Podcasts about hispanic society

A artista brasileira Adriana Varejão apresenta, no Hispanic Society Museum & Library, em Nova York, uma exposição que une história, arte e natureza. Sua nova série de pratos em grandes formatos estabelece um diálogo com a coleção de cerâmicas do museu, mas com uma mudança de perspectiva: se antes seu olhar estava direcionado ao oceano, agora ele se volta para a floresta amazônica. Luciana Rosa, correspondente da RFI em Nova YorkVarejão conta que a ideia surgiu após visitar a Hispanic Society e se encantar com o acervo. “Achei um lugar incrível, com uma coleção maravilhosa. Como tenho muito interesse em cerâmica, decidi estabelecer um diálogo com essa coleção. Assim, comecei a desenvolver no meu ateliê, no Rio de Janeiro, essa série de pratos em grandes formatos, que agora estão expostos aqui no meio do salão”, explica.A exposição é inspirada na primeira Bienal das Amazônias, realizada em 2024, e reflete a biodiversidade da região. O animal escolhido para essa nova fase foi a mucura, um marsupial amazônico. Mas a relação da artista com a floresta vem de muito antes. “Desde 2003, realizo projetos na Amazônia. Naquele ano, tive a oportunidade de visitar a Reserva Yanomami e aprender muito sobre o bioma e a cultura local. Desde então, essa relação se fortaleceu e influenciou meu trabalho”, conta Varejão.Natureza versus Colonialismo Um dos destaques da exposição é uma instalação impactante: a representação de uma sucuri abraçando a estátua de El Cid, um embate visual entre natureza e colonialismo. Rodrigo Díaz de Vivar, El Cid, foi um líder militar castelhano do século XI que desempenhou um papel crucial na Reconquista, expulsando os mouros de diversas regiões da Península Ibérica. Para Varejão, a obra é uma provocação à simbologia da dominação. “Quando a gente entra na Hispanic Society, se depara com nomes de conquistadores e a estátua de El Cid, um símbolo de força imperial e dominação. A sucuri vem para subverter essa ordem, abraçando e ameaçando essa simbologia. É um lembrete de que a natureza não pode ser controlada”, reflete a artista.A exposição também desafia as hierarquias entre arte e artesanato, valorizando as influências das artes decorativas na produção contemporânea. “Sempre me interessei muito por artes decorativas. Nos anos 80, me referia ao barroco, depois aos azulejos portugueses, e agora a cerâmica tem um papel fundamental no meu trabalho. Me inspirei, por exemplo, na cerâmica portuguesa de Bordalo Pinheiro e em referências de diferentes períodos e culturas”, revela.Amazônia, crise climática e preservaçãoA relação entre arte e natureza também levanta questões urgentes sobre a crise climática e a exploração da floresta amazônica. Para Varejão, o conhecimento sobre a biodiversidade é um passo fundamental para sua preservação. “A Amazônia é um sistema frágil. Quando a gente se conhece e se aproxima das espécies, elas passam a existir para nós", diz a artista. Adriana Varejão destaca a importância de dar visibilidade à fauna amazônica por meio das peças expostas em Nova York. Segundo a artista, poucas pessoas conhecem a tartaruga matamatá, uma espécie intensamente traficada e ameaçada de extinção. Para chamar atenção para essa realidade, cada prato da exposição recebe o nome de um animal amazônico representado na obra. Entre eles, estão a mucura, o boto vermelho, o guaraná, que traz a presença do sapo que coexa, o urutau, uma ave típica da região, e as borboletas amazônicas. Nomear esses animais, afirma Varejão, é uma forma de dar visibilidade e incentivar o conhecimento sobre a fauna da floresta.O diretor do Hispanic Society Museum & Library, Guillaume Kientz, destaca a importância da exposição para o museu. "Quando eu descobri o trabalho de Adriana Varejão pela primeira vez, fiquei muito interessado no uso que ela fazia do material histórico e na maneira como ela questionava e desafiava o que resta do passado, refletindo sobre como isso é utilizado para aprendermos sobre a história, mas também para sermos melhores no presente e no futuro. Então, achei que estabelecer uma relação com a nossa coleção de cerâmicas e a exposição que ela criou a partir de algumas peças do nosso acervo seria uma ótima maneira de renovar nosso olhar sobre a própria coleção, trazendo-a também para o século 20."Em cartaz até junho e com entrada livreA exposição "Don't Forget, We Come From the Tropics" estará em cartaz no Hispanic Society Museum & Library de 27 de março a 22 de junho de 2025. Esta será a primeira exposição individual de Adriana Varejão em um museu de Nova York e a terceira nos Estados Unidos. Além das pinturas da sua série de pratos, a mostra apresenta uma intervenção escultórica ao ar livre, estabelecendo um diálogo entre passado e presente, história e natureza.

A artista brasileira Adriana Varejão apresenta, no Hispanic Society Museum & Library, em Nova York, uma exposição que une história, arte e natureza. Sua nova série de pratos em grandes formatos estabelece um diálogo com a coleção de cerâmicas do museu, mas com uma mudança de perspectiva: se antes seu olhar estava direcionado ao oceano, agora ele se volta para a floresta amazônica. Luciana Rosa, correspondente da RFI em Nova YorkVarejão conta que a ideia surgiu após visitar a Hispanic Society e se encantar com o acervo. “Achei um lugar incrível, com uma coleção maravilhosa. Como tenho muito interesse em cerâmica, decidi estabelecer um diálogo com essa coleção. Assim, comecei a desenvolver no meu ateliê, no Rio de Janeiro, essa série de pratos em grandes formatos, que agora estão expostos aqui no meio do salão”, explica.A exposição é inspirada na primeira Bienal das Amazônias, realizada em 2024, e reflete a biodiversidade da região. O animal escolhido para essa nova fase foi a mucura, um marsupial amazônico. Mas a relação da artista com a floresta vem de muito antes. “Desde 2003, realizo projetos na Amazônia. Naquele ano, tive a oportunidade de visitar a Reserva Yanomami e aprender muito sobre o bioma e a cultura local. Desde então, essa relação se fortaleceu e influenciou meu trabalho”, conta Varejão.Natureza versus Colonialismo Um dos destaques da exposição é uma instalação impactante: a representação de uma sucuri abraçando a estátua de El Cid, um embate visual entre natureza e colonialismo. Rodrigo Díaz de Vivar, El Cid, foi um líder militar castelhano do século XI que desempenhou um papel crucial na Reconquista, expulsando os mouros de diversas regiões da Península Ibérica. Para Varejão, a obra é uma provocação à simbologia da dominação. “Quando a gente entra na Hispanic Society, se depara com nomes de conquistadores e a estátua de El Cid, um símbolo de força imperial e dominação. A sucuri vem para subverter essa ordem, abraçando e ameaçando essa simbologia. É um lembrete de que a natureza não pode ser controlada”, reflete a artista.A exposição também desafia as hierarquias entre arte e artesanato, valorizando as influências das artes decorativas na produção contemporânea. “Sempre me interessei muito por artes decorativas. Nos anos 80, me referia ao barroco, depois aos azulejos portugueses, e agora a cerâmica tem um papel fundamental no meu trabalho. Me inspirei, por exemplo, na cerâmica portuguesa de Bordalo Pinheiro e em referências de diferentes períodos e culturas”, revela.Amazônia, crise climática e preservaçãoA relação entre arte e natureza também levanta questões urgentes sobre a crise climática e a exploração da floresta amazônica. Para Varejão, o conhecimento sobre a biodiversidade é um passo fundamental para sua preservação. “A Amazônia é um sistema frágil. Quando a gente se conhece e se aproxima das espécies, elas passam a existir para nós", diz a artista. Adriana Varejão destaca a importância de dar visibilidade à fauna amazônica por meio das peças expostas em Nova York. Segundo a artista, poucas pessoas conhecem a tartaruga matamatá, uma espécie intensamente traficada e ameaçada de extinção. Para chamar atenção para essa realidade, cada prato da exposição recebe o nome de um animal amazônico representado na obra. Entre eles, estão a mucura, o boto vermelho, o guaraná, que traz a presença do sapo que coexa, o urutau, uma ave típica da região, e as borboletas amazônicas. Nomear esses animais, afirma Varejão, é uma forma de dar visibilidade e incentivar o conhecimento sobre a fauna da floresta.O diretor do Hispanic Society Museum & Library, Guillaume Kientz, destaca a importância da exposição para o museu. "Quando eu descobri o trabalho de Adriana Varejão pela primeira vez, fiquei muito interessado no uso que ela fazia do material histórico e na maneira como ela questionava e desafiava o que resta do passado, refletindo sobre como isso é utilizado para aprendermos sobre a história, mas também para sermos melhores no presente e no futuro. Então, achei que estabelecer uma relação com a nossa coleção de cerâmicas e a exposição que ela criou a partir de algumas peças do nosso acervo seria uma ótima maneira de renovar nosso olhar sobre a própria coleção, trazendo-a também para o século 20."Em cartaz até junho e com entrada livreA exposição "Don't Forget, We Come From the Tropics" estará em cartaz no Hispanic Society Museum & Library de 27 de março a 22 de junho de 2025. Esta será a primeira exposição individual de Adriana Varejão em um museu de Nova York e a terceira nos Estados Unidos. Além das pinturas da sua série de pratos, a mostra apresenta uma intervenção escultórica ao ar livre, estabelecendo um diálogo entre passado e presente, história e natureza.

“I can give back to my community; I can do something important,” said Engine 292 Firefighter Pablo Mota Nunez when speaking on the importance of introducing a career as a Firefighter to those who may not have thought of becoming one prior. Firefighter Nunez sat down with our host, EMS Captain Randy Li, to share his story of how he joined the Department, and how being a member of the Hispanic Society continues to help him grow as a member of this Department. Plus, Chief of EMS Michael Fields, and EMS Lieutenants Jessica Cruz, and Chante McDonald sit down with Captain Randy Li to promote the Filing Period for both EMT and EMS Trainee, which is currently open. CYMI: We look back at the  graduation speech from Kailey Frank,  class of 2024 Valedictorian of the FDNY Captain Vernon A Richard High School for Fire and Life Safety.

On this episode of #TheFinestUnfiltered John & Eric sit down and discuss NYC Mayor of Eric Adams being named "The Man Of The Year" by the NYPD Hispanic Society. To learn more about #TheFinestUnfiltered visit us at: Website: https://thefinestunfiltered.com Youtube: https://youtube.com/@TheFinestUnfiltered?si=Y5ZcHqdgVLunTYx9X: Instagram: https://www.instagram.com/TheFinestUnfiltered https://www.instagram.com/johndmacari/ https://www.instagram.com/mostcomplainedcop/ X: https://twitter.com/RetiredNYFinest/ https://twitter.com/JohnDMacari https://twitter.com/EricDymCop Rumble: https://rumble.com/user/TheFinestUnfilteredPodcast If you are interested in purchasing a Finest Unfiltered T-Shirt please visit https://meyersuniforms.com/265-unfiltered-podcast-tee/ For any financial or investment advice please contact LaidLaw Blue at 888-901-2583 (Blue) or visit them online at https://laidlawwealthmanagement.com/laidlaw-blue/ tell them your friends at #TheFinestUnfiltered sent you.

