réalisation : MesSortiesCulture  Le texte de cet épisode, avec son visuel est sur TartinesDeCulture, ici.Abonnez-vous à nos podcasts, ici.   A bientôt pour un nouvel épisode!   Retrouvez nos #mardidevinette et #enigmeduvendredi sur Facebook et Instagram. Trouvez vos visites guidées sur MesSortiesCulture. Nourrissez votre curiosité avec TartinesDeCulture. Enchantez vos collaborateurs et vos clients avec MSCulture. Recevez votre Newsletter personnalisée.  Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Gericault De La Rose is a queer trans Filipinx woman, and refuses to change for anyone."Being that queer trans person completely owning herself I hope gives other people permission to be themselves, too," she says. A master's student in UC Berkeley's Department of Art Practice, Gericault explores in her art Philippine mythology and her experience as a trans woman. One time, she dressed up like a manananggal — a kind of monster that detaches from her lower body at night to look for unborn babies to eat — and then slept in an art gallery for six hours. "I look at the manananggal as kind of a metaphor for how society sees trans women — how this is literally a woman detached from her reproductive organs. And what are you as a woman if you can't reproduce?"When Gericault came out to her parents as trans in her early 20s, they disowned her. For her thesis project, Gericault will unravel huge tapestries with images of her parents' stomachs on them. "It's about disconnection and severance," she says. "I'm thinking about how much of myself is a part of them and how much of them are a part of me, and it's kind of this final goodbye."Gericault's final MFA piece is part of the Annual UC Berkeley Master of Fine Arts Exhibition, which opens on May 10 at the Berkeley Art Museum and Pacific Film Archive (BAMPFA). Listen to the episode, see photos and read the transcript on Berkeley News (news.berkeley.edu).UC Berkeley photo by Sofia Liashcheva. Hosted on Acast. See acast.com/privacy for more information.

The term "Orientalism" recalls both a Western artistic movement focused on depictions of an exotic "East" and reaching its apex in the 19th century, and Edward Said's landmark book of the same title, which, of course, criticizes that very movement.You may know some of the iconic names of Orientalist painting: Delacroix, Gerome, Gericault, but less talked about is the work of American Orientalist painters. Edwin Lord Weeks, Frederick Arthur Bridgman, and others were well known in the second half of the 19th century, in large part due to the work they produced during and inspired by their visits to Morocco.What brought these American painters to Morocco? How did they depict Moroccan society, and what set their work apart from their contemporaries? On this episode of Moroccan/American, we're joined today by Khalid Chaouch, Professor of English at Sultan Moulay Slimane University in Beni Mellal, Morocco to talk about this often overlooked artistic connection between Morocco and the US.

Intervention d'Isolde Pludermacher, conservatrice en chef du département des peintures au Musée d'Orsay précédée d'une introductions de Baptiste Roelly, élève-conservateur à l'Institut national du patrimoine Une appropriation culturelle des communs ?Plusieurs décisions ont récemment admis la possibilité d'une appropriation culturelle d'éléments patrimoniaux considérés comme appartenant à des communautés spécifiques. Si cette jurisprudence n'en est qu'à ses prémices, elle n'en invite pas moins à imaginer de nouveaux modes de protection des communs et à interroger les modalités de réparation requises par leurs abus ou usurpations. Si l'attribution de droits apparentés aux droits d'auteurs à des communautés soucieuses de défendre leur patrimoine peut à cet égard apparaître comme une solution, de nombreuses questions demeurent en suspens et invitent à élaborer sur ce point une What If History juridique : à quelles conditions peut-on reconnaître à une communauté des droits de propriété intellectuelle sur un patrimoine immatériel ? Serait-il souhaitable d'instaurer un domaine public payant pour gérer collectivement ce patrimoine et le protéger de détournements à visées commerciales ? En plus d'interroger la notion d'appropriation culturelle, il s'agit également d'interroger son irruption récente dans les pratiques institutionnelles de conservation du patrimoine. Les prises de conscience et revendications communautaires qui caractérisent notre époque pourraient-elles désormais interdire à des professionnels de la culture de travailler sur un sujet relevant d'une autre catégorie sociale ou ethnique que celle dont ils relèvent ? Les communs sont-ils réellement mieux gardés par les détenteurs des pratiques culturelles ? Enregistré le 30 mars 2022

01:06 - A discussion with Kimbell Art Museum Deputy Director George Shackelford about the museum's current exhibit “Turner's Modern World”. The exhibition explores J.M.W. Turner's lifelong interest in the inventions, events, politics, society, culture and science of his time, which resulted in many of his most original works and transformed his way of painting. The exhibit is on view through February 6.45:26 - The week's top art headlines.

