Podcasts about Impressionism

In the final installment of our Impressionism primer, we meet the artists who broke away from light and surface to paint something deeper. From Van Gogh's turbulent skies to Gauguin's mythic Tahitian scenes, Cézanne's geometric still lifes to Seurat's scientific dots, the Post-Impressionists transformed 19th-century visual experiments into something stranger, bolder, and more modern. We'll also drop in to Montmartre with Toulouse-Lautrec, and look ahead to the influence these artists had on the Fauves, the Cubists, and even American modernists.  Vincent and the Doctor: https://www.youtube.com/watch?v=ubTJI_UphPk&ab_channel=DoctorWho  ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Instagram: @artofhistorypodcast

This Day in Legal History: Personal Responsibility and Work Opportunity Reconciliation ActOn August 22, 1996, President Bill Clinton signed the Personal Responsibility and Work Opportunity Reconciliation Act into law, reshaping the American welfare system in ways that continue to spark debate. Billed as a way to "end welfare as we know it," the law imposed strict work requirements on recipients and introduced a five-year lifetime limit on federal benefits, regardless of economic conditions. The legislation replaced Aid to Families with Dependent Children (AFDC) with Temporary Assistance for Needy Families (TANF), transforming a federal entitlement into a state-administered block grant system.Supporters of the reform hailed it as a bipartisan success, encouraging employment and reducing long-term dependency. But critics argue that the law eroded the social safety net and punished the poor, particularly single mothers and children, by prioritizing ideological goals over economic realities. States were given broad discretion in how to allocate funds, leading to uneven access and accountability. Many used their new flexibility not to expand support systems but to restrict eligibility and reduce caseloads, often with little evidence of improved outcomes.The law also failed to account for structural barriers to employment—such as childcare shortages, low wages, and racial discrimination—leaving many without support when they failed to meet work requirements. Moreover, the block grant's fixed funding has not kept pace with inflation or need, effectively shrinking welfare over time. While welfare rolls dropped sharply in the years following the reform, poverty did not—suggesting that many were simply pushed out of the system rather than lifted out of hardship. The 1996 law codified a narrative of moral failing over structural inequality, framing poverty as a matter of personal irresponsibility rather than systemic dysfunction.A federal judge ordered an immediate halt to new construction at the controversial "Alligator Alcatraz" migrant detention center in Florida's Everglades. The facility, championed by Donald Trump and Ron DeSantis, was barred from accepting new detainees and required to dismantle supporting infrastructure—including generators, waste systems, fencing, and lighting—within 60 days. The ruling, issued by U.S. District Judge Kathleen Williams, sided with environmental groups who argued the project violated federal, state, and local environmental laws.The detention center, estimated to cost $450 million annually and house up to 5,000 detainees, had drawn backlash for its location in a fragile wetland ecosystem populated by endangered species. Environmental advocates and some local leaders had long criticized the plan, noting it conflicted with decades of political pledges to protect and restore the Everglades. The Department of Homeland Security had tapped FEMA funds to support the project, raising additional controversy over funding priorities.In her ruling, Judge Williams emphasized that the project ran counter to longstanding legislative commitments to environmental protection. Florida has already filed an appeal, but environmental groups hailed the decision as a critical victory. Despite mounting opposition, Trump dismissed ecological concerns and reaffirmed his intent to replicate the model nationally as part of his broader immigration crackdown.Judge orders halt to new construction at 'Alligator Alcatraz' detention center | ReutersAlligator Alcatraz Expansion Blocked for Harm to Environment (1)California Governor Gavin Newsom signed a pair of redistricting bills designed to redraw congressional districts in favor of Democrats—part of an aggressive political response to a newly passed gerrymandered map in Texas. Both states are now embroiled in legal and constitutional battles, as Republicans and Democrats seek to lock in partisan advantages ahead of the 2026 