03 Muerte y educación en Valencia Podemos hacernos la pregunta del huevo y la gallina con Blasco Ibáñez. ¿Qué fue primero su éxito arrollador o la pertenencia a algún grupo secreto o discreto que lo encumbrase al éxito? Como hemos comentado desde el principio, desde muy pequeño era aficionado a inventarse las mas pintorescas historias y aunque mucha de su obra infantil y juvenil no ha llegado a nuestros días podemos decir que al igual que hoy los grupos de poder captan a los jóvenes influencers para impregnar a la sociedad de sus ideas a través de estos, en esa época ocurría otro tanto similar. Con tan solo 16 años funda y dirige el semanario El Miguelete, y cesado éste funda El Turia. Con 18 colabora en El Correo de Valencia y a los 20 publica el primer número del periódico federal del que es también director, La Revolución. También crea el semanario La Bandera Federal y la editorial La Propaganda Democrática. En 1892 nace su hija Libertad que sólo vive trece días. Seguimos viendo la importancia del 13 y recordamos como en la serie de Berlanga sobre la vida de Vicente Blasco hace una alusión velada al “comercio de mercancía sagrada o intercambio de niños de unos linajes a otros” con la adopción del primo de Blasco. (poner video el Femater.mp4) Hacen alusión al cuento el Femater, el basurero, de la colección cuentos valencianos. ¿Podría ser que el director se refiriese al propio Blasco ya que poco o nada se sabe de ese supuesto primo adoptado? A los 26 años entra en política presentándose como candidato por la Unión Republicana por el distrito de Sueca. (video Berlanga Parte 1 56:00 a 57:17 Obra el juez y muerte de su madre.mp4) El 12 de Mayo de 1894 se estrena en valencia su única obra de teatro llamada “El Juez”, que no tiene mucho éxito además ese mismo día fallece su madre a los 51 años de edad (5+1=6) y el 12 de noviembre de 1894, 184 días más tarde (6 meses justos) publica el primer número de El Pueblo, fundado y dirigido por él. Un diario dirigido a las clases populares a mitad de precio que los otros diarios. El 11 de enero de 1903 publica en dicho diario un artículo titulado «La Universidad Popular», la cual se inaugurará el 8 de febrero. Vemos muy acertada la expresión que le dedica el profesor de la Universidad de Valencia Ramiro Reig a Blasco, "un experto en marketing editorial”, el cual como hemos visto creo 4 o 5 periódicos y semanarios, 7 casinos republicanos y uno central en la Universidad Popular, universidad que aún sobrevive. Según Reig, el liderazgo del escritor se afianzó mediante la creación de una eficaz maquinaria organizativa asentada en los casinos republicanos. Recordó este historiador que "él no los inventó pero, si se nos permite el anacronismo, los macdonalizó, distribuyéndolos estratégicamente en la ciudad y sometiéndolos a un menú ideológico estándar, fácil de digerir y con abundancia de sal y pimienta". En opinión de Reig "la utilización del lenguaje espontáneo de la calle y de formas plebeyas, de la sensibilidad mediterránea y su afición por el tumulto y el ruido, de las relaciones de barrio y de las fiestas, hicieron que el republicanismo fuera, no solo la expresión política de las clases populares, sino de su manera de ser, de hablar y de imaginar la vida". 30 años antes de la proclamación de la II República Blasco Ibáñez impulsó decenas de escuelas laicas en Valencia (Carles, Cheste, Buñol, Sagunto, Catarroja o Cullera) y la Universidad Popular gracias al movimiento republicano blasquista en Valencia, al inicio del siglo XX, una época de hegemonía de la Iglesia Católica en la educación. La universidad Popular es un proyecto que impulsó Blasco Ibáñez desde su periódico "El Pueblo" hasta el punto que es reconocido como el creador de esta. Por contra de lo que parece sugerir el nombre de la institución en la universidad no sé impartían cursos reglados en los que se obtiene una titulación, si no que se realizaban conferencias, muchas de ellas nocturnas para hacerlo accesible a los obreros. Ya nos podemos imaginar que sería una fuente para impartir ideología más que otra cosa. Escribía Blasco Ibáñez en El Pueblo el 11 de enero de 1903 un famoso artículo sobre la Universidad popular: "Un terreno nuevo, donde todos puedan entrar, donde se presente la enseñanza con ropajes de fiesta y se sirva la ciencia como una diversión. La Universidad Popular será todas las noches algo así como un teatro libre y gratuito de la enseñanza” "Que los Profesores den su sabiduría, y nosotros les daremos un público. El hombre de estudio no puede permanecer insensible a la noble y justa vanidad de que su palabra sea escuchada, no por unos cuantos escolares aburridos por la monotonía del programa, sino por mil personas que se estremezcan y vibren ante la hermosura de esa Ciencia que hoy solo ven de lejos, envuelta en velos, como una Isis misteriosa y ceñuda.” En estos momentos, la UP de Valencia sigue vigente y cuenta con un total de 31 centros donde se imparten clases de danza, plantas aromáticas, manualidades, jardinería en terrazas y balcones, cultivo de boletos comestibles, cursos de español para extranjeros, ingles e informática básica para adultos…etc. La conferencia inaugural fue a cargo del político y jurista Gumersindo de Azcárate, catedrático de la Universidad Central, diputado republicano por León y, entre otros, presidente de la Institución Libre de Enseñanza, de la Institución para la Enseñanza de la Mujer, del Instituto de Reformas Sociales y del Ateneo Madrileño. Valencia sufría a principios del siglo XX unos inquietantes índices de analfabetismo: el 48% de los hombres y el 64% de las mujeres apenas sabían leer y a ese público iba en parte dirigido su periódico El Pueblo. Pío Baroja, dijo de él: “sabe componer, escribe claro; pero, para mí, es aburrido, es un conjunto de perfecciones vulgares y mostrencas, que a mí me ahoga. Tiene las opiniones de todo el mundo, los gustos de todo el mundo. Yo, a la larga, no le puedo soportar”. El populismo actual de las cadenas de televisión ya estaba inventado por el famoso escritor que gracias a estar en todos los saraos, duelos, entradas y salidas de la cárcel y aventuras varias se hacia cada vez mas famoso. Blasco Ibáñez como editor al frente de las editoriales Prometeo o Sempere, que a un módico precio, inyectaban en el mercado miles de ejemplares de sus propias obras y de autores "que leen las élites progresistas de la burguesía europea". La razón social de Prometeo se estableció en un edificio situado en la Gran Vía Germanías, núm. 33. Nótese que germanías fue una revuelta social del S. XVI de la sociedad burguesa valenciana en contra de la nobleza, la concordancia en ese sentido con la revolución francesa tan admirada por Blasco es manifiesta y el numero 33 es el máximo escalafón masónico. ¿Casualidad o causalidad? Editorial Prometeo, el que da el "Fuego/Conocimiento a los hombres” es más bien el Ángel de Luz que cayó del Cielo o sea Lucifer. Ese que tienen exhibido en el Rockefeller Center y del que también recibe nombre el Colectivo Prometeo creado por Julio Anguita. Dicha editorial fue muy propagandista e impulsora de ideas de masones como Voltaire, Rousseau, Michelet…Vamos, fue la versión antigua de herramientas actuales cómo Wikipedia, internet o ChatGPT. En “Viajes hacia la literatura satánica en un cambio de siglo” José Mariano Leyva dice: “Los nuevos leprosos, patrocinados por el demo­nio, que utilizaban la literatura como utensilio de su depravada alquimia, se estaban formando. La novedosa nigromancia, y sus postulantes eran tan peligrosos como aquellos seres de mús­culos podridos. Los motivos también eran afi­nes: su enfermedad era contagiosa y ponían en tela de juicio la bondad y progreso de las civili­zaciones. Vicente Blasco Ibáñez lo sabía. Y por ello, como mecenas de un hervidero de especímenes nocivos, advertía: “Algunas novelas célebres de intensa belleza pueden parecer de una lectura extremadamente libre para determinadas per­sonas. Por esto en nuestros catálogos hay libros que llevan la indicación de una *. Esta marca * significa que son obras que no pueden dejarse en todas las manos”. Uno de aquellos autores con asterisco era Huysmans­-Durtal: “Era verdad que no poseían nada sobresaliente las le­tras del momento; nada, a no ser una necesidad de lo sobrenatural, que, a falta de ideas más ele­vadas, caminaba a tropezones y como mejor podía por el espiritismo y el ocultismo” El catedrático de Teoría e Historia de la Educación de la Universidad de Valencia Luis Miguel Lázaro en su libro “La Nueva Atenas del Mediterráneo. El sueño de un novelista Vicente Blasco Ibáñez, cultura y educación populares en Valencia” titula su primer capitulo como “Los emisarios de Belcebú. La escuela laica como alternativa social y pedagógica”. ¿Blasco Ibáñez, emisario de Belcebú? En la RAE podemos leer lo que significa emisario: “Mensajero que se envía para indagar lo que se desea saber, para comunicar a alguien algo o para concertarse en secreto con tercera o terceras personas.” O sea, alguien que en secreto va a realizar la obra de Belcebú, del diablo. En Historia de los Heterodoxos españoles, Menéndez Pelayo dice esto sobre La Institución Libre de Enseñanza: «Necesario era... mostrar claro y al descubierto el misterio eleusino que bajo tales monsergas se encerraba, el fétido esqueleto con cuyas estériles caricias se ha estado convidando y entonteciendo por tantos años a la juventud española». «Han sido más que una escuela; han sido una logia, una sociedad de socorros mutuos, una tribu, un círculo de «alumbrados», una «fratría», lo que la pragmática de don Juan II llama «cofradía y monipodio», algo en suma, tenebroso y repugnante a toda alma independiente y aborrecedora de trampantojos. Se ayudaban y se protegían unos a otros; cuando mandaban, se repartían las cátedras como botín conquistado. Todos hablaban igual, todos vestían igual, todos se parecían en su aspecto exterior, aunque no se pareciesen antes... Todos eran tétricos, cejijuntos, sombríos; todos respondían por fórmulas hasta en las insulseces de la vida práctica; siempre en su papel, siempre sabios…». Entre la nómina de colaboradores del Boletín de la Institución Libre de Enseñanza podemos encontrar a sospechosos habituales como Bertrand Russell o H. G. Wells. Sobre Wells les hice una disección en mi serie de artículos “Anticipandonos a HG Wells” donde en su libro El Nuevo Orden Mundial nos mostraba los planes de la élite para deshacerse del dinero en metálico: “La Bolsa de Valores y el crédito bancario y todas las artes de los préstamos, la usura y la prevención sin duda disminuirán juntas a medida que se establezca el Orden Mundial. Si y cuando el orden mundial se establece. Serán reemplazados, como cáscaras de huevo y membranas fetales. No hay razón para denunciar a quienes idearon y trabajaron esos métodos e instituciones como sinvergüenzas y villanos. Honestamente lo hicieron de acuerdo a sus luces. Eran una parte necesaria del proceso de sacar al Homo sapiens de su cueva y bajarlo de su árbol.” Veamos lo que pensaba LORD Bertrand Arthur William Russell, tercer conde de Russell sobre la educación infantil a través de un texto extraído de su obra "La Perspectiva Científica” de 1931: “En las raras ocasiones en que un niño o una niña que haya pasado la edad en la que se determina la clase social, (sobre los 6 años), muestre una capacidad muy señalada para sentirse intelectualmente igual a los niños destinados a las clases gobernantes, se suscitará una cuestión difícil que requerirá un estudio muy serio. Si el joven se contenta con abandonar a sus antiguos compañeros y echarse lealmente en brazos de los gobernantes, podría ser promovido, después de pruebas convenientes, al rango de éstos. Pero si demuestra alguna solidaridad, que sería lamentable, con sus antiguos compañeros, los gobernantes deducirán con repugnancia que no puede hacerse nada por él, excepto enviarle a la cámara de la muerte, antes de que su inteligencia, mal disciplinada, tenga tiempo de propagar la revuelta. Éste será un penoso deber de los gobernantes; pero creo que no retrocederán ante él." A la vista de todo lo dicho hasta aqui Blasco nos parece un antiguo sofista griego que mediante la sinarquia busca solo la persuasión de una audiencia, ya sea en asambleas políticas o mediante la propaganda periodística. Los sofistas desarrollan el razonamiento cuyo objetivo es solo la eficacia persuasiva, y no la verdad, y que como tales suelen contener sofismos (falacias). Como sofistas reconocidos como Gorgias o Protágoras, el señor Blasco vivía para el dinero y quería conseguir el éxito a toda costa. El concepto de sinarquia lo explica muy bien el historiador José Antonio Bielsa: “La “Sinarquía” es el sustrato sobre el que se retroalimenta el gobierno oculto mundial. Me explicaré: si en el mundo antiguo, la Sinarquía (syn [integración/concentración] + arkhia [poder/gobierno]) era la unión de varios príncipes coaligados para la dominación de los pueblos, hoy es algo mucho más sutil y diabólico, cohesionado en la unión de las fuerzas financieras y económicas multinacionales, asociadas en un tremendo poder a otros organismos pantalla, para así gobernar al Sistema-mundo a su libre voluntad y por medio de las tácticas recurrentes de diseño (conflictos bélicos, explotación humana, difusión de enfermedades y pandemias, masificación en núcleos urbanos, ignorancia y/o atraso de las masas, etcétera). Todas las sociedades humanas están siendo sometidas, bien por agrado, bien por la fuerza, a los designios de esa imparable inercia que llamamos Sinarquía.” “En 1908, cuando Mr. Archer Milton Huntington, millonario y filántropo visitó una exposición de Joaquín Sorolla y Bastida (1863–1923) en Londres quedó fascinado por el talento del pintor valenciano, el millonario mostró su deseo de presentar su obra en Nueva York, que realizaría al año siguiente en febrero de 1909 con una muestra para impulsar la Hispanic Society of America ya inaugurada en 1904. Con trescientas cincuenta y seis obras sorollescas fue un completo éxito, mayor del esperado, vendió una cincuentena de cuadros, uno de ellos era el óleo Caballero español: el retrato de Vicente Blasco Ibáñez pintado en 1906, de pie con abrigo negro y en la mano izquierda fumando un habano, ya que estos eran paisanos y amigos valencianos. Tras este éxito, Sorolla firmó un contrato el 26 de noviembre de 1911 con Mr. Huntington para pintar un mural de 60 metros, pero como Sorolla vivía en España, convinieron en pintar 14 cuadros de la serie Visión de España, obra también conocida como Las Regiones de España, por 150.000 dólares. Fueron pintados entre 1912 y 1919; se expusieron en 1926. Sufrió Sorolla un ataque de hemiplejia en su casa de Madrid el 17 de abril de 1920, falleciendo tres años después. La vida no quiso que el maestro disfrutara de la gran inauguración de su obra maestra en Nueva York en 1926, tres años después de su muerte (1923). El autor de este reportaje tuvo el privilegio de ver y admirar esta magna exposición en su tournée por España en los salones del Centro Cultural Bancaja expuestos entre octubre de 2009 al 10 de enero de 2010. Lo cierto es que no se pueden olvidar tantas maravillas. Bien, como Vicente Blasco Ibáñez se hizo amigo de Mr. Archer Huntington y, además sabía que era el propietario de su retrato El Caballero español, se puso en contacto con él, por lo que sería nombrado socio de honor en 1910, en la Hispanic Society. Al regresar VBI tras su gira de conferencias en Argentina, más concretamente, el día 6 de marzo de 1910, Blasco le formuló por carta la siguiente consulta a Archer Huntington: «Siento con toda mi alma no saber inglés… ¿No sería posible dar ahí algunas conferencias sobre la España moderna y antigua? ¿Habría en Nueva York público para unas conferencias en español?» Debido a sus dotes oratorias estaba seguro que repetiría la misma suerte argentina en los Estados Unidos, pero no fue así, había que esperar el momento propicio. Buscaba VBI la complicidad de personajes vinculados al mundo de la prensa, la literatura o la política para conseguir sus objetivos de proyección. Y esta vez perseguía la connivencia de una figura de singular relieve como Mr. Huntington. Pero como en primera instancia no consiguió viajar a Norteamérica, quedó en Argentina dando conferencias, fundó dos colonias en Argentina entre 1909 y 1913 donde comprará cinco mil hectáreas que llamará Colonia Cervantes situada en Río Negro en los desiertos de la Patagonia, y una segunda llamada Nueva Valencia en el estado de Corrientes en Río de la Plata, donde llevó a unos 200 colonos valencianos del pueblo de Sueca, conocedores del cultivo del arroz. También hizo incursiones en Chile, Paraguay y Uruguay. La quiebra de los bancos que le concedieron préstamos le llevó a la ruina. Regresó a Europa, concretamente a París, en un vapor alemán donde le cogió la Gran Guerra de 1914.” Se sucedían los homenajes incluso en su tierra. El 21 de diciembre de 1919 pusieron una calle a su nombre en Burjasot sonando la Marsellesa. Decía Blasco Ibáñez, en El Sol, en 1922: “Hace dos años y medio me avergonzaba de mis fabulosas ganancias. Hoy ya no; las encuentro naturales y quiero aumentarlas. Los dos escritores que ganamos más dinero en el mundo somos Rudyard Kipling y yo; es decir, no. Hay un tercero: Wells. Sí, somos tres los escritores que ganamos más en el mundo. Tengo más de un millón de dólares. Cobro setecientos por un cuento corto. Las empresas editoriales de los Estados Unidos me cablegrafían pidiéndome artículos constantemente, sobre tal o cual tema. Y así hago esta vida mezclada de príncipe y esclavo: príncipe, por mis automóviles, por mis jardines en la Costa Azul, por mis relaciones internacionales constantes con los huéspedes de París, Montecarlo y Nueva York; de esclavo, porque sigo trabajando de doce a catorce horas diarias, escribiendo novelas o dictando pequeñeces a mis secretarios”. Y es que con su novela “Los cuatro jinetes del Apocalipsis” (12 millones de ejemplares vendidos) que se había convertido en un “símbolo de paz”, y en 1921, en un éxito de pantalla, la sexta película muda más taquillera de la historia Blasco se había hecho millonario. Ramón Fernández Palmeral nos lo cuenta en un artículo: “Gracias a ella, Rodolfo Valentino pudo consagrarse como actor guaperas y Blasco Ibáñez vender a paletadas frenéticas