No dia 13 de agosto de 1863, Ferdinand Victor Eugène Delacroix, o mais importante representante do romantismo francês, morre em Paris. Na sua obra convergem a voluptuosidade de Rubens, o refinamento de Veronese, a expressividade cromática de Turner e o sentimento patético de Gericault.----Quer contribuir com Opera Mundi via PIX? Nossa chave é apoie@operamundi.com.br (Razão Social: Última Instancia Editorial Ltda.). Desde já agradecemos!Assinatura solidária: www.operamundi.com.br/apoio★ Support this podcast ★

BREAKING GLASS hosted by Dennis Broe. Tuesday and Friday at and 13:00 pm CET. Dennis Broe presents an overview of TV series shows and events. This week, Dennis talks in two parts about on the anti-colonial, anti-racist work of Robert Colescott. This 2nd part is about his critique of colonialism and consumerism, referencing Gericault, Wonder Woman 84 and Lovecraft Country.

"Voulez-vous être ceux à qui la postérité reprochera la destruction de la Vénus de Milo et celle de la Victoire de Samothrace ?" Jacques Jaujard Pour voir tout ça en image, c'est là : http://arti.ps/podgericault Retrouvez le texte de cette anecdote en version web ici : http://arti.ps/anecgericault Pour en savoir plus : Sur Le Radeau de la Méduse : http://arti.ps/gericault1 Sur l’évacuation des œuvres du Louvre : http://arti.ps/gericault2 Le récit du périple raconté par la conservatrice Magdeleine Hours : http://arti.ps/gericault3 Sur le château de Chambord pendant la Deuxième Guerre mondiale : http://arti.ps/gericault4 Artips est une production Artly Production // Lu avec délectation par Antoine Leiris // Amoureusement mis en musique par Benoît Perret / Omnia Studio // Monté et réalisé avec talent par Khrystyna Burak // Anecdote concoctée par Aurore Billon et adaptée par Benjamin Billiet, Antoine Leiris et Delphine Peresan-Roudil // Un grand merci pour ses conseils avisés à Vivien Demeyere, et à Clara, Aude et Bernadette de Artips pour avoir prêté les voix du jingle

In this Academy of Ideas Arts & Society Forum discussion on 18 June 2020, Dido Powell talked about Theodore Gericault’s ‘The Raft of the Medusa’ (1818-19) and Picasso’s ‘Three Dancers’ (1925).   Dido's introductory note:   I am a painter who rejects the separation of the painting categories ‘abstract ‘ and ‘figurative’. For years, I have been interested in including abstract shapes in my paintings that I have observed from my surroundings, such as reflections and shadows.   Theodore Gericault’s ‘The Raft of the Medusa’ is not only an enormous painting of high drama and tragedy on a cinematic scale, but it is also an assertion of the power of underlying geometry, shape and colour to carry a narrative. It is a constant inspiration to me for the creation of meaning in art through composition, a balance of both form, shape and subject. Picasso’s ‘Three Dancers’ is equally assertive through its brightly coloured, flat geometric shapes, and like Gericault’s ‘Raft’ it also has a complex human narrative.   I hope to explain the ways in which these paintings , separated by a century, convey their meanings and deal with poignant human struggles. Both paintings have a gutsy visceral essence and can also remind faltering, or doubting artists of what is possible.

W tym odcinku porozmawiamy sobie o dwóch tragediach: jedna z nich to oczywiście katastrofa statku Meduza, druga dotknęła samego Théodore Géricault, czyli autora obrazu, na który patrzymy.Reprodukcje wszystkich wzmiankowanych obrazów znajdziesz tutaj: https://przedobrazem.pl/6-theodore-gericault-tratwa-meduzy-sala-700-co-przedstawia-ten-obraz/

Dopo Canova scoppia il finimondo che neanche in Kenshiro stavano così confusi...Tutti dipingono quello che vogliono: i francesi ritraggono scenari rivoluzionari di baguette ed escargot, gli inglesi smettono di dipingere i contorni, i tedeschi iniziano a capire che i pennelli servono per dipingere e non per spalmare la senape sui wurstel,... insomma c'è confusione.Ma sappiate che tutto ciò è solo l'inizio!

Riviviamo il fatale evento storico che ha ispirato il celebre capolavoro di Géricault.