midterm elections. Newsom also set a special statewide election for November 4, asking voters to approve the new map. If passed, it could flip up to five Republican-held House seats and secure four Democratic-leaning swing districts.California's strategy sidesteps its voter-created independent redistricting commission, which has been enshrined in the state constitution since 2010 to prevent political interference. Because of that, lawmakers are now required to get voter approval to implement their plan—creating a high-stakes ballot measure, Proposition 50. Republicans and good-government advocates, including Arnold Schwarzenegger and Charles Munger Jr., have vowed to fight the plan in court and on the ballot. A pending GOP lawsuit argues the legislature violated the state's 30-day waiting period for new bills, pushing through the redistricting effort without proper transparency.In Texas, the Republican-controlled legislature approved a new congressional map at the urging of President Trump, hoping to maintain a narrow House majority. Voting rights groups immediately challenged the plan, claiming it violates Section 2 of the Voting Rights Act by racially diluting Black and Latino voting power. The case will be heard by a federal three-judge panel in El Paso, with a likely fast track to the U.S. Supreme Court. Texas Republicans, including Governor Greg Abbott, deny any racial bias and argue the map reflects demographic shifts and Republican gains among minority voters.This escalating redistricting clash highlights the legal vulnerability of U.S. voting systems when partisan manipulation goes unchecked. Though the Supreme Court ruled in 2019 that federal courts cannot weigh in on partisan gerrymandering, racial gerrymandering remains justiciable under the Voting Rights Act. Meanwhile, California Democrats are relying on voter sentiment—and Trump's unpopularity in the state—to justify a temporary abandonment of anti-gerrymandering principles.Explainer: The legal battles over redistricting in Texas and California | ReutersNewsom Signs California Redistricting Plan to Counter Texas Republicans - The New York TimesA federal judge ruled that Alina Habba, President Trump's controversial appointee as interim U.S. Attorney for the District of New Jersey, had no legal authority to hold the office after her temporary term expired. U.S. District Judge Matthew Brann found that the Trump administration violated federal law by firing Habba's court-selected successor, Desiree Grace, and then using a series of procedural maneuvers to reinstall Habba. These included appointing her as “special attorney,” then naming her first assistant U.S. attorney to invoke the Federal Vacancies Reform Act.Brann concluded that Habba was unlawfully performing the duties of U.S. Attorney as of July 1 and that her actions from that point forward “may be declared void.” The ruling blocks her from overseeing or participating in criminal cases, and it extends to prosecutors operating under her supervision. The judge criticized the administration's strategy as an attempt to bypass Senate confirmation entirely by exploiting loopholes in temporary appointment rules, warning that this interpretation could let the executive branch install preferred prosecutors indefinitely.The Trump-appointed Attorney General, Pam Bondi, vowed to appeal, and Brann stayed his ruling pending the outcome. Still, the decision casts a shadow over prosecutions under Habba's leadership, and some courts in New Jersey have already paused proceedings. Brann also rejected the idea that firing interim appointees before their terms expire could justify continual reappointments without oversight.Defense attorneys in the case that triggered the ruling argued that the executive branch cannot sidestep a process designed to check prosecutorial power through judicial or Senate involvement. Though the judge refused to throw out defendant Cesar Pina's indictment—since the investigation began before Habba's unlawful tenure—the ruling reinforces that prosecutorial authority must be rooted in lawful appointment.Alina Habba Blocked From Handling Cases in Rebuke to Trump (3)This week's closing theme is by Claude Debussy.This week's closing theme comes from Debussy, born on August 22, 1862—an apt choice as we mark the anniversary of his birth. Debussy was a revolutionary figure in Western music, often associated with Impressionism, though he rejected the label. He sought to break from the rigid structures of the Germanic tradition, instead favoring color, atmosphere, and suggestion over clear-cut form and resolution. His music evokes shifting light, fluid motion, and emotional ambiguity—more akin to poetry