Podcasts about Gustav Klimt

In 1911 Vienna, a man on his way home spots the figure of a woman at the edge of the river. She is still, beautiful and nude, framed by tendrils of yellow hair. The man is Austrian painter Gustav Klimt. So instead of calling for help, the artist takes out his sketchbook. In his new historical novel Anima Rising, Christopher Moore uses this strange encounter as the jumping off point for his story, which goes on to involve characters like Sigmund Freud and Carl Jung. In today's episode, Moore joins NPR's Scott Simon for a conversation about the mystery at the center of the story and the real-life Klimt's relationship to women.To listen to Book of the Day sponsor-free and support NPR's book coverage, sign up for Book of the Day+ at plus.npr.org/bookofthedayLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

Christopher Moore's new novel Anima Rising combines his signature elements – complicated artists, suspicious detectives, a bawdy sisterhood, and supernatural bonking – into a strangely moving tale of friendship and survival. Set in 1911 Vienna, Chris's new novel is a spiritual sequel to his 2012 art world masterpiece Sacré Bleu: A Comedy d'Art and, in anticipation of his upcoming book tour, Chris reveals how his fondness for Gustav Klimt and Mary Shelley drives this unlikely comic adventure; how both Sigmund Freud and Carl Jung had to figure into the story (because: 1911 Vienna); and how his novels are becoming increasingly touching...or at least that's how they're being read. (Length 21:17) The post 961. Christopher Moore's Frankenstein appeared first on Reduced Shakespeare Company.

“Lisa Sartorio” Les désoeuvréesà la galerie binome, Parisdu 16 avril au 14 juin 2025Entretien avec Lisa Sartorio,par Anne-Frédérique Fer, à Paris, le 15 avril 2025, durée 17'33,© FranceFineArt.https://francefineart.com/2025/05/08/3614_lisa-sartorio_galerie-binome/Communiqué de presse En 1916, dans l'une de ses fameuses notes, Marcel Duchamp définissait par l'exemple le « ready-made réciproque » : « Se servir d'un Rembrandt comme planche à repasser. » À l'inverse des ready-made bien connus, le ready-made réciproque entendait convertir une oeuvre d'art en objet utilitaire. Comme les ready-made, il n'introduisait pas une différence de degré mais de nature avec l'objet d'origine : ce dernier ne devenait pas plus ou moins ce qu'il était déjà, il était dénaturé. Le ready-made réciproque n'est resté, pour l'anartiste Duchamp, qu'une hypothèse. Sa postérité n'en est pas moins immense car, de nos jours, il n'est pas un chef-d'oeuvre, de Rembrandt ou autre, que l'industrie culturelle n'ait converti, au mieux en bijou, boîte, assiette ou tasse, au pire en set de table, coque de smartphone, ruban adhésif ou papier hygiénique… Autant d'objets qui, par leur prolifération, s'imposent dans notre quotidien comme les nouveaux modes d'existence des oeuvres originelles, au point d'effacer, quand nous les connaissons, la réalité de ces dernières de nos mémoires.Le récent travail de Lisa Sartorio porte sur la dénaturation de l'art opérée, à l'ère du consumérisme culturel et touristique, par ces ready-made réciproques que sont les produits dérivés. L'artiste s'était déjà intéressée au devenir image des oeuvres d'art quand, en 2013, elle avait collecté sur internet des centaines de reproductions différentes de la Joconde, oeuvre comme il se doit la plus partagée sur les réseaux, pour créer une composition abstraite. Aujourd'hui, les quatre corpus qui forment Les Désoeuvrées sont consacrés à leur devenir objet.Pour constater l'ampleur du phénomène, Lisa Sartorio a commencé par réunir, toujours grâce à internet, les produits dérivés de deux chefs-d'oeuvre, Amandier en fleurs (1890) de Vincent van Gogh et Le Baiser (1908-1909) de Gustav Klimt, dont elle a assemblé les images dans des compositions saturées qui, en dépit de l'homogénéité du motif, laissent apparaître la diversité des objets commercialisés, y compris des chaussures, escarpins ou baskets, pour le tableau de Van Gogh, ou un parapluie, des collants et un skateboard pour celui de Klimt. Une fois imprimées, elle a utilisé ces compositions pour confectionner des objets en trois dimensions en les moulant sur de la vaisselle, des bouteilles, ustensiles de cuisine, téléphones, tongs, etc., qu'elle a agencés dans l'espace. Elle a ensuite photographié ces natures mortes en variant les lumières pour souligner la matérialité de ces objets. Mais cette matérialité, apparente dans les deux dimensions de la photographie, est feinte car, et c'est ce qui importe, ces objets sont creux : le geste de l'artiste, qui fait écho à la perte de réalité de l'oeuvre désoeuvrée en produit dérivé, a consisté à retirer le moule qui, faut-il le rappeler, s'appelle aussi l'âme. [...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Wally Szczerbiak believes the Knicks should dominate their series, implying locker room issues if they don't. Gio thinks Karl-Anthony Towns has a big chance to prove his championship mettle and shed the "soft" label with multiple high-scoring, high-rebounding games. Before Jerry's update, they used the Chef IQ and found Boomer has a 102 fever, leading to a clip from 'Back To School' referencing Gustav Klimt, who Gio supposedly resembles. Jerry recapped the Mets' loss, Yankees' win, and NBA news. The hour ended with Gio discussing a Karen Read documentary on MAX.