el resto de sus obras en el vasto mercado estadounidense. Una cadena de prensa le ofreció hasta 1000 dólares por cada artículo periodístico (colaboraba con más de 100); La gira norteamericana se la organizó un tal Mr. Pond, que le hizo inmensamente rico por la traducción al inglés de Los cuatro jinetes del Apocalipsis, el primer best-seller de la historia. En octubre de 1919, Blasco Ibáñez viajó a los Estados Unidos, invitado por las grandes editoriales, cadenas periodísticas y productoras cinematográficas, que deseaban conocer al autor y traducir sus obras. Blasco permaneció en los Estados Unidos hasta junio de 1920, recibiendo los más altos honores, como el título de Doctor Honoris Causa por la Universidad George Washington, y visitando, entre otros, el Congreso o la Academia de West Point. Viajó por todo el país. Ganó mucho dinero con las conferencias. Al regresar a Europa se comprará un coche Rolls Royce. (poner video Hollywood.mp4) En Hollywood firma el contrato para las versiones cinematográficas de Los cuatro jinetes del Apocalipsis y de Sangre y Arena, que protagonizará, nada más y nada menos que el divo del cine negro y mudo, Rodolfo Valentino. Greta Garbo debuta en Sangre y Arena. Por si fuera poco, la neoyorquina International Book Review, de 2 millones de suscriptores, organizó en 1924 un concurso para conocer quiénes eran, según el público, los 10 escritores más famosos del mundo. El escrutinio reveló que don Vicente era el segundo autor más popular ( H. G. Wells le superó en 90 votos).” Sin embargo, en España, Pio Baroja y Azorin, sus colegas escritores de la generación del 98 le criticaban por escribir lo que el inculto publico de masas demandaba. Esas masas grises eran ya carne de Hollywood, templo hollicapitalista por excelencia como decía Pedro Bustamante y Vicente Blasco Ibañez fue de los primeros españoles en triunfar allí. No solo se compró un Rolls-Royce, también una mansión lujosísima en la Costa Azul, La villa Fontana Rosa en Menton (Francia) Tras la muerte de María Blasco, el 21 de enero de 1925 en Valencia, a los cincuenta y cinco años, de la que estaba prácticamente separado, contrajo segundas nupcias con su amante chilena de ascendencia vasca, Elena Ortúzar, el 4 de julio en Mentón; se dice que lo único que le interesaba a ella era su dinero. En 1926, dos años antes de morir, Blasco escribe “A los pies de Venus”. En “Los libros de mama” Francisco Umbral nos cuenta de que va: “Una novela de millonarios europeos y decadentes, un gran mundo que al propio Blasco le fascina más que al lector, con fascinación de nuevo rico, estatuas de mármol en el jardín, con los labios pintados de pecadores y violentos carmines profanadores. Blasco parece recrear aquí su mansión de Menton, que luego he visto descrita por Cela y otros muchos escritores como un panteón de estatuas ya muerto y olvidado.” Inventado o no su nacimiento en dia 29, lo que si esta claro es el otro 28 que se convierte en 29, esto es, en 11, en la madrugada del 28 al 29 de enero de 1928 con su muerte justo en el perigeo de Luna creciente. Fue otro Vicente, el alcalde de Valencia, Vicente Alfaro Moreno el que decidió repatriar los restos de Blasco desde Francia donde falleció siendo enterrado en Mentón el cuerpo del escritor. El día 29 de octubre de 1933, con la II República española ya instaurada desde hacía dos años, una multitud de trescientas mil personas lo recibió en el puerto de Valencia, incluyendo al presidente de la República, Niceto Alcalá-Zamora; al del Consejo de Ministros, Alejandro Lerroux; y al de la Generalitat catalana, Francesc Macià. Fue trasladado en un barco militar y recibido con honores militares como si se tratase de un ministro civil que hubiera fallecido en el ejercicio de su cargo. El destacado artista valenciano y amigo suyo Mariano Benlliure fue el encargado de diseñar un sarcófago muy masónico para él, una Pirámide truncada. Benlliure modeló en la parte superior del sarcófago la figura yacente de Blasco Ibáñez envuelta en un sudario, con la cabeza apoyada en un cojín y rodeada de ramas de laurel. A modo de mascara mortuoria se podia ver la cara de Blasco Ibáñez. El arquitecto Javier Goerlich Lleó fue elegido para diseñar el mausoleo definitivo para los restos de Vicente Blasco Ibáñez en el Cementerio General de Valencia. El proyecto incluía el sarcófago realizado por el escultor Mariano Benlliure en 1935. Sin embargo, este mausoleo nunca llegó a construirse debido a la inestabilidad política de la época. Su madre, Asunción Lleó, era hija de uno de los herederos del principal propietario de inmuebles de la Valencia de mediados del siglo XIX, el comerciante e industrial sedero hecho a sí mismo Juan Bautista Romero, marqués de San Juan. Néstor Morente Martín, doctor en historia del arte, nos cuenta en su tesis doctoral “El art déco en la imagen alegórica de la ii república española en valencia: Vicente Alfaro promotor de las artes”: "El centro del mausoleo, estaba destinado para ser presidido por el sarcófago de latón de Benlliure, en forma de pirámide truncada, en el que incluyó en los laterales, en bajo relieve,18 figuras de protagonistas de sus novelas más conocidas, de las que se anuncian sus títulos sobre el listel de la base del sarcófago; en la parte frontal, el escudo de la ciudad de Valencia. La parte superior, la ocupa todo el cuerpo yacente de Blasco Ibáñez rodeado de hojas de laurel, envuelto en un sudario, respetando con todo detalle el rigor mortis con el que fue fotografiado en su lecho de muerte en 1928, en Mentón y de donde tomó referencia para esta obra funeraria. Los laterales del pedestal, están decorados con guirnaldas de bronce simbolizando los frutos de la huerta valenciana. En 1933, el alcalde de Valencia, Vicente Lambies y la Diputación, enviaron a Menton (Francia), dos pebeteros de carácter monumental, realizados en bronce dorado para acompañar las exequias del traslado a Valencia de Vicente Blasco Ibáñez. Fueron expuestos junto al féretro en el Ayuntamiento de la localidad francesa y transportados en el cortejo fúnebre desde el acorazado Jaime I. Los dos pebeteros, son idénticos en su factura a excepción de sus escudos, en uno lleva el de la ciudad de Valencia y en el otro, el de la Diputación Provincial. Ambos llevan grabado el tan celebrado año de 1933 para la memoria de Blasco Ibáñez. Los pebeteros, fueron trasladados al Cementerio Municipal de Valencia junto al cuerpo de Blasco Ibáñez, a la espera de la construcción del mausoleo, en el que hasta 1935 no se colocó la primera piedra. Por la magnitud y suntuosidad de los pebeteros, es lógico pensar que fueron encargados, no tan solo con la idea de acompañar un cortejo fúnebre, sino para formar parte del mismo conjunto arquitectónico del panteón diseñado desde 1932. La Guerra Civil, paralizó la construcción de la esperada obra, quedando estas dos piezas de orfebrería en el olvido, en un cuarto trastero del mismo cementerio. En el año 2012, el capellán mayor del Cementerio Municipal de Valencia, al realizar unas reformas en la capilla, descubrió los pebeteros junto a un montón de “chatarra” en unas condiciones de importante deterioro por él óxido. Sin saber de lo que se trataba, los restauró y por su forma, les dio la función de pilas para albergar el agua bendita, colocándolos en la entrada de la capilla, permaneciendo de esta forma hasta la actualidad.” Les traduzco: El nieto de un marques, el arquitecto municipal de Valencia Javier Goerlich, realizó el diseño de un mausoleo para un masón donde se iban a utilizar unos pebeteros que terminaron en una capilla y uno de los cuales fue sufragado por una institución, la Diputación provincial, que fue creada por la dictadura de Primo de Rivera, el supuesto enemigo de Blasco y la República. En el artículo de el puntal de Dios LOS MANUSCRITOS MUERTOS Y LAS VIDAS CREADAS (pars secunda) podíamos ver como todos los “importantes” dejan su máscara mortuoria para la posteridad. En la cara posterior representó la esfera terrestre flanqueada por dos cornucopias, dos cabezas de águila y sobre ella, iluminándola, el disco solar con una cabeza alada, que podría identificarse con el mítico Prometeo, que había dado nombre a la editorial fundada por el escritor. Se le rindieron honores propios de un jefe de Estado. Debido al considerable peso del féretro, cerca de 700 kg, se formaron alrededor de medio centenar de grupos de porteadores para trasladarlo hasta la Lonja, donde quedó expuesto durante varios días antes de ser llevado a la sala de Concejales del Cementerio. Todo esto cambió drásticamente en 1936 con el inicio de la Guerra Civil. Los restos de Blasco fueron trasladados a un nicho provisional en el cementerio municipal de Valencia por temor a que su cuerpo fuera profanado. Allí permanecen hasta el día de hoy, en el nicho 93 de la sección 3.ª del cementerio civil de Valencia, resguardados por una lápida de color gris oscuro en la que apenas destaca su nombre en letras plateadas. Desde luego cuesta encontrar fotos de “la cara buena” de la pirámide truncada Illuminati que es el sarcófago truncado de Blasco Ibáñez. Incluso en las noticias que ponen una foto de ese lado como la del diario Las Provincias luego no podemos verla dentro de la noticia. No podemos ver ninguna a alta resolución en ningún medio de comunicación. Solo por el lado donde se ven las musas, el símbolo de Valencia y los títulos de algunas de sus novelas. ¿Qué esconden y por qué lo hacen? Los cuernos de la fortuna que iban a acompañar a Blasco en el mas allá nunca lo recibieron en su seno. El cenotafio que no sarcófago, porque el cadáver de Blasco Ibáñez nunca fue colocado dentro, ha estado dando vueltas desde su construcción en 1935. En 1940 se guardó en los almacenes del Museo de Bellas Artes para ser restaurado en 1998 e instalado en el Centro del Carmen. En 2017 regresó al San Pío V, donde se instala de forma permanente en un patio interior donde le daba “la luz”. (poner video blasco Ibáñez el sarcófago.mp4) El 6 de abril de 2020, en plena pandemia de covid, se retira el cenotafio del museo. Y el 23 de abril de 2020, el día del libro y de Sant Jordi, el sarcófago ya era visitable. Supuestamente coincidiendo con la conmemoración del centenario del homenaje que en 1921 recibió el autor en su ciudad natal. Pero les adelantare que fue en mayo cuando visitó Valencia y no en abril. Tal y como nos cuenta Raquel Andrés Dura en un artículo de La Vanguardia: “El sarcófago que el escultor Mariano Benlliure hizo para el escritor Vicente Blasco Ibáñez por encargo del Ayuntamiento de València ha llegado hoy a su destino final, el Cementerio General de València, 88 años después de cuando fue creado.” La cara de Medusa, una égida de Atenea metálica para proteger al espíritu iluminándolo, con el disco solar acompañado de los cuernos de la fortuna. Fijaos que la bola del mundo que está entre las garras de las dos águilas o del águila de dos cabezas parece un huevo. El huevo alquímico de la masonería, ese germen que tratan de transformar con dos fuerzas, izquierda y derecha, blanco y negro, azul y rojo para lograr la síntesis. La culminación de su obra. ¿Qué fue antes, el huevo o la gallina? —-------------------------------------------------- Creadores: ToniM @ToniMbuscadores …. Dra Yane #JusticiaParaUTP @ayec98_2 Médico y Buscadora de la verdad. Con Dios siempre! No permito q me dividan c/izq -derecha, raza, religión ni nada de la Creación. https://youtu.be/TXEEZUYd4c0 …. UTP Ramón Valero @tecn_preocupado Un técnico Preocupado un FP2 IVOOX UTP http://cutt.ly/dzhhGrf BLOG http://cutt.ly/dzhh2LX Ayúdame desde mi Crowfunding aquí https://cutt.ly/W0DsPVq ……….. Voces Narrador: Ramón Valero (un técnico preocupado) Vicente Blasco Ibáñez y su antítesis “el caballero audaz”: Toni Marco Diferentes voces femeninas: Dra Yane Voces masculinas: el puntal de Dios Narración extra: abriendo los ojos ………………………………………………………………………………………. Enlaces citados en el podcast: Bibliografia completa https://www.cervantesvirtual.com/portales/vicente_blasco_ibanez/su_obra_bibliografia/ Cronología de Vicente Blasco Ibáñez https://www.cervantesvirtual.com/portales/vicente_blasco_ibanez/autor_cronologia/#anyo_1900 Cronologia literaria Blasco Ibáñez https://anyblascoibanez.gva.es/va/cronologia-literaria Time line de su vida https://www.timetoast.com/timelines/vicente-blasco-ibanez-5ac50faf-ff35-40dd-be42-708435362932 Galeria de imágenes https://www.google.com/imgres?imgurl=https%3A%2F%2Fwww.cervantesvirtual.com%2Fimages%2Fportales%2Fvicente_blasco_ibanez%2Fgraf%2Fcronologia%2F03_cro_blasco_ibanez_retrato_1018_s.jpg&tbnid=s0ix0VfxLAJ4aM&vet=12ahUKEwi45LKn8vr-AhVYmycCHf1fDVMQMygkegUIARDGAQ..i&imgrefurl=https%3A%2F%2Fwww.cervantesvirtual.com%2Fportales%2Fvicente_blasco_ibanez%2Fautor_cronologia%2F&docid=rpcl3y5OiYotjM&w=301&h=450&q=Mar%C3%ADa%20Blasco%20blasco%20iba%C3%B1ez&hl=es&client=firefox-b-d&ved=2ahUKEwi45LKn8vr-AhVYmycCHf1fDVMQMygkegUIARDGAQ ……… Capítulo 3 La familia Blasco Ibáñez - 1867 https://elargonautavalenciano.blogspot.com/2016/01/la-familia-blasco-ibanez-1867.html El "comecuras" Vicente Blasco Ibáñez: escritor e impulsor de la educación laica y popular en Valencia https://www.eldiario.es/comunitat-valenciana/comecuras-vicente-blasco-ibanez-escritor-e-impulsor-educacion-laica-popular-valencia_1_8027488.html La Nueva Atenas del Mediterráneo. El sueño de un novelista Vicente Blasco Ibáñez, cultura y educación populares en Valencia del catedrático de Teoría e Historia de la Educación de la Universidad de Valencia Luis Miguel Lázaro https://www.alfonselmagnanim.net/media/dival/files/sample-119161.pdf La nueva Atenas del Mediterráneo. visor https://www.proquest.com/openview/69c1c3034ed7f81c36f405c1b377897e/1?pq-origsite=gscholar&cbl=54848 La nueva Atenas del Mediterráneo. Otro enlace en pdf https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=&ved=2ahUKEwib_Nqn69L-AhWKsKQKHYRIBZwQFnoECAgQAQ&url=https%3A%2F%2Frevistas.uned.es%2Findex.php%2FHMe%2Farticle%2Fdownload%2F31813%2F24523%2F84305&usg=AOvVaw0raZf70GBF-4NeLAyPZBF5 La Universidad Popular https://www.casamuseoblascoibanez.es/la-universidad-popular/ Reig dice que Blasco Ibáñez fue un "fabricante" de 'best sellers' https://elpais.com/diario/2000/09/23/cvalenciana/969736712_850215.html# LO MAS INTERESANTE SIEMPRE POR LA PUERTA DE ATRÁS https://tecnicopreocupado.com/2017/04/10/lo-mas-interesante-siempre-por-la-puerta-de-atras/ La Institución Libre de Enseñanza (ILE) según MENENDEZ PELAYO https://filosofia.org/aut/ile/index.htm Institución Libre de Enseñanza https://es.wikipedia.org/wiki/Instituci%C3%B3n_Libre_de_Ense%C3%B1anza MIRANDO HACIA ATRÁS III: ANTICIPÁNDONOS A HG WELLS PRIMERA PARTE https://tecnicopreocupado.com/2020/01/06/mirando-hacia-atras-iii-anticipandonos-a-hg-wells-primera-parte/ MIRANDO HACIA ATRÁS IV: ANTICIPÁNDONOS A HG WELLS SEGUNDA PARTE https://tecnicopreocupado.com/2020/01/16/mirando-hacia-atras-iv-anticipandonos-a-hg-wells-segunda-parte/ MIRANDO HACIA ATRÁS V: ANTICIPÁNDONOS A HG WELLS TERCERA PARTE https://tecnicopreocupado.com/2020/01/24/mirando-hacia-atras-v-anticipandonos-a-hg-wells-tercera-parte/ MIRANDO HACIA ATRÁS VI: ANTICIPÁNDONOS A HG WELLS CUARTA PARTE https://tecnicopreocupado.com/2020/01/31/mirando-hacia-atras-vi-anticipandonos-a-hg-wells-cuarta-parte/ LORD Bertrand Arthur William Russell, tercer conde de Russell https://twitter.com/BabylonDab/status/1096603122414309376 Perversa "La Perpectiva Científica" de Lord Bertrand Russell y sus cámaras de muerte para niñ@s disidentes. https://desmontandoababylon.com/2017/06/03/la-maldita-perspectiva-de-russell-ya-es-realidad/ Universidad Popular de Valencia https://universitatpopular.com/ Tres amigos valencianos https://www.amigosnaugran.org/bsb-tres-amigos-valencianos-benlliure/ Los libros de mama de Francisco Umbral https://www.cervantesvirtual.com/portales/vicente_blasco_ibanez/estudios_autor/autor/Umbral,%20Francisco,%201932-2007/ Vicente Blasco Ibáñez y la madrastra España https://www.todoliteratura.es/noticia/56006/firma-invitada/vicente-blasco-ibanez-y-la-madrastra-espana.html Vicente Blasco Ibáñez. Su azarosa vida y sus últimos años en la Costa Azul https://www.meer.com/es/64910-vicente-blasco-ibanez A los 50 años http://elargonautavalenciano.blogspot.com/search/label/A%C3%B1o%201917 El inesperado éxito de Blasco Ibáñez en los Estados Unidos https://www.meer.com/es/66142-el-inesperado-exito-de-blasco-ibanez-en-los-estados-unidos La excesiva personalidad de Blasco Ibáñez https://www.elespanol.com/el-cultural/blogs/tengo_una_cita/20190815/excesiva-personalidad-blasco-ibanez/421827814_12.html Editorial Prometeo https://www.academia.edu/27468622/El_legado_de_una_editorial_emblem%C3%A1tica_Prometeo_Valencia_1914_ Portal:Editorial Prometeo - Wikisource https://es.wikisource.org/wiki/Portal:Editorial_Prometeo Viajes hacia la literatura satánica en un cambio de siglo https://web.archive.org/web/20200717011843/https://www.estudioshistoricos.inah.gob.mx/revistaHistorias/?p=583 Traslado de los restos mortales de Blasco Ibáñez a Valencia http://archivo.dival.es/es/actividad/traslado-de-los-restos-mortales-de-blasco-ib%C3%A1%C3%B1ez-valencia TESIS DOCTORAL El ART DÉCO EN LA IMAGEN ALEGÓRICA DE LA II REPÚBLICA ESPAÑOLA EN VALENCIA: VICENTE ALFARO PROMOTOR DE LAS ARTES https://core.ac.uk/reader/75989300 Honores militares BOE 28 octubre 1933 https://www.boe.es/datos/pdfs/BOE/1933/301/A00682-00682.pdf El sarcófago de Vicente Blasco Ibáñez https://cultural.valencia.es/es/el-sarcofag-de-vicente-blasco-ibanez/ Javier Goerlich https://valenciaoculta.com/javier-goerlich/ Marie Tussaud: La artista de máscaras mortuorias de cera https://www.culturabizarra.com/marie-tussaud-mascaras-mortuorias-cera/ LAS VIDAS CREADAS https://tecnicopreocupado.com/2023/01/22/los-manuscritos-muertos-y-las-vidas-creadas-pars-secunda/ València inicia el traslado del sarcófago de Blasco Ibáñez al cementerio general https://www.lavanguardia.com/local/valencia/20210406/6631360/valencia-inicia-traslado-sarcofago-blasco-ibanez-cementerio-general.amp.html El sarcófago de Vicente Blasco Ibáñez ya está en el Cementerio General de València https://www.lavanguardia.com/local/valencia/20210423/7107566/sarcofago-vicente-blasco-ibanez-cementerio-general-valencia.amp.html Fin al capítulo del sarcófago de Blasco Ibáñez https://www.lasprovincias.es/culturas/sarcofago-blasco-ibanez-20210423133737-nt.html