Works that we take for granted today as masterpieces, or as epitomes of the finest of fine art, could also have been considered ugly, of poor quality, or just bad when they were first made. With the passage of time comes a calm and an acceptance. But that doesn’t change the fact that there are many works peppered throughout art history that were straight-up shocking to the public when they were first presented decades, or even hundreds of years ago. Today's work of "shock art:" Gericault’s The Raft of the Medusa. Please SUBSCRIBE and REVIEW our show on Apple Podcasts! SPONSORS Indeed: get a free sponsored job upgrade on your first post The Gabriel Method: try this 12-week weight loss solution from Jon Gabriel Learn more about your ad choices. Visit megaphone.fm/adchoices

Gericault descrive la condizione umana. Non è solo un pittore, ma anche un ricercatore che indaga nei luoghi più tormentati dell'umanità. Lì dove naufraga la civiltà o l'anima, lì prende i colori per i suoi dipinti dove anche il brutto affascina il nostro immaginario.Tutte le immagini su https://quellodiarte.com/2019/10/25/gericault-lanalisi-del-brutto/Vuoi rimanere aggiornato su tutte le novità su Quello di Arte? Iscriviti alla mailing list di Quello di Arte cliccando su questo link https://mailchi.mp/e5da93e9fc36/mailinglistPlaylistMichelangelo Mammoliti, Walkman Main, 2019

Hoy volvemos a dar la alternativa a Aritza y Pello, auténticos marineros de agua dulce, que se vuelven a embarcar Allende los Mares. Esta vez nos traen dos historias un tanto oscuras. Se trata de dos naufragios en los que los supervivientes lo pasaron realmente mal, llegando a límites insospechados. Se trata de los hundimientos de la fragata Medusa y del ballenero Essex, ocurridos ambos a principios del siglo XIX. Ambos inspiraron grandes obras artísticas, en forma de óleo en el caso de la Balsa de la Medusa, de Gericault; y de obra literaria el segundo, siendo el incidente en el que Herman Melville basó su inmortal Moby-Dick. También dedicaremos un breve monográfico a Francisco Vázquez de Coronado, protagonista del siguiente capítulo de la serie de los conquistadores en tierras americanas. Al igual que Cabeza de Vaca, Coronado exploró las tierras de lo que hoy son Estados Unidos, llegando nada menos que a la actual Kansas. Y como colofón, recuperamos un antiguo monográfico emitido a finales del 2011 en el que contamos con un invitado de lujo, Asier González Zabala. Nos habló del arco y la arquería, de la historia de este arma y de la revolución tecnológica que supuso para la especie humana. Sin duda merece la pena volver a escuchar a todo un experto en la materia. Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

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

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

Die beiden Amateur-Experten Lennart und Lukas (L+L) plaudern in Folge 0 über Gericaults "Floß der Medusa" und die allererste Game of Thrones-Folge. Der fulminante Auftakt zum Podcast "Plunder und Plauderei" (P+P) mit nicht unbedingter Hörempfehlung, bevor es ganz bald mit Folge 1 so richtig losgeht.

Works that we take for granted today as masterpieces, or as epitomes of the finest of fine art, could also have been considered ugly, of poor quality, or just bad when they were first made. With the passage of time comes a calm and an acceptance. But that doesn’t change the fact that there are many works peppered throughout art history that were straight-up shocking to the public when they were first presented decades, or even hundreds of years ago. Today's work of "shock art:" Gericault’s The Raft of the Medusa. Please  SUBSCRIBE and REVIEW our show on Apple Podcasts! Twitter / Facebook/ Instagram SPONSORS Skillshare (get two months of unlimited courses FREE with our link) ThirdLove (get 15% off your first order with our link) Learn more about your ad choices. Visit megaphone.fm/adchoices

Il romanticismo non è certo la ricerca del bello ma è la descrizione degli aspetti più intimi dell’essere umano. In questa puntata di StArt parleremo del viaggio verso gi abissi umani di Théodore Gericault.Tutte le immagini su https://quellodiarte.com/2018/10/15/il-lato-brutto-di-gericault/

Happy Halloween! In today's episode we discuss Romanticism, a period that produced some of our favorite creepy images in the history of art. Romantic artists like Caspar David Friedrich, Francisco Goya, William Blake, and Théodore Géricault explored themes of death, despair, the sublime, and madness––perfect for your Halloween enjoyment!

Filled with over 30,000 works of art, the Louvre is a treasure trove of Western civilization. This vast former royal palace is famous as the home to Mona (Lisa) and Venus (de Milo) but that’s just the appetizer course. You’ll find Greek and Roman sculptures and medieval jewels plus masterpieces from the Renaissance to Romanticism starring Michelangelo, Delacroix, Gericault and many others. For more information on the Rick Steves' Europe TV series — including episode descriptions, scripts, participating stations, travel information on destinations and more — visit www.ricksteves.com.

Filled with over 30,000 works of art, the Louvre is a treasure trove of Western civilization. This vast former royal palace is famous as the home to Mona (Lisa) and Venus (de Milo) but that's just the appetizer course. You'll find Greek and Roman sculptures and medieval jewels plus masterpieces from the Renaissance to Romanticism starring Michelangelo, Delacroix, Gericault and many others. For more information on the Rick Steves' Europe TV series — including episode descriptions, scripts, participating stations, travel information on destinations and more — visit www.ricksteves.com.

"Gericault" di Luigi Gaudio