Juan Soto noted he's being pitched differently without Aaron Judge batting behind him, which Gio sees as an explanation, not an excuse. Boomer viewed it as a compliment to Judge, not a slight to Pete Alonso, while Gio thinks sensitive fans are overreacting. Soto's presence benefits Alonso. Before Jerry's update, Gio reminisced about old wedding invites, followed by audio clips of Jerry discussing divorce. They joked about using a Chef IQ to check Boomer's fever. The Yankees won, and Matt Martin played his emotional final home game for the Islanders, with goodbye audio clips from various sports figures played. Finally, someone on X shared a Vegas flu story similar to Boomer's, and Boomer had a lunch meeting where Gustav Klimt was discussed.

Hour 1 Boomer is ill and his voice is weak after attending what might have been Matt Martin's final Islanders game last night, where they discussed his career. Before Jerry's update, a caller offered a snake-related throat remedy for Boomer. Jerry has the audio of the Mets' loss to the Twins due to a Francisco Lindor error and strikeout. The Knicks/Pistons playoff schedule is out, starting Saturday, Monday, and Thursday. Travis Hunter implied he'll only play football if he can play both offense and defense. Gio then shared the story of Rosie the turkey from Roosevelt Island seeking a mate in the city, leading to a discussion about catching turkeys and calls from those who have encountered them. Hour 2 Juan Soto noted he's being pitched differently without Aaron Judge batting behind him, which Gio sees as an explanation, not an excuse. Boomer viewed it as a compliment to Judge, not a slight to Pete Alonso, while Gio thinks sensitive fans are overreacting. Soto's presence benefits Alonso. Before Jerry's update, Gio reminisced about old wedding invites, followed by audio clips of Jerry discussing divorce. They joked about using a Chef IQ to check Boomer's fever. The Yankees won, and Matt Martin played his emotional final home game for the Islanders, with goodbye audio clips from various sports figures played. Finally, someone on X shared a Vegas flu story similar to Boomer's, and Boomer had a lunch meeting where Gustav Klimt was discussed. Hour 3 Wally Szczerbiak believes the Knicks should dominate their series, implying locker room issues if they don't. Gio thinks Karl-Anthony Towns has a big chance to prove his championship mettle and shed the "soft" label with multiple high-scoring, high-rebounding games. Before Jerry's update, they used the Chef IQ and found Boomer has a 102 fever, leading to a clip from 'Back To School' referencing Gustav Klimt, who Gio supposedly resembles. Jerry recapped the Mets' loss, Yankees' win, and NBA news. The hour ended with Gio discussing a Karen Read documentary on MAX. Hour 4 Bill Belichick and his girlfriend, Jordon Hudson, are receiving attention, and a reporter obtained Belichick's emails via the Freedom of Information Act. Gio joked about Hudson's potential post-breakup career in bikini betting picks. They discussed the controversy surrounding a Braves reporter asking a girl for her number on air. Jerry's update covered the Mets' loss due to a Lindor error, the Yankees' win, and Trae Young's ejection. Evan Roberts is confident the Knicks will win their series. The Nets GM discussed their free agency targets. Shedeur Sanders' Steelers interview attire caused debate, which Kay Adams addressed. The Moment of the Day involved using the Chef IQ to check Boomer's fever. The show concluded with a discussion about Matt Martin's likely final Islanders game and how fans treated him, compared to Rangers fans and Chris Kreider, followed by talk about a 400+ lb NFL draft prospect.