or painting than to classical architecture.One of his early works, Rêverie, composed in the 1890s, offers a glimpse into the world he would come to define. The title means “daydream,” and the piece unfolds with a gentle, unhurried lyricism that floats outside of time. Though simple in construction, it is harmonically rich and emotionally resonant—hinting at the innovations to come in Clair de Lune, Prélude à l'après-midi d'un faune, and Pelléas et Mélisande.Rêverie was one of Debussy's first pieces to gain public attention, though he later dismissed it as “a piece for salon use.” Listeners have disagreed ever since. Its introspective tone and delicate touch make it a lasting favorite among pianists and audiences alike. It feels like a whisper—never urgent, never insistent, always inviting. In that sense, it's a fitting farewell for the week: contemplative, unresolved, and open to interpretation.Without further ado, Claude Debussy's Rêverie enjoy! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit www.minimumcomp.com/subscribe

Fluent Fiction - French: A Twist of Fortune: How a Misstep Inspired an Artist's Dream Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2025-08-09-22-34-02-fr Story Transcript:Fr: Éloi, Salomé et Mathis se rencontrent un matin d'été à l'entrée du musée d'art.En: Éloi, Salomé and Mathis meet one summer morning at the entrance of the art museum.Fr: Les rayons du soleil pénètrent à travers les grandes fenêtres, inondant la salle de lumière dorée.En: The rays of the sun penetrate through the large windows, flooding the room with golden light.Fr: Éloi, les yeux brillants d'impatience, discute avec Salomé de sa passion pour les peintures impressionnistes.En: Éloi, his eyes shining with impatience, discusses with Salomé his passion for impressionist paintings.Fr: « J'ai hâte de voir les œuvres de Monet », dit Éloi avec enthousiasme.En: "I can't wait to see the works of Monet," says Éloi enthusiastically.Fr: Salomé sourit, prête à explorer le musée avec son ami.En: Salomé smiles, ready to explore the museum with her friend.Fr: Ils avancent lentement, admirant chaque tableau.En: They move slowly, admiring each painting.Fr: Les couleurs vives des peintures captivent Éloi, qui s'approche d'un chef-d'œuvre pour mieux l'observer.En: The vivid colors of the paintings captivate Éloi, who approaches a masterpiece to observe it more closely.Fr: Mais soudain, dans son élan, il trébuche sur le rebord du tapis et chute.En: But suddenly, in his eagerness, he trips over the edge of the carpet and falls.Fr: Il se retrouve assis par terre, une douleur vive lui traversant la cheville.En: He finds himself sitting on the ground, a sharp pain shooting through his ankle.Fr: Salomé, inquiète, s'accroupit à ses côtés.En: Salomé, worried, crouches beside him.Fr: « Éloi, ça va ?En: "Éloi, are you okay?"Fr: »Éloi grimace.En: Éloi winces.Fr: « Ma cheville.En: "My ankle...Fr: je crois que je me suis foulé », répond-il doucement.En: I think I've sprained it," he responds softly.Fr: Il est déçu de ne pas pouvoir continuer le parcours.En: He is disappointed not to be able to continue the tour.Fr: Mathis, le conservateur du musée, s'approche après avoir assisté à la scène.En: Mathis, the museum curator, approaches after witnessing the scene.Fr: Il s'accroupit et observe la cheville d'Éloi.En: He crouches and observes Éloi's ankle.Fr: « Ça semble douloureux, » dit-il avec sollicitude.En: "That looks painful," he says with compassion.Fr: « Peut-être que s'asseoir un moment serait une bonne idée.En: "Maybe sitting down for a while might be a good idea."Fr: »Éloi accepte d'être aidé jusqu'à un banc non loin.En: Éloi agrees to be helped to a nearby bench.Fr: Mathis, en vrai passionné d'art, commence à parler des tableaux à proximité, transformant l'incident en opportunité.En: Mathis, a true art enthusiast, begins to talk about the nearby paintings, turning the incident into an opportunity.Fr: « Ce tableau-ci », explique Mathis, « a été peint lors d'un été pareil ici en France.En: "This painting here," Mathis explains, "was painted during a summer like this one here in France.Fr: L'artiste cherchait la lumière parfaite.En: The artist was searching for the perfect light."Fr: »Le récit de Mathis éveille quelque chose en Éloi.En: Mathis's account awakens something within Éloi.Fr: Il écoute attentivement chaque mot, captivé par l'histoire derrière chaque œuvre.En: He listens attentively to every word, captivated by the story behind each work.Fr: Tout autour d'eux, les visiteurs murmurent, leurs pas résonnant doucement, accentuant l'atmosphère sereine du musée.En: All around them, visitors whisper, their footsteps softly echoing, enhancing