Tonight, we'll read a Brazilian fairy tale called “The Seaside Princess from Brazil” or “Why the Sea Moans” from the collection by Elsie Spicer Eells's “Fairy Tales from Brazil” published in 1917. This story was originally adapted and published by Snoozecast in 2021.The author Spicer Eells was an American researcher of folklore and a writer who traveled in the early years of the twentieth century across the Atlantic basin. Having traveled in the 1920s and ‘30s to various countries as a researcher at The Hispanic Society of America in New York, Eells was the author of numerous collections of short stories and legends based on the oral tradition of various regions she visited, including the Brazilian one we found.‍ — read by 'V' — Sign up for Snoozecast+ to get expanded, ad-free access by going to snoozecast.com/plus! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week's cover art photo is baby Barbara, circa 1999 working down in the basement stacks. Listen to the episode--it'll make sense. Barbara answers a listener's question on interviewing family members for a life story book and shares her experience interviewing her grandfather. She also shares her thoughts on the significance of preserving family history, recommends books she recently read, and talks about a great new exhibit at the Hispanic Society--go to Instagram https://www.instagram.com/writing4immortality/ to see pictures from the installation! **LINKS TO BOOKS AND PRODUCTS MENTIONED IN THIS EPISODE** Transcription services: Rev: https://www.rev.com/ Riverside: https://riverside.fm/ Books Barbara read and reviewed (in order of discussion): Running Red, by NB Conrad https://www.amazon.com/Running-Red-Noel-Conrad/dp/B0CRS98KH1 The Obituary Book, by Alden Whitman https://archive.org/details/theobituarybook0000unse/page/n9/mode/2up Pre: The Story of America's Greatest Running Legend, Steve Prefontaine, by Tom Jordan https://www.thriftbooks.com/w/pre-the-story-of-americas-greatest-running-legend-steve-prefontaine_tom-jordan/254671/item/62116321/?mkwid=%7cdc&pcrid=76622380847791&pkw=&pmt=be&slid=&product=62116321&plc=&pgrid=1225955718369265&ptaid=pla-4580221858468446&utm_source=bing&utm_medium=cpc&utm_campaign=Shopping+%7c+NEW+condition+books&utm_term=&utm_content=%7cdc%7cpcrid%7c76622380847791%7cpkw%7c%7cpmt%7cbe%7cproduct%7c62116321%7cslid%7c%7cpgrid%7c1225955718369265%7cptaid%7cpla-4580221858468446%7c&msclkid=c8a090acc08013ea6646f68cfa59458e#isbn=B00196PDC4&idiq=62116321 Zakwato/Logledou's Peril, by Azo Vauguy, translated by Todd Fredson https://www.amazon.com/Zakwato-Logl%C3%AAdous-Peril-Azo-Vauguy/dp/0900575158/ref=sr_1_1?crid=F3LKCVQJ2MAI&dib=eyJ2IjoiMSJ9.CdHtRiq-AQUHPDrOwzYVSLsE217nVmkgVMoh5a6P-G7GjHj071QN20LucGBJIEps.Lo3mzNn5kUJcJ-8gcw19u-qOgy4lJboS6DlzI4xFxrc&dib_tag=se&keywords=zakwato+%26+logl%C3%AAdous+peril&qid=1713388335&s=books&sprefix=zakwato+%26+logl%C3%AAdous+peril%2Cstripbooks%2C119&sr=1-1 North Woods, by Daniel Mason https://www.amazon.com/North-Woods-Novel-Daniel-Mason-ebook/dp/B0BPX7SF89/ref=sr_1_1?crid=3123AMBMTOSCJ&dib=eyJ2IjoiMSJ9.oU2E375QauyXDJny5rjXW4Q-yp-n7Ub8X8MKu3E4k-H8LUqMLNLSlTNcovJUgMpqJC-OFBh6bZCWpXYGiBGfEQi-I6JM154YlIz1_kqqnatf78N7IQ5PQ2oUkCounPCY9kOYu1R_e00kWGiysoFyn-iX3zSMUewWQdvWUS1L0MmyMU7Mlly-qXIR7iNakzyqkXl70wUi25QOZsbfUyz_daDOIqH7nkOBGjN3FCoBN3k.bWHjgu9cOys4YsXTToHPCTw2hZbvhP_ZTQ7I_8IcCPk&dib_tag=se&keywords=north+woods+daniel+mason&qid=1713388393&s=books&sprefix=north+woods+dani%2Cstripbooks%2C120&sr=1-1 Hispanic Society https://hispanicsociety.org/exhibitions/future-exhibitions/the-word-shimmering-sea-diego-velazquez-enrique-martinez-celaya/