The Daily Quiz - Art and Literature Today's Questions: Question 1: In which book does 'The Hatter' appear? Question 2: Which author wrote 'Harry Potter and the Philosopher's Stone'? Question 3: Who created Winnie the Pooh? Question 4: The painting "The Triumph of Galatea" by Raphael is a part of which art movement? Question 5: Which author wrote 'The Legend of Sleepy Hollow'? Question 6: Which artist painted "Primavera" Question 7: The painting "The Kiss" by Gustav Klimt is a part of which art movement? Question 8: Which author wrote 'Leatherstocking Tales'? Question 9: Which author wrote 'Mary Poppins'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of The Watchung Booksellers Podcast, authors Laurie Lico Albanese and ANastasia Rubis discuss reading and writing historical fiction.Laurie Lico Albanese is a historical novelist, most recently of the acclaimed novel Hester,  which gives voice to Hester Prynne in a retelling of The Scarlet Letter. Hester was a Book of the Month club selection and an Audible and Goodreads Best Books of 2022. Laurie's previous historical novels include Stolen Beauty, about the famed Gustav Klimt portrait known as The Lady in Gold. She lives in Montclair with her husband, where they raised their two grown children. She writes for New Jersey Monthly, teaches writing, and is at work on a new novel.Anastasia Rubis' writing has appeared in the New York Times, Huffington Post, New York Observer, and literary journals. One of her stories, “Girl Falling,” was named a Notable Essay in Best American Essays of 2014. Another, “Blue Pools,” was included in the anthology Oh, Baby published by Creative Nonfiction. She co-wrote and co-directed a 13-minute documentary titled Breakfast Lunch Dinner: The Greek Diner Story. Her latest work, Oriana, is a novel based on the life of journalist Oriana Fallaci. Rubis earned a BA magna cum laude from Brown University and an MA from Montclair State University. She teaches memoir writing and is working on a second novel. She and her husband live in Montclair, where they raised their daughter, and spend summers in Greece, where their parents were born.Books:A full list of the books and authors mentioned in this episode is available here. Register for Upcoming Events.The Watchung Booksellers Podcast is produced by Kathryn Counsell and Marni Jessup and is recorded at Watchung Booksellers in Montclair, NJ. The show is edited by Kathryn Counsell. Original music is composed and performed by Violet Mujica. Art & design and social media by Evelyn Moulton. Research and show notes by Caroline Shurtleff. Thanks to all the staff at Watchung Booksellers and The Kids' Room! If you liked our episode please like, follow, and share! Stay in touch!Email: wbpodcast@watchungbooksellers.comSocial: @watchungbooksellersSign up for our newsletter to get the latest on our shows, events, and book recommendations!

El retrato que Gustav Klimt pintó de William Nii Nortey Dowuona, príncipe del pueblo Osu de Ghana, ha reaparecido en la feria TEFAF de Maastricht, después de que se diera por desaparecido. La última vez que se vio fue en 1928 y fue identificado como el cuadro desaparecido en 2023, cuando una pareja de coleccionistas llevó a la galería W&K de Viena un cuadro pobremente enmarcado y sucio en su superficie. El rastro de la obra se perdió con la llegada de los nazis a Austria. Está valorado en 15.000.000€.Informa Íñigo PicabeaEscuchar audio

Gustav Klimt e Vincent van Gogh, mestres da arte, utilizam o cabelo em suas obras como um poderoso símbolo de humanidade e expressão pessoal. Enquanto Klimt ornamenta e envolve seus retratos femininos em simbolismo dourado, Van Gogh destaca a emoção e a textura crua através de suas pinceladas expressivas. Ambos os artistas demonstram que o tratamento de temas cotidianos, como o cabelo, pode revelar profundas camadas de significado e beleza, refletindo suas únicas perspectivas artísticas e experiências de vida.

The Daily Quiz - Art and Literature Today's Questions: Question 1: What did Dorothy and her friends walk down in The Wizard of Oz? Question 2: Which author is leaving audiences waiting for a sequel to his 2011 novel 'A Dance with Dragons'? Question 3: Which artist painted "The Sleeping Gypsy" Question 4: Which author wrote 'The Invisible Man'? Question 5: Which author wrote 'Great Expectations'? Question 6: Which author wrote 'The Robots of Dawn'? Question 7: The painting "The Kiss" by Gustav Klimt is a part of which art movement? Question 8: From which Shakespearean comedy do the lines 'And thereby hangs a tale' and 'All the world's a stage' come? Question 9: Which author wrote 'Catch-22'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

In dieser Folge hören Sie den Künstler und ehemaligen Präsidenten der Secession, Matthias Herrmann im Gespräch mit Rike Frank, aufgezeichnet am 17. Juni 2024. Matthias Herrmann (*1963 in München) war von 1986 bis 1988 Mitglied des Balletts der Wiener Staatsoper. Von 1988 bis 1993 studierte er konzeptuelle Kunst bei Prof. Ernst Caramelle und Brigitte Kowanz an der Hochschule für angewandte Kunst in Wien. Von 1997 bis 1999 war er Mitglied des Vorstands der Wiener Secession, zu deren Präsident er 1999 (als jüngster Präsident seit Gustav Klimt) gewählt wurde. Von 2006 bis 2012 war er Professor für Kunst und Fotografie an der Akademie der bildenden Künste Wien, wo er nach Beendigung seiner Professur von 2013 bis 2018 als Mitglied des Universitätsrats tätig war. Seit 1999 wird er als Künstler von der Galerie Steinek (www.steinek.at) vertreten und lebt heute in Wien und Riparbella (Italien), wo er mit seinem Mann eine biologische Landwirtschaft betreibt. Rike Frank interessiert sich seit den 1990er Jahren für institutionelle Modelle, ist als Kuratorin tätig, publiziert und unterrichtet gelegentlich Ausstellungsgeschichte und kuratorische Praxis. Seit 2020 ist sie Geschäftsführerin des Berliner Programm Künstlerische Forschung und leitet zusammen mit Vanessa Joan Müller die European Kunsthalle. Secession Podcast: Members ist eine Gesprächsreihe mit Mitgliedern der Secession. Das Dorotheum ist exklusiver Sponsor des Secession Podcasts. Programmiert vom Vorstand der Secession. Jingle: Hui Ye mit einem Ausschnitt aus Combat of dreams für Streichquartett und Zuspielung (2016, Christine Lavant Quartett) von Alexander J. Eberhard. Schnitt: Paul Macheck Produktion: Bettina Spörr