the museum's serene atmosphere.Fr: Mathis partage alors une histoire sur un tableau particulier.En: Mathis then shares a story about a particular painting.Fr: Ce dernier évoque la lutte d'un artiste contre ses propres doutes et sa quête de reconnaissance.En: The latter evokes an artist's struggle against his own doubts and his quest for recognition.Fr: « Il a finalement trouvé son style unique, et c'est ce qui l'a démarqué, » conclut Mathis.En: "He finally found his unique style, and that's what set him apart," Mathis concludes.Fr: Ces paroles résonnent profondément en Éloi.En: These words resonate deeply with Éloi.Fr: Il se sent subitement rempli d'une nouvelle énergie et d'inspiration.En: He suddenly feels filled with new energy and inspiration.Fr: Ses yeux s'illuminent, et il sent la confiance naître en lui.En: His eyes light up, and he feels confidence rising within him.Fr: Il rêve déjà de peindre son expérience, de transmettre l'émotion qu'il ressent à travers ses propres pinceaux.En: He already dreams of painting his experience, of conveying the emotion he feels through his own brushes.Fr: Salomé revient, radieuse, et sourit en voyant l'expression illuminée d'Éloi.En: Salomé returns, beaming, and smiles upon seeing Éloi's enlightened expression.Fr: « Alors, prêt à peindre ton chef-d'œuvre ?En: "So, ready to paint your masterpiece?"Fr: » lui demande-t-elle en plaisantant.En: she asks him jokingly.Fr: « Oui », répond Éloi, sincèrement.En: "Yes," Éloi responds, sincerely.Fr: « Je veux peindre ce que j'ai ressenti ici aujourd'hui.En: "I want to paint what I felt here today."Fr: »Ils quittent le musée ensemble, Éloi appuyé sur l'épaule de Salomé.En: They leave the museum together, Éloi leaning on Salomé's shoulder.Fr: Il est heureux et reconnaissant, animé par une motivation nouvelle.En: He is happy and grateful, driven by newfound motivation.Fr: Dans le ciel clair d'été, il voit déjà les premières esquisses de son futur tableau.En: In the clear summer sky, he already sees the first sketches of his future painting.Fr: Ainsi, Éloi découvre qu'il n'est pas nécessaire de courir pour trouver l'inspiration.En: Thus, Éloi discovers that it is not necessary to rush to find inspiration.Fr: Parfois, s'arrêter permet de mieux voir et d'entendre ce que l'on cherche vraiment.En: Sometimes, stopping allows you to better see and hear what you're truly searching for.Fr: Il est désormais prêt à créer et à partager sa vision du monde avec confiance.En: He is now ready to create and share his vision of the world with confidence. Vocabulary Words:the museum: le muséethe rays: les rayonsthe paintings: les peinturesthe masterpiece: le chef-d'œuvrethe carpet: le tapisthe ankle: la chevillethe curiosity: la curiositéthe enthusiasm: l'enthousiasmethe doubt: le doutethe recognition: la reconnaissancethe opportunity: l'opportunitéthe struggle: la luttethe curator: le conservateurthe inspiration: l'inspirationthe painting: le tableauthe serenity: la sérénitéthe summer: l'ététhe window: la fenêtrethe visitor: le visiteurthe light: la lumièrethe edge: le rebordthe emotion: l'émotionthe motivation: la motivationthe experience: l'expériencethe sketch: l'esquissethe expression: l'expressionthe confidence: la confiancethe vision: la visionthe story: l'histoirethe quest: la quête

BURNING CITIES CONTINUED, THEN AND NOW.  4/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 PARIS PRUSSIAN BOMBARDMENT   https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  7/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1871 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  6/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 PARIS COMMUNE https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  5/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  8/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 PARIS CLAUDE MONET 1840-1926 https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  3/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 SCHWEINFURT https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  2/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1870 Bucharest  https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

BURNING CITIES CONTINUED, THEN AND NOW.  1/8: Paris in Ruins: Love, War, and the Birth of Impressionism by  Sebastian Smee  (Author) 1871 PARIS   https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

PREVIEW: Author Sebastian Smee, "Paris in Ruins," tells the simultaneous romances of the art rebellion called impressionism and the Paris rebellion called the commune of 1871. More. 1870 PARIS