Conversamos con Miguel Marín, director del Flamenco Festival Nueva York, que celebrará su 23 edición del 1 al 17 de marzo también en ciudades como Miami, Boston, Los Ángeles y Chicago. Reunirá a 230 participantes, entre ellos el Ballet Nacional de España, con un homenaje al guitarrista Paco de Lucía cuando se cumplen diez años de su muerte; conmemorará también el IV centenario del fallecimiento del músico y poeta español del Siglo de Oro, Vicente Espinel, al que se le atribuye haber añadido la quinta cuerda y a partir de este momento habría pasado a llamarse “guitarra española”. En el marco del festival, la Hispanic Society of America acogerá el día 6 un acto con motivo del centenario del fallecimiento del pintor Joaquín Sorolla. Escuchar audio

Audubon Terrace Historic District deitzen da New Yorkek duen toki ia sekretu bat. Bertan kokatzen da Hispanic Society izeneko liburutegi eta museoa eta baita Estatu Batuetako arte eta letren akademia ere. 155. eta 157. kaleen bitartean, hiriko gainontzeko museoetatik aparte, Washington Heights deritzon auzo bizi eta askotarikoan.

La Sociedad Hispánica de Victoria, la organización comunitaria sin fines de lucro de habla hispana más antigua de Australia, está organizando una noche de gala para celebrar sus 71 años de existencia. SBS Audio habló con tres miembros de la organización, Elivira Cifaratti, Nelda Gillies y Jytte Holmqvist sobre la función de este emprendimiento cultural que ha estado conectando a personas a través de la cultura, el idioma e intereses afines por más de siete décadas.

La organización comunitaria Hispanic Society of Victoria, la más antigua del estado, celebra su 71 aniversario. Y alegaciones contra el gobierno de Nicaragua, afirman que el estado se está aprovechando de la migración de haitianos para convertir la situación en un negocio y una agresión contra EE. UU. Escucha estas y otras historias en el programa del miércoles 1 de noviembre de 2023.

In this episode, we welcome Natalie Espino and Ryan Pinchot from the Hispanic Society Museum & Library. Located on the Audubon Terrace Broadway between 155th and 156th streets, the Hispanic Society Museum & Library was founded by Archer Milton Huntington in 1904, as a free, public museum and library for the study of the art and culture of Spain, Portugal, Latin America, and the Philippines. HSM&L houses a vast collection of paintings, watercolors, drawings, prints and photographs, as well as sculpture and decorative objects dating from the first millennium BCE to the 20th century. The library offers an unparalleled collection of over 300,000 books and periodicals dating from the 11th century to the present. As HSM&L continues comprehensive renovation of its buildings it has maintained and expanded its public and educational programs both in virtual platforms and in person, including its popular concert series, public lectures, and launching of temporary exhibition spaces. They have reactivated the outdoor space with exhibitions and public programs on Audubon Terrace in partnership with several local artists and community arts organizations. www.hispanicsociety.org

Archer HUntington fue uno de los más grandes filántropos de la historia de Estados Unidos, a finales del siglo XIX y primera mitad del XX. Pero no solo de Estados Unidos, también de España, ya que a él se debe la fundación, en 1904, de la prestigiosa “The Hispanic Society” de Nueva York, un verdadero “Museo Español” , sin paralelo en su alcance y calidad fuera de España. Su colección de arte, literatura y cultura española es la más importante fuera de nuestro país.  El tamaño, la profundidad y la amplitud de las colecciones de la Hispanic Society se vuelven aún más impresionantes cuando se considera que fueron reunidas en gran parte por un solo erudito y coleccionista inspirado. A lo largo de cincuenta años, Archer Huntington dedicó su vida y considerables recursos familiares a formar una de las mejores colecciones de arte y literatura hispánicas del mundo.