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/jewish-studies

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Art looting is commonly recognized as a central feature of Nazi expropriation, in both the Third Reich and occupied territories. After the war, the famed Monuments Men (and women) recovered several hundred thousand pieces from the Germans' makeshift repositories in churches, castles, and salt mines. Well publicized restitution cases, such as that of Gustav Klimt's luminous painting featured in the film Woman in Gold, illustrate the legacy of Nazi looting in the art world today. But what happened to looted art that was never returned to its rightful owners? In France, Belgium, and the Netherlands, postwar governments appropriated the most coveted unclaimed works for display in museums, embassies, ministries, and other public buildings. Following cultural property norms of the time, the governments created custodianships over the unclaimed pieces, without using archives in their possession to carry out thorough provenance (ownership) research. This policy extended the dispossession of Jewish owners wrought by the Nazis and their collaborators well into the twenty-first century. The custodianships included more than six hundred works in Belgium, five thousand works in the Netherlands, and some two thousand in France. They included paintings by traditional and modern masters, such as Rembrandt, Cranach, Rubens, Van der Weyden, Tiepolo, Picasso, and Matisse. This appropriation of plundered assets endured without controversy until the mid-1990s, when activists and journalists began challenging the governments' right to hold these items, ushering in a period of cultural property litigation that endures to this day. Including interviews that have never before been published, Museum Worthy: Nazi Art Plunder in Postwar Western Europe (Oxford University Press, 2024) by Dr. Elizabeth Campbell deftly examines the appropriation of Nazi art plunder by postwar governments and highlights the increasingly successful postwar art recovery and restitution process. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars.

Egon Schiele sieht in Gustav Klimt ein geliebtes Vorbild, einen verehrten Meister. Klimt erkennt Schieles Genie und nimmt ihn am 17. Januar 1913 in den Bund österreichischer Künstler auf. Und er hat nichts dagegen, dass Schiele sehr offensichtlich künstlerisch über ihn hinaus will. Autorin: Brigitte Kohn

Franco Cardini"Vienna"A passo leggero nella storiaEdizioni del Mulinowww.mulino.itIl cielo sopra Vienna è variabile, sovente imprevedibile, come imprevedibile è la sua storia meravigliosa, per quanto non sempre trascorsa a ritmo di walzer.Queste pagine sono una chiave preziosa per accedere alla città che è stata e che resta il cuore e il baluardo d'Europa.Affascinante e nostalgica, dotta e austera, è un'immagine che sfuma fra le vigne e i giri di walzer. Vienna è romana, poi gotica, poi asburgica. È la reggia dell'inflessibile Maria Teresa, degli illuminati riformatori Giuseppe e Pietro Leopoldo, ed è nella magica musica di Mozart e di Strauss. È nelle tele di Gustav Klimt ma anche nella bellezza inquieta dell'imperatrice Sissi e nel genio di Sigmund Freud. È la città che vede la fine di un'epoca ma anche il nascere di avanguardie del pensiero e dell'arte che hanno rivoluzionato la cultura del '900. In questo libro si parla di storia e di leggende, di miracoli e di sortilegi, di ricchezza e di miserie, di glorie e di paure. Un vademecum per chiese, musei, teatri; per palazzi, caffè, botteghe artigiane. Un filo d'Arianna lungo migliaia di anni e di vite umane.Franco Cardini è professore emerito di Storia medievale. Con il Mulino ha tra l'altro pubblicato «Gerusalemme» (2012), «Istanbul» (2014), «Samarcanda» (2016), «La via della seta» (con A. Vanoli, 2017), «Andalusia» (2018), «Il grande racconto delle crociate» (con A. Musarra, 2019), «Praga» (2020), «Le dimore di Dio» (2021) e nel 2023 «Le vie del sapere» e «Donne sacre» (con Marina Montesano).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Na úvod vydání Sousedů se vracíme do loňského jara, kdy se v bavorském Bad Kissingenu konal další ročník semináře o sudetoněmeckých nářečích, který pořádalo sudetoněmecké krajanské sdružení. Sešli se tu přátelé německých dialektů, které mají kořeny v Čechách, na Moravě a ve Slezsku.