In Part 2 of our Impressionism series, we leave the floating world of Japan behind and step into the bustling studios, salons, and sun-drenched riverbanks of 19th-century France. This time, we meet the artists who dared to defy the rules (Monet, Morisot, Manet, Degas, Renoir, Cassatt) and the dealer, Paul Durand-Ruel, who bet everything on their vision. We'll explore how these painters broke with tradition to capture the modern world around them…and how their movement spread, against all odds, to American collectors, museums, and artists. ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Instagram: @artofhistorypodcast

Fluent Fiction - French: Souvenirs of Light: An Artistic Encounter in Paris Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2025-06-03-22-34-02-fr Story Transcript:Fr: Le soleil printanier baignait Paris d'une douce lumière.En: The spring sun bathed Paris in a gentle light.Fr: Au cœur du Louvre, l'agitation était palpable.En: In the heart of the Louvre, the excitement was palpable.Fr: Élodie, une jeune étudiante en art de Lyon, arpentait la boutique de souvenirs.En: Élodie, a young art student from Lyon, was browsing the souvenir shop.Fr: Les étagères regorgeaient de livres éclatants, de miniatures et d'objets inspirés de l'art.En: The shelves were brimming with vibrant books, miniatures, and objects inspired by art.Fr: Son cœur battait fort dans l'espoir de trouver un souvenir parfait pour célébrer son voyage artistique.En: Her heart beat fast in the hope of finding the perfect souvenir to celebrate her artistic journey.Fr: À côté, Mathieu, employé du musée, arrangeait avec soin des répliques de toiles célèbres.En: Nearby, Mathieu, a museum employee, was carefully arranging replicas of famous paintings.Fr: Depuis longtemps, il rêvait d'ouvrir sa propre galerie d'art.En: He had long dreamed of opening his own art gallery.Fr: Il observait avec intérêt les nombreux visiteurs qui franchissaient la porte de la boutique.En: He watched with interest the many visitors passing through the shop's door.Fr: Élodie examinait une statuette de Rodin.En: Élodie examined a Rodin statuette.Fr: Mais elle hésitait, perdue dans la quantité de choix qui s'offraient à elle.En: But she hesitated, lost in the multitude of choices presented to her.Fr: Devait-elle choisir un livre sur le réalisme, une affiche du surréalisme ?En: Should she choose a book on realism, a poster of surrealism?Fr: Son cœur balançait.En: Her heart wavered.Fr: Elle chercha instinctivement de l'aide, apercevant Mathieu non loin.En: She instinctively looked for help, spotting Mathieu not far away.Fr: Avec un sourire chaleureux, Élodie s'approcha.En: With a warm smile, Élodie approached.Fr: "Excusez-moi," dit-elle, une pointe d'incertitude dans la voix.En: "Excuse me," she said, a hint of uncertainty in her voice.Fr: "Quel souvenir pouvez-vous recommander pour une étudiante passionnée par l'impressionnisme ?"En: "What souvenir would you recommend for a student passionate about Impressionism?"Fr: Mathieu, ravi de partager sa passion pour l'art, réfléchit un instant.En: Mathieu, delighted to share his passion for art, thought for a moment.Fr: "Je crois que pour capturer l'esprit de l'impressionnisme, un livre sur Monet serait idéal.En: "I believe that to capture the spirit of Impressionism, a book on Monet would be ideal.Fr: Ses œuvres changent notre perception de la lumière et des couleurs."En: His works change our perception of light and colors."Fr: Ils parlèrent des impressionnistes, de la magie des touches de pinceaux, et des émotions que les œuvres de Monet évoquaient.En: They talked about the Impressionists, the magic of brushstrokes, and the emotions that Monet's works evoked.Fr: Élodie se sentait comprise, ses doutes estompés par la complicité qu'elle partageait avec Mathieu.En: Élodie felt understood, her doubts eased by the connection she shared with Mathieu.Fr: Finalement, elle prit en main un magnifique livre dédié aux œuvres de Monet.En: Finally, she picked up a beautiful book dedicated to Monet's works.Fr: Les pages luisaient sous la lumière filtrée de la fenêtre.En: The pages glistened under the filtered light from the window.Fr: "C'est parfait," murmura-t-elle, satisfaite et enrichie par cette rencontre inattendue.En: "It's perfect," she murmured, satisfied and enriched by this unexpected encounter.Fr: En quittant la boutique, Élodie sentit un nouvel élan artistique.En: As she left the shop, Élodie felt a new artistic inspiration.Fr: Sa décision était prise, doublement motivée par la discussion enrichissante avec Mathieu.En: Her decision was made, doubly motivated by the enriching discussion with Mathieu.Fr: Elle emporta son précieux livre, persuadée d'avoir découvert un fragment de sa propre histoire dans les couleurs