What you'll learn in this episode:   How Beatriz discovered and catalogued the 2,600 rings in the Alice and Louis Koch Ring Collection at the Swiss National Museum How Covid lockdown changed how people wear jewelry Beatriz's tricks for making a jewelry exhibit more engaging What it's like to work with jewels uncovered from shipwrecks How global trade has influenced how jewelry is designed and made   About Beatriz Chadour-Sampson   Beatriz Chadour-Sampson studied art history, classical archaeology and Italian philology at the University of East Anglia, and at the University of Münster, Germany. Her doctoral thesis was on the Italian Renaissance goldsmith Antonio Gentili da Faenza. In 1985 she published the jewelry collection of the Museum für Angewandte Kunst, Cologne. Since 1988 she has worked freelance as a jewelry historian, curator of exhibitions and academic writer in Britain. Her numerous publications on jewelry, ranging from antiquity to the present day, include the The Gold Treasure from the Nuestra Señora de la Concepción (1991), and 2000 Finger Rings from the Alice and Louis Koch Collection, Switzerland (1994). She was the consultant curator in the re-designing of the William and Judith Bollinger Jewelry Gallery at the Victoria & Albert Museum (opened in 2008), London and was guest curator of the ‘Pearl' exhibition (2013-14). She is an Associate Member of the Goldsmiths' Company, London. Today Beatriz Chadour-Sampson works as a freelance international and jewelry historian and scholarly author. Her extensive publications range from Antiquity to the present day.    Additional Resources: Instagram Museum Jewellery Curators - Goldsmiths' Fair Photos available on TheJeweleryJourney.com Transcript:   Working in jewelry sometimes means being a detective. As a freelance jewelry historian and curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum, Beatriz Chadour-Sampson draws on her wealth of knowledge to find jewelry clues—even when a piece has no hallmark or known designer. She joined the Jewelry Journey Podcast to talk about how she creates jewelry exhibits that engage viewers; how she found her way into the niche of shipwreck jewelry; and what it was like to catalogue 2,600 rings. Read the episode transcript here.  Sharon: Hello, everyone. Welcome to the Jewelry Journey Podcast. This is the second part of a two-part episode. If you haven't heard part one, please head to TheJewelryJourney.com. My guest is Beatriz Chadour-Sampson. She's been the curator of the Alice and Louis Koch Ring Collection at the Swiss National Museum for almost 35 years. Welcome back.   Beatriz: You asked about the catalogue. We didn't know if the exhibition was going ahead at one point, but I was asked by V&A Publishing to do a book on pearls, which I did. So, yes, we did a book which was for sale during the exhibition. That was in 2013. We redesigned the jewelry gallery, and 2008 was the end of that. The pearls exhibition was in 2013, the beginning of 2014.   Sharon: Why was it redesigned, the gallery?   Beatriz: The jewelry gallery. With all galleries, there comes a point where they need to be refreshed and renewed, and the previous design needed it. You even had gates you had to get through, and if you weren't quite as slim as myself, you would have problems getting through the gates. When it was redesigned, it was a completely different aesthetic. As I said, the boards have to tell the story, so when the visitor walks in, they have to understand the story and go from one to the other. Some people say the gallery is very full, but it is a study collection. We asked the education department artists to do certain things.    I was very keen on going “from cradle to grave.” The gallery is chronological, so you want a display before you start to know why you wear jewelry. A child wears jewelry or a mother wears jewelry to protect them at childbirth, or they wear it for status or religion or whatever it is. Jewelry is multitasking, multifunctional. Today we think of jewelry as decorative, but that is not the case. Jewelry was made for an occasion and a reason. With status, you always have the big diamonds and the big stones. That has always existed, in recently centuries definitely. But there are so many more reasons for jewelry, for mourning and birth and good luck. That sort of exists today, probably with charms. So, jewelry is multifunctional.    Then we have a screen with pictures from different centuries showing portraits because, at a jewelry gallery, you can't see the pieces on someone. They need the body, but they don't have the body. So, it's good to have a screen showing how the jewelry was worn through the centuries, which is very important. Also in the display, each board—let's say you had earrings, a necklace and a bracelet. The concept was that what you wear on the top of the head goes on top. What you wear around your neck comes next and then the base, so you have a feeling of an abstract body in a way. It's not always obvious, but I try to think of it logically.    Of course, with the contemporary, we couldn't do that. It is all chronological until you get to about the 1950s, and that's it. You have to find a completely different concept. So, we decided to do it by materials. Good chronology at the beginning, but then it comes into materials. Natural materials, new metals, techniques. You couldn't do decades. That couldn't work. So, we did it by materials, which is an interesting aspect because you have all the different materials they use in comparison to all the gold and silver you see throughout the gallery. Suddenly, you're seeing a whole wall of completely different materials.   Sharon: What is your role as co-curator? You're curator and co-curator of so many places. What's your role as a co-curator? What do you do? What do they call in you for?   Beatriz: It's an advisory role. The Victoria and Albert Museum is a bit more than just an advisory role. You're working with the team, with the architect. It's a team procedure, but as I say, everybody has their own role to play. It intermingles, of course.    Sharon: At other times, you've talked about a different museum in Switzerland where you came, and it looked just—was it at eye level? Was it low? Was it too high?   Beatriz: Oh, that one, no. You remembered that detail. The eye level, that was the Victoria and Albert Museum. That is in the center of the gallery because we did a display for a tourist who goes to the museum and only has 10 minutes to look at jewelry history. So, in the center you've got these curved glass cases. The jewelry is on special mounts. You remember that. I asked my colleagues of different heights, from four foot something to six foot something. In the storage room, we had glass doors where there was a lot of storage space with artifacts in it, and I used Post-it Notes to put the different heights of people to see what a good eye level is. So, if you're looking at a broach or a tiara or something, you want it on the level where you more or less visualize it on your body so you can see it well. So, yes, that's the Post-it Notes. I used not only double-sided tape and pieces of paper, but also Post-it Notes, trying to find the right height for the pieces.    Eye level is hugely important, but the other museum you're thinking of may be something I'm current advising on. This is really an advisory role. It is a museum that will open next year, the Dubedeen, a German museum. Of course, there are gemologists there that are very specialized, but their museum experience is missing. So, I'm giving a little bit of advice on the background of things. Don't put a plinth that you can fall over. Don't make drawers that a child can get their fingers caught in. You learn these things from places like the Victoria and Albert Museum. There's health and safety. There's also the height of displays, the attention span of visitors. Text shouldn't be too long. It's more of an advisory role than an active role.   Sharon: I'm thinking about attention span. You must have seen that really go down. It seems nobody has more than two seconds for attention anymore.   Beatriz: There is an element of that. I think the Koch Collection of rings in the Jewelry Gallery is one of the most visited in the England museums. When you get to sparkle and glitter, there's more attention span, but not so much on the text.   Sharon: Yeah, that's probably true. You've also done a lot of work on shipwrecks. That's very interesting.   Beatriz: That goes back to 1989. By sheer coincidence, I came to work on shipwrecks. I was in New York when I was working on the Concepción Collection. I met Priscilla Muller of the Hispanic Society of America in New York, and I helped her with some Spanish and Portuguese jewelry. When she was asked, she just didn't have the time to work on the shipwrecks. She thought with my Spanish and Portuguese knowledge, I would be suited for that, so I was asked by Pacific Sea Resources in 1989 to work on an incredible shipwreck called the Nuestra Señora de la Concepción from 1638 that sank. It was the usual thing, mutiny and the wrong person taking care of the ship. That's a private story, not a jewelry story, but the interesting thing is that the jewelry was basically made for Spaniards in the Philippines. The jewelry was made in the Philippines, the majority of it for Spaniards. It was a Spanish colony at the time.   When I was first went through it, I thought, “It looks quite European. It looks O.K.” I signed the contract, and little did I know how much research was involved for the material, which I hardly knew. It was because of the influence. The Spaniards definitely had European design books they brought with them. By then, you had printed books with designs in them, and they must have had them there. Chinese craftsmen were working for them in the Philippines, and of course the Chinese had great skills with outside countries. Some of it looks very European, and some of it is Indian influences, Siamese influences, and influences from Java, Sumatra. The chains, heavy gold chains, were certainly Chinese filigree. In fact, I told the Ashmolean Museum it belonged to Sir Elias Ashmole, whose portrait and chains still exist in the Ashmolean Museum, and I told them that one of the gold chains he had was Chinese. It was given by the Kuffners from Brandenburg, and I happened to find out that the Kuffners from Brandenburg travelled to China. So, that all fit. That was a little like detective work. That was published in 1990.   I've recently been working again on shipwrecks, just a few pieces of absolutely fascinating jewelry found off the shore of the Bahamas, which has now been in the Maritime Museum on the Bahamas for only a few months. I also worked on the Atocha in Key West. I organized an exhibition in Hanover for them, where we did a display of the Atocha and Santa Margarita events. But what's so fascinating about shipwrecks is that we see so many portraits of beautiful jewelry from the Renaissance, the 16th, 17th centuries, where they really documented beautifully painted jewelry in paintings. Thanks to that we can study them in detail. All this jewelry doesn't exist anymore, especially gold chains, because gold chains were the easiest thing to melt and reuse for more modern jewelry. As I have said, I have a smile when somebody talks to me about recycled gold being something new. Well, it's nothing new. Recycling gold goes back centuries.    Sharon: I'm surprised because in the pictures, you always think it's a straightforward gold chain with no Chinese engraving or anything. You think of it as a gold chain.   Beatriz: Some of it is simple, what they called a P-chain. You saw loads of it, especially on Dutch paintings. But in the Atocha there was a spiral. You can see they're very tidy on the portraits, but it looks as if they had a spiral at the back holding the chain so they flowed down properly. Some of those chains we had were definitely Chinese filigree because those chains are filigree. In the 1655 shipwreck from the Bahamas, there's a chain like that, and that's mainly why they asked me to look at it. That certainly reminded me of some of the Concepción work, which was Chinese craftsmanship.    The trade was amazing. You had trade happening in the Philippines. Even the Dutch were trading with the Spaniards. The Dutch were trading silks and spices from China and so on. These big galleons went from the Philippines to Acapulco and Vera Cruz and then to Havana. They went on a route around South America, loading and offloading things from Europe. It's interesting because in Seville, there's the Archivo General de Indias, and there they have all the books on the shipping material. Like with the Atocha, they found out which ship it was because the gold bars have a text mark on them, and that coincided with the documents they have in Seville. It's fascinating. It's a fascinating field.   Sharon: It seems like it.   Beatriz: It's a mystery and it's global, of course. Made in Asia; there's nothing new. It's hundreds of years. There would not be any porcelain in 18th century Europe the other way around.   Sharon: Do you get to see the ship right away? When it comes up, do you see it when they pull it from the ocean?   Beatriz: No. When I was asked to work on the Concepción, I had to travel to Singapore where it was being cleaned and conserved. In one instance I had to say, “Stop cleaning because I think there's enamel underneath, black and white enamel. Stop.” You have to be careful because you have to get rid of the marine dirt. No, I got to see it after it was cleaned or while it was being cleaned.    Sharon: Wow! And then what? It goes to the museum? What happens afterwards?   Beatriz: It nearly got split up and sold at auction. I'm glad it didn't because it's a historical find, but unfortunately you have to go the Mariana Islands to see it. You can't see it always. The material is put together, and it was published in a black and white archaeological report. It was published in 1990, so at least it's documented. National Geographic did a beautiful spread with color, so you know what it's like.   Sharon: What have you learned from parsing these shipwrecks, from researching the shipwrecks?   Beatriz: The extent of influence in Europe of some motifs and how far they went. It was made in the Philippines and sold in Europe because everything that was made and transported on this galleon, the Atocha, at some point went to Seville and then it was traded on. We definitely know that the emeralds the emperors were after came from Colombia and then went through Havana to Seville. It's a fascinating trade, but the trade is something we never think about. In Roman times, the Roman emperor wanted pearls, so they traveled to southern India to get pearls. History does amaze one.    Sharon: It does. You're working on many projects now. What can you tell us about some of them?   Beatriz: I can tell you what's half-finished and what's coming. I've had a year of three books. I co-edited a book with Sandra Hindman, founder of Les Enluminures. I need to add Les Enluminures because for many years, I've been their jewelry consultant. They're based in Chicago, New York and Paris and are specialized mainly in Medieval and Renaissance jewelry, but this has nothing to do with the book we did. It just happened to be that we worked together again. Sandra and myself did something called a liber amicorum in honor of Diana Scarisbrick, a leading jewelry historian. It was for her 94th birthday, and we kept it a secret until her birthday. It had 20 authors in three languages all writing in her honor. That has come out. It's now available. It was published by Paul Holberton. It's on varied topics, from archaeology to today, really. 20 authors contributed towards that.    Today I received my copy of a book I worked on for the Schmuckmuseum, so it's now published. The launch is on Sunday, but I won't be traveling to Germany for that, unfortunately. It has to be a Zoom celebration for me. It's to do with the humanist Johann Reuchlin. He was from Pforzheim. He lived in the late 15th to the 16th century, and it's about script and jewelry from varying periods. It's a lot of contemporary jewelry as well. The cover doesn't really tell you that because it was the 500th anniversary of, I think, his death date. So, he was honored in this book, which has just come out, with essays from many people. Lots and lots of jewelry. That was published by Arnoldsche, and it's called—I have to think of it—German sounds so much easier in this case. It means script and pictures worn on the finger. I worked on rings with script on them.   Sharon: With writing you mean?   Beatriz: Yeah, writing, that's it. There are a lot of other topics in the book as well, but jewelry is certainly the dominant. Yes, they are rings. Mary Queen of Scotts is somebody who wrote her inscription inside the ring and was loyal to the queen. Had that been seen, her head would have gone to the chop. It's rings with prayers on them or rings with some sort of amuletic inscriptions. It's all inscriptions on rings in my case, and it's about Josiah Wedgwood who gave this ring to John Flaxman. You've got a whole history behind it. It's rings with script on them, highly visible on the bezel, either visible on the bezel or inside the hoop.   Sharon: In English or German?   Beatriz: It's basically German, I'm afraid to say, but with lots of good pictures with excellent captions, which are international. I am bilingual in German and English, but I haven't written German for a long time.    I've actually written a third book that's coming out, but that won't come out until January. That was a huge task. It's on jewelry from Bossard from Lucerne. It started in the early 19th century, but the two I worked on were a father and son from 1869 until 1934. That was the period of historicism. It was also a time of fakes of Renaissance jewelry being made, because there were so many collectors who wanted Renaissance but couldn't afford the real Renaissance jewelry. So, it was very tempting for fakers to make fake jewelry. When I started, I didn't know what I was in for, but I have come to the conclusion that it's pure historicism, what Bossard made. I had very little jewelry to go on, just a few pieces in private hands, but I did find by sheer coincidence a drawing, and I found the bishop who it belonged to. You have a hundred drawings by the Bossard Company over this whole period, and it's very interesting material to see their designs they were making. In some instances, it's real Renaissance. I don't know if they were Renaissance or if it was actually made later. Then it gets critical. It's a very complex period, but a very interesting archive in the Swiss National Museum in Zurich.   Sharon: For next year, do you have other projects going on?   Beatriz: Yes, the coming projects. I mentioned the gem museum, which is opening next year. I'm in the midst of advising. I'm going to be working very shortly—I've already started a bit—on the jeweler Eileen Coyne from London. She's been working on jewelry since the 1970s and continues to make jewelry very, very different to anything I've worked on before. What I find so fascinating is that her imagination and inspiration come from the material. It comes with the material and the tools. She also uses interesting gemstones and beads that come from ethnic backgrounds. She uses the most amazing materials. Also jades, carnelians, all kinds of things. So, we're going to do a book. She had a shop in the 80s and into the 90s. Her jewelry was displayed in Harvey Nichols in London, and she had a shop where all the celebrities and royals went shopping. It was quite an interesting clientele. We'll see if we get photographs or if they allow us to show some of the things they bought. It's very much about discretion in such cases. So, that's interesting, a completely different type of jewelry.    I'm really excited about it, but at the same time, I've also been involved, and am more involved now, in an artificial intelligence project. That is a ring that has been designed by Sylvia Reidenbach and John Emeny in England. Sylvia Reidenbach is German, but she teaches in Glasgow and London and all over Europe as well. She has created, with John Emeny, a ring with artificial intelligence based on one or two rings from the archaeological museum in Munich, a few rings from the  Germanisches Nationalmuseum in Nuremburg, and 150 rings from the Koch Collection. There's one design. The machine makes the design, mixes it all and combines it into one design. The ring is now being made. The stone is labradorite. It's been on display since Wednesday last week in the Germanisches Nationalmuseum but will be coming to Zurich afterwards. So, I'll be learning a lot about AI and design. That is completely different from anything. I like the natural materials and history, and then the contrast is the AI.   Sharon: The AI is the dimensions of all these hundreds of rings?   Beatriz: Yes, the images are put into the machine, the AI. Don't ask me the technology of it because I haven't got a clue about AI technology. I'm at the beginning of it all. I'm learning, but I have seen how it develops. The images are fed into the machine, like the 150 rings from the Koch Collection and the others, and the machine designs one ring out of that.   Sharon: Wow! So, it's already made and in the museum.   Beatriz: Only just now. It's hot off the press, but there's more to come on that. There will be more to come on that, yes.   Sharon: You've written several other books. You wrote “A Life in Jewels.”   Beatriz: That is the book we did for Diana Scarisbrick, honoring her. I've written books since 1981, so it's added up quite a bit. Sometime I can give you a list.    Sharon: How about the influence of women on 20th century jewelry? Has it changed jewelry? Has it made it more feminine?    Beatriz: It's an extremely complex story, the role of women in design. You have to see it from the role of the woman in history. Just recently by coincidence, I've seen some material on women painters from the 16th and 17th centuries. In Bologna, for example, there were quite a few, and it's only now coming to the fore. You also have to see high jewelers' workshops in the field of jewelry. You don't have a Renaissance piece of jewelry and know, “So-and-so made it.” That didn't exist. It's only in the 19th century that we start that. The hallmarking system in England goes back to the 13th century, but jewelry was considered smallware, so they didn't consider putting a hallmark on it.    That changed later on, the but the name of the designer is something that we very often don't know. The high jewelers of the 19th century, when you knew the name of who made it in Paris or New York, you never know the name of the designer. That is something that came in in the 20th century. You have some classical examples. With Cartier, it was Jeanne Toussaint. She designed some of the iconic pieces for Cartier and the Duchess of Windsor. She worked for I don't know how many decades designing jewelry. She was a very important female designer. Then you've got Coco Chanel. She designed jewelry, mostly costume jewelry, but she also designed diamond jewelry. Not that she wanted to, but it was for the nation and probably the economy that she did it. Elsa Schiaparelli, with her fantastic surrealist jewelry, made that incredible neckpiece with beetles in plastic. If you had to date that as a jewelry store and you didn't know the background, you'd easily say 1970s or 80s. It's so amazing. In that period, you also had Suzanne Belperron with her really unique designs in jewelry.    Of course, the role of the woman changed after the First World War. You had millions of widows, and they had to work. The whole society was changing. After the Second World War, it became even more evident that women were working. I was very cheeky. I did a lecture. It was in the British Museum, and I was talking about the changing role of men and women buying jewelry. You can imagine the shock of some of them. I said, “Women go out and buy their own jewelry.” Before it was classical: the husband bought the jewelry for the wife. They were the earners, so they bought it. There were a few examples in the early 1900s, like the Duchess of Manchester, whose tiaras are in the Victoria and Albert Museum. She was one of these Dollar Princesses and quite a character. She liked smoking cigars and all. She went off with the family diamonds to Cartier and said, “Make me a tiara, and use up the garments.” You have Lady Mountbatten, who, after the birth of her daughter, Pamela, decided to go to Cartier and buy herself a nice bracelet that she could also wear in her hair in the 1920s.    There are a few examples. On the whole, it was always the husband buying the jewelry, but past that, you have women earning money and buying their own jewelry. The 60s sets off in that direction, and then it becomes jewelry that's more affordable. Jewelry has never been so diverse as in the last decades. It's never been so diverse in all its history. If you look at the Royal College of Art, I think you'll find that, in general, there are a lot more women in training to become jewelers. You find so many names of women designers, now one doesn't even talk about it. Whether it's a man or a woman, it's just become a norm.    Sharon: That's interesting. If you stop to think about it, I don't even know if there are that many male designers. I'm thinking about when I go to studios. You see more women than you do men.   Beatriz: It's more and more, yes. There are more and more women, absolutely.   Sharon: What would you advise? What piece of advice would you give emerging jewelers or people who want to follow in your steps?   Beatriz: Remember that if you're a jewelry historian, you're an academic. Remember that. You have to really enjoy what you're doing. In my case, I was very lucky. I've worked for so many different projects and so many different jewelers internationally. I've specialized in that, but it's very difficult. Maybe, depending on the economic situation, people can volunteer in a museum to learn the trade. I think what you really have to know is do you want to work in a gallery, or do you want to work in an auction? Do you want to work in a museum? They don't always mingle, so you have to learn where you want to go. It depends on what your interests are. If you have anybody, send them to me privately. I'm happy to talk it through.   Sharon: Thank you for being with us.   Beatriz: My pleasure.   Sharon: Well will have photos posted on the website. Please head to TheJewelryJourney.com to check them out.   Thank you again for listening. Please leave us a rating and review so we can help others start their own jewelry journey.