Na úvod vydání Sousedů se vracíme do loňského jara, kdy se v bavorském Bad Kissingenu konal další ročník semináře o sudetoněmeckých nářečích, který pořádalo sudetoněmecké krajanské sdružení. Sešli se tu přátelé německých dialektů, které mají kořeny v Čechách, na Moravě a ve Slezsku.

Na úvod vydání Sousedů se vracíme do loňského jara, kdy se v bavorském Bad Kissingenu konal další ročník semináře o sudetoněmeckých nářečích, který pořádalo sudetoněmecké krajanské sdružení. Sešli se tu přátelé německých dialektů, které mají kořeny v Čechách, na Moravě a ve Slezsku.

Gustav Klimt hat im 18. Jahrhundert das berühmte Bild „Der Kuss“ mit viel Gold und bunten Farben gemalt. Mit Hilfe von Digitaltechnik haben jetzt Ausstellungsmacher in der Alten Lokhalle in Mainz eine Kunst-Show geschaffen, bei der die Zuschauer in die Welt von Gustav Klimt eintauchen können. Ein atemberaubendes Hightech-Spektakel, das keinen Raum für eigene Interpretationen lässt.

As Donald Trump has been declared the winner of the 2024 US Presidential Election and the election coverage dominates front pages around the world, we discuss what a second Trump presidency may mean for women. Krupa Padhy speaks to Woman's Hour presenter Nuala McGovern, who is in Washington DC, about what's happened overnight, the latest news from the Harris campaign and any further information that has been revealed about women voters. Krupa is also joined by US Deputy Editor for the Telegraph, Rozina Sabur, and Dr Leslie Vinjamuri, Director of the US and Americas programme at Chatham House.Iqra Ismail, a football coach and refugee advocate, was prevented from playing in a match last month because she wears tracksuit bottoms rather than shorts, which she says compromises her religious beliefs. Iqra, who captained Somalia in 2019, was expected to play her first game against an east London team, but was told by the referee that club shorts were a requirement. Iqra joins Krupa to discuss why she has chosen to speak out.Do you have a first date red-flag question? What would be an absolute sure-fire, definite no-no answer which would tell you there is definitely going to be no second date? Olivia Rodrigo, the American singer-songwriter and actor, is quoted as saying that if her date wants to go to space, that is a red flag for her. Krupa talks to Helen Coffey, senior journalist at the Independent who's written her take on questions she would ask, and Poppy Jay, director and podcaster most famously on Brown Girls Do It Too and now the spin-off Big Boy Energy.From Botticelli's The Birth of Venus to Gustav Klimt's Mother and Child, women's bodies have been a major theme throughout art history. But can we ‘reinvent' the classic nude? Artist Sophie Tea is famed for doing just that, with paintings celebrating the female form and women of all shapes and sizes. Sophie joins Krupa in the studio to discuss finding fame on social media, pushing back against the ‘ideal' body type and trying to make women feel a little bit nicer about themselves.Presenter: Krupa Padhy Producer: Rebecca Myatt

Dicen que es el cuadro más romántico de la historia del arte. Para muchos, la imagen por excelencia del amor. La exaltación más pura y eterna de la pasión entre dos personas que se quieren. Un cuadro recubierto de oro, lleno de flores que rodean a un hombre y una mujer entregados en un abrazo eterno. Pero ¿y si no es tan romántico como parece? Nos lo ha explicado nuestro Artesano, Pablo Ortiz de Zárate. 

En 'Cuenta con Bob' nos hemos puesto al día para que nos resuelta todas las consultas de los oyentes que recibe a lo largo de la semana. 'La Dupla' de Hoy por Hoy, Galder Reguera y Rafa Cabeleira, nos han hablado de la protección del talento y la excelencia de las grandes estrellas futbolísticas. Nuestro 'Artesano' nos ha explicado las dos visiones del cuadro 'El Beso', de Gustav Klimt. Hemos terminado desmontando 'Mitos 2.0' con Pepe Rubio y Sergio Castro, que a lunes ya se han quedado sin ideas para cenar el resto de la semana: ¿Hay más días que cenas posibles? Se ha pasado nuestra experta Ainhoa Aguirregoitia para darnos siete opciones diferentes y desmentir el mito.