vibrantes de Monet.En: She took her precious book, convinced she had discovered a fragment of her own story in the vibrant colors of Monet.Fr: Mathieu, quant à lui, rêvait toujours de sa galerie, mais avec l'assurance d'avoir inspiré Élodie.En: Mathieu, for his part, still dreamed of his gallery, but with the confidence of having inspired Élodie.Fr: Une nouvelle amitié naissait, toujours nourrie par l'amour de l'art.En: A new friendship was blossoming, always nurtured by a love of art. Vocabulary Words:the spring sun: le soleil printaniergentle light: douce lumièrethe heart: le cœurpalpable: palpablea young art student: une jeune étudiante en artthe souvenir shop: la boutique de souvenirsbrimming: regorgeaientvibrant books: livres éclatantsminiatures: miniaturesthe museum employee: l'employé du muséecarefully: avec soinreplicas: répliquesfamous paintings: toiles célèbresinstinctively: instinctivementwarm smile: sourire chaleureuxhint of uncertainty: pointe d'incertitudepassionate about Impressionism: passionnée par l'impressionnismecapture the spirit: capturer l'espritour perception of light and colors: notre perception de la lumière et des couleursthe Impressionists: les impressionnistesmagic of brushstrokes: magie des touches de pinceauxthe emotions: les émotionsdoubts eased: doutes estompésthe connection: la complicitéa beautiful book: un magnifique livrethe filtered light: la lumière filtréeunexpected encounter: rencontre inattendueartistic inspiration: élan artistiqueenriching discussion: discussion enrichissantenew friendship: nouvelle amitié

Marching Band, Memorial Day, Grilling, Frisbee, rain, life, Monday, cornhole, possibly burning the house down,  federal holidays and the prompt was IMPRESSIONISM. This is our first recording back since before our California trip.  We love you, thanks for listening, write a song from the prompt Impressionism and we will see you next week.   

Fluent Fiction - French: Under Renoir's Canvas: A Serendipitous Encounter of Souls Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2025-05-16-22-34-01-fr Story Transcript:Fr: Les rayons du soleil printanier caressaient doucement les grandes verrières du Musée d'Orsay.En: The rays of the spring sun gently caressed the large windows of the Musée d'Orsay.Fr: Ce jour-là, le musée brillait de mille feux, une douce lumière réchauffait les galeries où trônent les chefs-d'œuvre de l'impressionnisme.En: That day, the museum sparkled brilliantly, a soft light warming the galleries where the masterpieces of Impressionism reign.Fr: Les visiteurs déambulaient lentement, absorbés par la beauté des tableaux exposés.En: Visitors strolled slowly, absorbed by the beauty of the displayed paintings.Fr: Julien était là, plongé dans l'admiration d'une toile de Renoir.En: Julien was there, immersed in admiration for a painting by Renoir.Fr: Ses études en histoire de l'art l'avaient souvent conduit ici, mais chaque visite semblait ouvrir de nouvelles fenêtres dans son esprit.En: His studies in art history had often led him here, but each visit seemed to open new windows in his mind.Fr: Il aimait par-dessus tout l'atmosphère sereine et le murmure apaisant des visiteurs.En: Above all, he loved the serene atmosphere and the soothing murmur of the visitors.Fr: Pourtant, malgré sa passion pour l'art, Julien avait toujours éprouvé une certaine appréhension à engager la conversation avec d'autres amoureux de l'art.En: Yet, despite his passion for art, Julien had always felt a certain apprehension about engaging in conversation with other art lovers.Fr: Non loin de là, Élise, une jeune graphiste au regard curieux, s'était arrêtée devant le même tableau.En: Not far away, Élise, a young graphic designer with a curious gaze, had stopped in front of the same painting.Fr: En quête d'inspiration pour son prochain projet, elle avait décidé de profiter de ses quelques jours à Paris pour explorer ses musées.En: In search of inspiration for her next project, she had decided to take advantage of her few days in Paris to explore its museums.Fr: Son regard s'attardait sur les couleurs vives et les mouvements élégants des personnages sur la toile.En: Her gaze lingered on the vivid colors and elegant movements of the characters on the canvas.Fr: La vivacité de l'œuvre l'enthousiasmait et elle esquissa un sourire.En: The liveliness of the work delighted her, and she sketched a smile.Fr: Julien remarqua ce sourire sincère.En: Julien noticed this sincere smile.Fr: Il sentit un élan le pousser, un désir de partager ses pensées sur ce tableau qu'ils admiraient tous deux.En: He felt a surge pushing him, a desire to share his thoughts on this painting they both admired.Fr: Hésitant, il