A 2020 Pollock-Krasner awardee and currently an artist research fellow at the Hispanic Society of Americas, Ana Paula Cordeiro thrives in the communal space. A founding member of the Introspective Collective, in 2018 she co-curated a multi-media installation at The Clemente and co-authored a book about making books titled Bookforms. Originally from Brazil, she does her work at The Center for Book Arts shared shop. Her artist books are collected by major institutions in the US and abroad. Keep up with her at www.anapaulacordeiro.com

Disclaimer: The following episode contains sensitive content and may be found as offensive, disturbing, or may trigger a person. Listen at your own risk.Say hello to out special co-host Crystal Rodriguez!We tackle the Latin gender roles and a woman place in a Hispanic householdEsto se van poner bueno!!!!

Claudia Romo Edelman has more than 25 years of experience leading marketing and advocacy for global organizations including the United Nations, UNICEF, the Global Fund to Fight AIDS, TB and Malaria, the United Nations High Commissioner for Refugees (UNHCR), and the World Economic Forum. Since 2017, Ms. Romo Edelman has served as the Founder and CEO of the We Are All Human Foundation, a New York-based global non-profit organization devoted to advancing the agenda of diversity, inclusion, and equity, focused on unifying the U.S. Hispanic community and promoting sustainability and purpose-driven activities. Ms. Romo Edelman holds a Degree in Communication from the Universidad Intercontinental and a Masters of Political Communications from the London School of Economics. Ms Romo Edelman is part of the Board of the American Latino Museum; the Hispanic Society of America; and KIND (Kids in Need of Defense). Ms Romo is the Editor-at-large of Thrive Latina, part of Arianna Huffington's Thrive Global platform. She writes for various media organizations including The Guardian, Ad Age, Ad Week, Al Dia, Forbes. Ms. Romo is the recipient of numerous awards, including People Magazine's 25 Most Influential Latinas, ALPFA's 50 Most Powerful Latinas and has also published two books on the power of Hispanics. She enjoys traveling, sports and speaks 6 languages. Learn more about Claudia and Hispanic Star here: Hispanic Star: https://hispanicstar.org/ Claudia's website: https://www.claudiaromoedelman.com/ LinkedIn: https://www.linkedin.com/in/claudiaromoedelman/ Instagram: https://www.instagram.com/claudiaromoedelman/ Shout-out: Today's Diversity Leader Shout-out goes to Corporate America Music: Intro - Vente by Mamá Patxanga is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License Outro - Amor Y Felicidad by SONGO 21 is licensed under a Attribution-NonCommercial-ShareAlike 3.0 International License --- Send in a voice message: https://anchor.fm/si-suite/message

Claudia Romo Edelman has more than 25 years of experience leading marketing and advocacy for global organizations including the United Nations, UNICEF, the Global Fund to Fight AIDS, TB and Malaria, the United Nations High Commissioner for Refugees (UNHCR), and the World Economic Forum. Since 2017, Ms. Romo Edelman has served as the Founder and CEO of the We Are All Human Foundation, a New York-based global non-profit organization devoted to advancing the agenda of diversity, inclusion, and equity, focused on unifying the U.S. Hispanic community and promoting sustainability and purpose-driven activities. Ms. Romo Edelman holds a Degree in Communication from the Universidad Intercontinental and a Masters of Political Communications from the London School of Economics. Ms Romo Edelman is part of the Board of the American Latino Museum; the Hispanic Society of America; and KIND (Kids in Need of Defense). Ms Romo is the Editor-at-large of Thrive Latina, part of Arianna Huffington's Thrive Global platform. She writes for various media organizations including The Guardian, Ad Age, Ad Week, Al Dia, Forbes. Ms. Romo is the recipient of numerous awards, including People Magazine's 25 Most Influential Latinas, ALPFA's 50 Most Powerful Latinas and has also published two books on the power of Hispanics. She enjoys traveling, sports and speaks 6 languages. Learn more about Claudia and Hispanic Star here: Hispanic Star: https://hispanicstar.org/ Claudia's website: https://www.claudiaromoedelman.com/ LinkedIn: https://www.linkedin.com/in/claudiaromoedelman/ Instagram: https://www.instagram.com/claudiaromoedelman/ Shout-out: Today's Diversity Leader Shout-out goes to Corporate America Music: Intro - Vente by Mamá Patxanga is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License Outro - Amor Y Felicidad by SONGO 21 is licensed under a Attribution-NonCommercial-ShareAlike 3.0 International License --- Send in a voice message: https://anchor.fm/si-suite/message

Michael S. Smith is one of the most sought-after talents in the design industry today. With an international roster of high-profile residential, hospitality, and commercial clients, he is known for an effortless blend of all-American modernism and European classicism—always fresh, always surprising, always evolving. A California native, Smith studied interior architecture at Otis College of Art and Design in Los Angeles, followed by graduate work at the Victoria and Albert Museum Study Centre in London. He has received numerous accolades throughout his career, including being continuously named to the AD100 and Elle Decor’s A-List, and he was honored by the Hispanic Society of America with his partner, James Costos, the former ambassador to Spain and Andorra; they received the organization’s 2016 Sorolla Medal in recognition of their extraordinary support of Spanish art and culture. Smith was also the 2018 recipient of the distinguished Arthur Ross Award for Excellence in the Field of Interior Design from the Institute of Classical Architecture & Art. From 2008 through 2016, Smith worked with President Barack Obama and First Lady Michelle Obama on the design of the private quarters of the White House, as well as the refurbishment of some of its State Rooms, and their focus on showcasing works by a diverse group of artists and artisans was both groundbreaking and highly acclaimed. In 2010 Smith was appointed by President Obama to the Committee for the Preservation of the White House and he now serves on the Design Advisory Team for the Obama Presidential Center in Chicago. Smith’s extensive Jasper collection of fabric, wall coverings, furniture, and accessories and his Templeton line of fabrics are available at his showrooms in L.A. and Madrid and in multiline showrooms across America. The designer has published five books with Rizzoli: Elements of Style (2007), Houses (2008), Kitchens and Baths (2011), Building Beauty (2013), and The Curated House: Creating Style, Beauty, and Balance (2015). His latest book, Designing History: The Extraordinary Art & Style of the Obama White House, will be released this September. It documents Smith’s extraordinary collaboration with the Obamas through extensive photography, behind-the-scenes stories, and rich archival material. The book places the Obama White House within the context of the building's storied past and its evolution over the past two centuries, chronicling the process of updating the country's most symbolic residence and revealing how Smith's collaboration on the decoration, showcasing of art, and style of entertaining reflected the youthful spirit of the first family and their vision of a more progressive, inclusive American society.