Gustav Klimt, Gustav Mahler, Adolf Loos und Sigmund Freud: Das sind Namen, die uns zur Kulturszene rund um 1900 in Wien einfallen. Aber was ist mit den Frauen? Waren die nur im Hintergrund? Die Filmemacherin Beate Thalberg weiß es.Diese Episode wurde am 09 10 2024 auf Ö1 Campus gestreamt und ist Teil des zeit- und kulturgeschichtlichen Archivs von oe1.ORF.at

Um 1900 suchen die Wiener Sezessionisten, allen voran Gustav Klimt, Anschluss an die europäische Avantgarde in der bildenden Kunst. Sie rebellieren gegen den rückwärtsgewandten Kunstgeschmack der etablierten Kunstinstitutionen und geben sich ein provokantes Motto: der Zeit ihre Kunst, der Kunst ihre Freiheit. Von Brigitte Kohn

WE'RE BACKKKKKKkkkkKKKKkkkk!!! Omg omg omg! Thank you all so much for your patience. We have missed you all so much and are so grateful for all the love we received while we were on summer siesta! As promised we have returned and are here to deliver on the much anticipated and many-a-time requested (like within the last few week and how did you all know I was going to do Klimt GET OUT OF MY BRAIN, except don't because I love that we're intuned with one another

Repasamos en profundidad la vida y el contexto de este icono del arte, el dibujo y la pintura del siglo XX. Además tenemos un añadido donde explicamos la técnica pictórica del artista y una conclusión final de carácter más personal. Si te gusta la historia del arte y la pintura, este es un pódcast imprescindible.

durée : 00:58:41 - Avec philosophie - par : Géraldine Muhlmann - Egon Schiele (1890-1918) se défait de la parure dorée et scintillante des œuvres de Gustav Klimt (1862-1918) pour mettre à nu son propre corps et celui de ses modèles. Les physiques dénudés et désarticulés suscitent un sentiment d'inquiétante étrangeté. Sur quoi repose ce tournant physiologique ? - invités : Danièle Cohn Philosophe, professeure émérite de philosophie esthétique à l'Université Paris 1 Panthéon-Sorbonne; Jacques Le Rider Historien spécialiste de l'Autriche, directeur d'étude honoraire à l'Ecole des Hautes Etudes, ancien directeur de l'institut français de Vienne

*Podporte podcast Dejiny v aplikácii Toldo na sme.sk/extradejiny a v súťaži Podcast roka 2024 na podcastroka.sk. „Nikde nebolo ľahšie byť Európanom,“ píše o Viedni na prelome storočí vo svojich slávnych memoároch Svet zajtrajška spisovateľ Štefan Zweig. Hlavné mesto monarchie podľa Zweiga, v tom čase jedného z najznámejších európskych spisovateľov, „harmonizovalo, všetky národné a jazykové protiklady a jej kultúra bola syntézou všetkých západných kultúr“. V aktuálnom podcaste sa na kultúrny život Viedne pozrieme trochu netradične: cez príbeh Hotela Sacher, hotela, ktorý bol jedným z centier spoločenského života mesta. Stretávali sa tu maliari Gustav Klimt, Egon Schiele či Oskar Kokoschka, spisovatelia Hugo von Hofmannsthal a Felix Salten či skladatelia Gustav Mahler a Arnold Schönberg. Ale takisto významní politici a štátnici. Možno príbeh Hotela Sacher a rodiny Sacherovcov vnímať ako mikrohistóriu Viedne a monarchie v turbulentných časoch na prelome storočí, v časoch prvej svetovej vojny a v predvečer tej druhej? Ako sa Hotel Sacher stal kultúrnym centrom Viedne? Čím žili kultúrne a ekonomické elity hlavného mesta? A akú úlohu v tom celom zohráva rodina Sacherovcov a ich slávna sacherka? Aj na tieto otázky budeme hľadať odpoveď v nasledujúcich minútach. Historička Agáta Šústová Drelová (Historický ústav SAV) sa zhovárala s Annou Fundárkovou, ktorá sa v Historickou ústave venuje výskumu aristokracie v ranom novoveku. Aktuálne sa venuje výskumu kráľovských metres, prostitúcie a šľachtických duelov v novovekom Uhorsku a spolu s Ingrid Halászovou a Martinou Viskupovou pripravuje knihu Zlatý vek Pállfyovcov v 18. storočí. – Ak máte pre nás spätnú väzbu, odkaz alebo nápad, napíšte nám na ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠jaroslav.valent@petitpress.sk⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ – Všetky podcasty denníka SME nájdete na ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sme.sk/podcasty⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ – Odoberajte aj denný newsletter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠SME.sk⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ s najdôležitejšími správami na ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠sme.sk/suhrnsme⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ – Ďakujeme, že počúvate podcast Dejiny.See omnystudio.com/listener for privacy information.

Hoy descubrimos al pintor austríaco Gustav Klimt desde sus inicios hasta su final. Este vídeo ensayo está centrado en su etapa de aprendizaje y el contexto estético en el que se desarrolla Klimt y en desmitificar algunos asuntos creados alrededor de su figura artística. La historia del arte genera relatos que en ocasiones generan confusión y no ayudan a la comprensión del contexto artístico. Así como se construyen casillas y categorías pictóricas encerradas en sí mismas y en muchas ocasiones aparentemente aisladas de todo lo demás. Este hecho tampoco ayuda a entender el contexto artístico que siempre es una amalgama de escenarios que se conectan y que en ocasiones citamos como eventos culturales trascendentes y son simples intereses políticos o personales con luchas de camarillas locales. ¿Has visto sus cuadros en persona? ¿Cuál es tu obra favorita de Gustav Klimt? ¿Eres más de Schiele o de Klimt? Sí. Hay que elegir entre estos dos.

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello and welcome back to Breakfast with Mom!Today I want to tell you about Gustav Klimt, and the story of his stolen art.  Gustav was an Austrian symbolist painter and one of the most prominent figures in the Vienna Secession movement. Born on July 14, 1862, in Baumgarten, near Vienna, Austria, Gustav demonstrated artistic talent from a young age. He studied at the Vienna School of Arts and Crafts, where he was trained in architectural painting and decorative arts.One of Gustav's most famous paintings, "Portrait of Adele Bloch-Bauer I," was at the center of one of the most notable art thefts and restitution cases in history. The Portrait is an oil painting on canvas, with gold leaf.  The painting was commissioned by Ferdinand Bloch-Bauer, a wealthy industrialist and Adele Bloch-Bauer's husband; the painting was completed sometime in 1907.During World War II, when Austria was occupied by Nazi Germany, the painting, along with other valuable artworks, was seized from the Bloch-Bauer family by the Nazis. After the war, the painting ended up in the possession of the Austrian government. It was displayed in the Austrian Gallery Belvedere in Vienna for many years.Resources:https://www.neuegalerie.org/collection/artist-profiles/gustav-klimthttps://www.britannica.com/biography/Gustav-Klimthttps://www.gustav-klimt.com/https://en.wikipedia.org/wiki/Gustav_Klimthttps://en.wikipedia.org/wiki/Portrait_of_Adele_Bloch-Bauer_Ihttps://en.wikipedia.org/wiki/Adele_Bloch-Bauerhttps://jwa.org/encyclopedia/article/bloch-bauer-adelehttps://en.wikipedia.org/wiki/Maria_Altmannhttps://en.wikipedia.org/wiki/Woman_in_Gold_(film)Say What?!:https://www.npr.org/2024/05/03/1248880788/wally-alligator-missing-georgiaAll the things: Music: "Electronic Rock (King Around Here)" by Alex Grohl https://pixabay.com/music/search/electronic%20rock%20kingLogo Artwork: Strawbeary Studios https://www.youtube.com/@StrawbearyStudios/featuredEpisode was researched, written and edited by ShanoaSocial Media:  https://www.facebook.com/profile.php?id=100090200010112X (formerly Twitter): @breakfastmompodEmail: breakfastwithmompodcast@gmail.comWebsite: https://breakfastwithmompodcast.com/Festival link: https://truecrimepodcastfestival.com/tickets/Promo Code: BREAKFAST

Austrian capital Vienna has a long history, dating back to the 1st century CE Roman military camp of Vindobona. It's been home to some pretty big names over the centuries. Mozart, Beethoven, Sigmund Freud, Gustav Klimt, Hedy Lamarr, Marie Antoinette and Erwin Schrödinger, among many others, have all lived in the city. Yet it's also got a darker side. Its vast Central Cemetery is a testament to the Viennese fascination with death. Empress Elisabeth of Austria, nicknamed Sissi, apparently had a fascination with the supernatural, and some say she still roams the hallways of the Hofburg palace. Let's find out more in this week's episode of Fabulous Folklore! Find the images and references on the blog post: https://www.icysedgwick.com/vienna-legends/ Get your free guide to home protection the folklore way here: https://www.icysedgwick.com/fab-folklore/ Become a member of the Fabulous Folklore Family for bonus episodes and articles at https://patreon.com/bePatron?u=2380595 Fabulous Folklore Bookshop: https://uk.bookshop.org/shop/fabulous_folklore Enjoyed this episode and want to show your appreciation? Buy Icy a coffee to say 'thanks' at: https://ko-fi.com/icysedgwick Pre-recorded illustrated talks: https://ko-fi.com/icysedgwick/shop Request an episode: https://forms.gle/gqG7xQNLfbMg1mDv7 Get extra snippets of folklore on Instagram at https://instagram.com/icysedgwick 'Like' Fabulous Folklore on Facebook: https://www.facebook.com/fabulousfolklore/ Find Icy on BlueSky: https://bsky.app/profile/icysedgwick.bsky.social Tweet Icy at https://twitter.com/IcySedgwick