Nesse episódio iremos falar sobre alguns mitos históricos difundidos pelo movimento monarquista brasileiro sobre o período do Brasil Império. Távola Redonda do Episódio: Leandro Marin - graduando de licenciatura em História pela UFRRJ, dono e criador da História No Paint Igor Ribeiro - graduando de licenciatura em História pela UFRRJ Convidado especial: Paulo Rezzutti - que possui graduação em Arquitetura e Urbanismo pelo Centro Universitário Belas Artes de São Paulo (1997). Membro titular do Instituto Histórico e Geográfico de São Paulo (2012). Escritor, pesquisador e biógrafo. Autor das obras: Titília e o Demonão. Cartas inéditas de D. Pedro I à Marquesa de Santos, que traz material inédito localizado na Hispanic Society of America, em Nova Iorque e da biografia: Domitila, a verdadeira história da Marquesa de Santos finalista na categoria Biografia do Prêmio Jabuti e do 2º Prêmio Brasília de Literatura de 2014. Consultor técnico da arqueóloga Valdirene do Carmo Ambiel em questões referentes a Patrimônio Histórico e a história da Família Imperial Brasileira durante o estudo dos remanescentes humanos dos primeiros imperadores do Brasil sepultados na Cripta Imperial do Monumento à Independência, em São Paulo. Como arquiteto, foi o responsável técnico pelo trabalho de retirada do esquife da Imperatriz D. Amélia, que se encontrava emparedado no local. É autor de diversos artigos a respeito da história do Primeiro Reinado e seus personagens, bem como a respeito de História de São Paulo. É colaborador da Revista Aventuras na História, Revista de História da Biblioteca Nacional, Revista Carta Fundamental, Revista História Viva, Veja, entre outras. Tem experiência na área de arquitetura, urbanismo, história do Brasil, atuando principalmente nos seguintes temas: Memória, Cultura Escrita, Historicidade, Acervos, Escritos, História das populações indígenas; Séculos XVII, XVIII e XIX; Marquesa de Santos; Mulheres na história do Brasil; História do império do Brasil (1822-1889). Membro do Grupo de Pesquis:História e memória das políticas educacionais no território fluminense" (Uerj/CNPq)

Nesse episódio o Marcelinho irá leu cartas eróticas que Dom Pedro I mandava para sua amante que estão pressentes no livro do Paulo Rezzuti chamado: Titília e o Demonão: cartas inéditas de D. Pedro I à Marquesa de Santos Távola Redonda do Episódio: Leandro Marin - graduando de licenciatura em História pela UFRRJ, dono e criador da História No Paint Diego das Neves - que é graduado em História pela UFRRJ e mestre em Educação, Contextos Contemporâneos e Demandas Populares. Também é pesquisador da área de arte sequencial com enfase na utilização deste estilo de arte na educação e suas influências no mundo contemporâneo Idevarte Aredes - graduando de licenciatura em Geografia pela UFJF Igor Ribeiro - graduando de licenciatura em História pela UFRRJ Convidados especias: Marcelinho - o maior contador de contos eróticos do Youtube Paulo Rezzutti - que possui graduação em Arquitetura e Urbanismo pelo Centro Universitário Belas Artes de São Paulo (1997). Membro titular do Instituto Histórico e Geográfico de São Paulo (2012). Escritor, pesquisador e biógrafo. Autor das obras: Titília e o Demonão. Cartas inéditas de D. Pedro I à Marquesa de Santos, que traz material inédito localizado na Hispanic Society of America, em Nova Iorque e da biografia: Domitila, a verdadeira história da Marquesa de Santos finalista na categoria Biografia do Prêmio Jabuti e do 2º Prêmio Brasília de Literatura de 2014. Consultor técnico da arqueóloga Valdirene do Carmo Ambiel em questões referentes a Patrimônio Histórico e a história da Família Imperial Brasileira durante o estudo dos remanescentes humanos dos primeiros imperadores do Brasil sepultados na Cripta Imperial do Monumento à Independência, em São Paulo. Como arquiteto, foi o responsável técnico pelo trabalho de retirada do esquife da Imperatriz D. Amélia, que se encontrava emparedado no local. É autor de diversos artigos a respeito da história do Primeiro Reinado e seus personagens, bem como a respeito de História de São Paulo. É colaborador da Revista Aventuras na História, Revista de História da Biblioteca Nacional, Revista Carta Fundamental, Revista História Viva, Veja, entre outras. Tem experiência na área de arquitetura, urbanismo, história do Brasil, atuando principalmente nos seguintes temas: Memória, Cultura Escrita, Historicidade, Acervos, Escritos, História das populações indígenas; Séculos XVII, XVIII e XIX; Marquesa de Santos; Mulheres na história do Brasil; História do império do Brasil (1822-1889). Membro do Grupo de Pesquis:História e memória das políticas educacionais no território fluminense" (Uerj/CNPq)

Nesse episódio iremos falar sobre o movimento abolicionista, sobre a princesa Isabel e a abolição da escravatura. Será que Isabel realmente foi uma heroína ou vilã como muitos pitam? Será que ela realmente tinha um projeto para indenizar os ex-escravizados? Confira no episódio: Távola Redonda do Episódio: Leandro Marin - graduando de licenciatura em História pela UFRRJ, dono e criador da História No Paint Diego das Neves - que é graduado em História pela UFRRJ e mestre em Educação, Contextos Contemporâneos e Demandas Populares. Também é pesquisador da área de arte sequencial com enfase na utilização deste estilo de arte na educação e suas influências no mundo contemporâneo Igor Ribeiro - graduando de licenciatura em História pela UFRRJ Convidado especial: Paulo Rezzutti - que possui graduação em Arquitetura e Urbanismo pelo Centro Universitário Belas Artes de São Paulo (1997). Membro titular do Instituto Histórico e Geográfico de São Paulo (2012). Escritor, pesquisador e biógrafo. Autor das obras: Titília e o Demonão. Cartas inéditas de D. Pedro I à Marquesa de Santos, que traz material inédito localizado na Hispanic Society of America, em Nova Iorque e da biografia: Domitila, a verdadeira história da Marquesa de Santos finalista na categoria Biografia do Prêmio Jabuti e do 2º Prêmio Brasília de Literatura de 2014. Consultor técnico da arqueóloga Valdirene do Carmo Ambiel em questões referentes a Patrimônio Histórico e a história da Família Imperial Brasileira durante o estudo dos remanescentes humanos dos primeiros imperadores do Brasil sepultados na Cripta Imperial do Monumento à Independência, em São Paulo. Como arquiteto, foi o responsável técnico pelo trabalho de retirada do esquife da Imperatriz D. Amélia, que se encontrava emparedado no local. É autor de diversos artigos a respeito da história do Primeiro Reinado e seus personagens, bem como a respeito de História de São Paulo. É colaborador da Revista Aventuras na História, Revista de História da Biblioteca Nacional, Revista Carta Fundamental, Revista História Viva, Veja, entre outras. Tem experiência na área de arquitetura, urbanismo, história do Brasil, atuando principalmente nos seguintes temas: Memória, Cultura Escrita, Historicidade, Acervos, Escritos, História das populações indígenas; Séculos XVII, XVIII e XIX; Marquesa de Santos; Mulheres na história do Brasil; História do império do Brasil (1822-1889). Membro do Grupo de Pesquis:História e memória das políticas educacionais no território fluminense" (Uerj/CNPq)

Nesse episódio iremos falar sobre como as doença que assolavam o Brasil moldaram a sociedade brasileira como em questões ligadas ao urbanismo e a segregação socia. Távola Redonda do Episódio: Leandro Marin - graduando de licenciatura em História pela UFRRJ, dono e criador da História No Paint Diego das Neves - que é graduado em História pela UFRRJ e mestre em Educação, Contextos Contemporâneos e Demandas Populares. Também é pesquisador da área de arte sequencial com enfase na utilização deste estilo de arte na educação e suas influências no mundo contemporâneo Igor Ribeiro - graduando de licenciatura em História pela UFRRJ Idevarte Aredes - graduando de licenciatura em Geografia pela UFJF Convidado especial: Paulo Rezzutti - que possui graduação em Arquitetura e Urbanismo pelo Centro Universitário Belas Artes de São Paulo (1997). Membro titular do Instituto Histórico e Geográfico de São Paulo (2012). Escritor, pesquisador e biógrafo. Autor das obras: Titília e o Demonão. Cartas inéditas de D. Pedro I à Marquesa de Santos, que traz material inédito localizado na Hispanic Society of America, em Nova Iorque e da biografia: Domitila, a verdadeira história da Marquesa de Santos finalista na categoria Biografia do Prêmio Jabuti e do 2º Prêmio Brasília de Literatura de 2014. Consultor técnico da arqueóloga Valdirene do Carmo Ambiel em questões referentes a Patrimônio Histórico e a história da Família Imperial Brasileira durante o estudo dos remanescentes humanos dos primeiros imperadores do Brasil sepultados na Cripta Imperial do Monumento à Independência, em São Paulo. Como arquiteto, foi o responsável técnico pelo trabalho de retirada do esquife da Imperatriz D. Amélia, que se encontrava emparedado no local. É autor de diversos artigos a respeito da história do Primeiro Reinado e seus personagens, bem como a respeito de História de São Paulo. É colaborador da Revista Aventuras na História, Revista de História da Biblioteca Nacional, Revista Carta Fundamental, Revista História Viva, Veja, entre outras. Tem experiência na área de arquitetura, urbanismo, história do Brasil, atuando principalmente nos seguintes temas: Memória, Cultura Escrita, Historicidade, Acervos, Escritos, História das populações indígenas; Séculos XVII, XVIII e XIX; Marquesa de Santos; Mulheres na história do Brasil; História do império do Brasil (1822-1889). Membro do Grupo de Pesquis:História e memória das políticas educacionais no território fluminense" (Uerj/CNPq)

Éste es el episodio 72 de 3 Cosas Que Ayer No Sabía, el del viernes 13 de diciembre de 2019. ¡Al lío! 01. Estructuras tensegríticas Las “estructuras tensegríticas” son un conjunto de mástiles y barras suspendidas como por arte de magia que se sujetan entre ellas gracias a cables y tirantes. Consiguen mantener la estabilidad gracias a la “integridad tensional” es decir a la tracción que se crea entre los diferentes elementos. Esta idea comenzó a desarrollarse en los años 60 del pasado siglo y aunque hay varias personas que se atribuyen el hallazgo, se considera padre de la criatura a Richard Buckminster Fuller. Lee más sobre estas estructuras en esta web: http://estructurando.net/2014/12/09/estructuras-tensegriticas-que-son-como-se-calculan-y-un-programa-para-jugar-con-ellas/ 02. Sorolla en Ayamonte El pintor valenciano Joaquín Sorolla pasó por Ayamonte y desde hace unas semanas existe en la localidad una placa conmemorativa que lo recuerda. Fue entre los meses de mayo y junio de 1919 para realizar el último de los cuadros que formarían parte de su obra Visión de España, un trabajo que le propuso la Hispanic Society of América en 1911 para dar a conocer las distintas regiones españolas. Su obra se titularía “Ayamonte. La Pesca del atún” y refleja la pesca de atún de almadraba que se realizaba por el entonces conocido como Muelle de Poniente sobre el Río Guadiana. 03. Newsjacking El Newsjacking es una estrategia publicitaria basada en aprovechar noticias de actualidad. Lo he descubierto gracias a este hilo de la divulgadora Deborah García Bello https://twitter.com/deborahciencia/status/1204799892234948609?s=21 Cuando lo descubrí no pude evitar interpelar a Desatranques Jaén porque noté su ausencia entre el recopilatorio de empresas. Como respuesta obtuve este montaje: https://twitter.com/desatranquejaen/status/1205457295787864064?s=21 Despedida Y con esto termina el episodio número 72 de “3 cosas que ayer no sabía”, el del viernes 13 de diciembre de 2019. Suscríbete a este podcast en cualquier plataforma y no te olvides de dejarme alguna review o comentario, ¡que siempre ayuda! A mí me encuentras en Twitter por @almajefi. Escríbeme y cuéntame qué te parece este podcast y, por qué no, enséñame cosas nuevas. Con dió.

Fresh from the famous Prado in Madrid, the Albuquerque Museum is now showing “Visions of the Hispanic World” which includes over 200 exceptional works spanning more than 3,000 years from the collection of the Hispanic Society of America. According to … Continue reading →

Mitchell A. Codding, Hispanic Society of America. Nueva York

Edward Rueda gave tours of the Hispanic Society of America for about a year. This museum is one of New York's best kept secrets. On this episode, Edward will share some information about this historic gem. You'll hear some fascinating insight on how religion and politics influenced Hispanic art and an audio tour of the museum. You can visit www.hispanicsociety.org for more information.

Priscilla E. Muller, Conservadora Emérita, The Hispanic Society of America, Nueva York