The last painting made by Gustav Klimt, left on his easel when he died in 1918 of illnesses relating to the Spanish flu epidemic of that year, has sold at auction in Vienna for €35m including fees. But much remains unclear about the picture, including its sitter, its commissioner and what happened to it in the Second World War. Ben Luke talks to Catherine Hickley, The Art Newspaper's museums editor, about whether this murky provenance contributed to its relatively low price for a Klimt in the saleroom. A retrospective of the pioneering German artist Rebecca Horn opens this week at the Haus der Kunst in Munich, and we talk to Jana Baumann, its co-curator, about the show. And this episode's Work of the Week is Mont Sainte Victoire, one of dozens of paintings made by Paul Cézanne of the towering limestone peak near Aix-en-Provence in France. Painted in 1886-87, it is in the collection of the Phillips Collection in Washington, D.C. Elizabeth Steele, the Phillips's Head of Conservation, describes how she revealed the painting from a century of discoloured varnish and dust as it goes on view in the exhibition Up Close with Paul Cezanne, which is at the Phillips until 14 July.Rebecca Horn, Haus der Kunst, Munich, Germany, 26 April-13 OctoberUp Close with Paul Cezanne, Phillips Collection, Washington D.C., until 14 July.Subscription offer: subscribe to The Art Newspaper for as little as 50p per week for digital and £1 per week for print and digital, or the equivalent in your currency. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

US President Joe Biden says Ukraine will receive more arms and equipment within the week after the US Senate approved a $60bn aid package. But what difference will this make to the people there? Also on the programme: we hear the conflicting claims about the mass graves found in Gaza; and the ‘lost' painting of Austrian artist Gustav Klimt that has been sold at auction in Vienna.(Photo: US President Joe Biden delivers remarks on the National Security Supplemental. Credit: EPA-EFE/REX/Shutterstock)

Mercredi 24 avril, un tableau de Gustav Klimt sera mis aux enchères par la maison d'enchères viennoise im Kinsky. Ce tableau, resté caché pendant près d'un siècle, est un portrait tout en couleur d'une certaine « Mademoiselle Lieser ». Il a été peint par Klimt en 1917, soit un an avant sa mort. Si la vente s'annonce historique, il reste des zones d'ombre concernant sa provenance. De notre correspondante à Vienne,À la maison de vente im Kinsky, les Viennois sont nombreux à être venus admirer ce portrait de Klimt, à l'instar de Margit.« Le tableau est impressionnant, car il a une force de rayonnement et la femme est représentée de manière si belle et lumineuse... elle exprime une belle féminité », décrit une visiteuse. « Avec mon amie, nous aimons beaucoup aller au musée et nous aimons Klimt, alors nous avons profité de l'occasion pour voir ce tableau en vrai, car ce ne sera bientôt plus possible. »Resté caché pendant un siècle, le tableau a récemment resurgi, lorsque l'actuel propriétaire autrichien a contacté im Kinsky, comme l'explique Claudia Mörth-Gasser, la responsable de la section d'art moderne au sein de cette maison.« Le propriétaire nous a expliqué qu'il allait hériter d'un tableau dans un avenir proche et nous a demandé de le conseiller. Le tableau a été transporté dans notre salle de vente il y a environ 15 mois et nous avons commencé les recherches », raconte Claudia Mörth-Gasser qui poursuit : « La famille commanditaire était la famille Lieser, une famille juive très aisée. Parmi ses membres, il y avait Henriette Lieser, qui est une possible commanditaire du tableau. Mais aujourd'hui encore, nous ne savons pas avec exactitude qui était le commanditaire. Après 1925 et jusque dans les années 1960, le destin du tableau n'est pas tout à fait clair. »Un changement de mentalitéUne enquête du quotidien autrichien Der Standard, parue depuis, a accrédité l'hypothèse qu'Henriette Lieser, morte assassinée à Auschwitz en 1943, ait été la propriétaire ainsi que la thèse d'une possible privation à l'époque nazie.On peut dès lors se demander pourquoi le tableau va-t-il tout de même être mis aux enchères. C'est en fait parce que la maison de vente avait anticipé une telle possibilité et qu'un accord a déjà été conclu, ce qui montre, selon Claudia Mörth-Gasser, un certain changement de mentalité.« Ce sont précisément ces ambiguïtés et ces lacunes historiques qui ont incité les propriétaires actuels et nous-mêmes à conclure un accord avec tous les ayants droit de la famille Lieser pour une exploitation commune de l'œuvre d'art et une répartition du produit de l'exploitation », souligne Claudia Mörth-Gasser. « Il était clair dès le départ pour nous qu'il fallait traiter ce tableau comme s'il s'agissait d'un cas de restitution évident, même si nous n'avions pas de preuves claires de l'histoire du tableau pendant cette période critique. S'il y a une ombre, la charge de la preuve doit être inversée. »Le tableau est estimé entre 30 et 50 millions d'euros.

Es la protagonista de una curiosa y triste historia. La dama en cuestión es Adele Bloch, una austriaca de origen judío que montó un salón intelectual en su casa y cuando estalló la segunda Guerra Mundial, los nazis expoliaron todas sus obras de arte. Pasados los años su sobrina pleiteó y logró recuperar sus vienes. 

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