prit une profonde inspiration et s'approcha d'elle.En: Hesitantly, he took a deep breath and approached her.Fr: « Bonjour, excusez-moi… Vous aimez Renoir, n'est-ce pas ? » demanda-t-il timidement.En: "Hello, excuse me… You like Renoir, don't you?" he asked timidly.Fr: Élise se tourna vers lui, surprise, mais aussi ravie de cette ouverture.En: Élise turned to him, surprised but also delighted by this overture.Fr: « Oui, j'adore ses jeux de lumière et ses couleurs. C'est une véritable danse », répondit-elle, ses yeux pétillants.En: "Yes, I love his play of light and colors. It's a real dance," she replied, her eyes sparkling.Fr: Julien acquiesça, encouragé par sa réponse positive.En: Julien nodded, encouraged by her positive response.Fr: « Je suis d'accord. C'est comme si les personnages allaient sortir du tableau pour se joindre à nous », ajouta-t-il avec un petit rire.En: "I agree. It's as if the characters were about to step out of the painting to join us," he added with a small laugh.Fr: Ainsi débutèrent leurs échanges, devant cette œuvre qui avait éveillé leur curiosité.En: Thus began their exchanges in front of this work that had sparked their curiosity.Fr: Au fil de leur conversation, ils se découvrirent une passion commune pour l'art et un désir de comprendre les émotions transmises à travers les peintures.En: Over the course of their conversation, they discovered a shared passion for art and a desire to understand the emotions conveyed through paintings.Fr: Élise parla de son projet de design graphique et partagea ses idées, consciente que ses interprétations pouvaient paraître simples à ce brillant historien de l'art.En: Élise talked about her graphic design project and shared her ideas, aware that her interpretations might seem simple to this brilliant art historian.Fr: Pourtant, Julien était fasciné par sa façon créative de voir le monde.En: Yet, Julien was fascinated by her creative way of seeing the world.Fr: Son enthousiasme était contagieux, et il se sentait soudainement plus confiant pour exprimer ses propres idées.En: Her enthusiasm was contagious, and he suddenly felt more confident in expressing his own ideas.Fr: Ils passèrent l'après-midi à déambuler d'une galerie à l'autre, captivés par les tableaux, mais aussi par leur conversation qui ne semblait jamais tarir.En: They spent the afternoon wandering from one gallery to the next, captivated by the paintings, but also by their conversation that seemed to never run dry.Fr: Quand vint l'heure de partir, Julien se lança : « J'aimerais beaucoup revoir une exposition avec vous. Accepteriez-vous de m'accompagner une autre fois ? »En: When it was time to leave, Julien ventured: "I would love to see another exhibition with you. Would you accept to accompany me another time?"Fr: Élise hocha la tête avec enthousiasme.En: Élise nodded enthusiastically.Fr: Elle notait déjà son numéro sur un petit papier.En: She was already noting her number on a small piece of paper.Fr: « Ce serait avec plaisir, Julien. J'ai hâte de découvrir d'autres œuvres avec vous. »En: "It would be a pleasure, Julien. I look forward to discovering more works with you."Fr: En ce jour de printemps, quelque chose avait changé.En: On this spring day, something had changed.Fr: Julien se sentait moins hésitant, son envie de communiquer ravivée par cette rencontre inattendue.En: Julien felt less hesitant, his desire to communicate revived by this unexpected encounter.Fr: De son côté, Élise repartit confiante et inspirée, heureuse d'avoir trouvé un ami qui partageait son amour de l'art.En: As for Élise, she left feeling confident and inspired, happy to have found a friend who shared her love for art.Fr: À travers les fenêtres du musée, le ciel parisien s'étirait doucement, accompagnant la promesse d'une nouvelle amitié, peut-être même plus, qui continuerait de fleurir sous les couleurs éclatantes du printemps.En: Through the windows of the museum, the Parisian sky stretched gently, accompanying the promise of a new friendship, perhaps even more, that would continue to blossom under the bright colors of spring. Vocabulary Words:the rays: les rayonsto caress: caresserthe windows: les verrièresthe masterpiece: le chef-d'œuvreto reign: trônerto stroll: déambulerthe gallery: la galerieto absorb: absorberto immerse: plongerthe painting: la toilethe apprehension: l'appréhensionto engage: engagerthe visitor: le visiteurthe murmur: le murmurethe gaze: le regardto linger: s'attarderthe character: le personnagethe liveliness: la vivacitéto delight: enthousiasmerthe smile: le sourireto nod: acquiescerthe conversation: l'échangeto convey: transmettrethe emotion: l'émotionto wander: se déambulerto captivate: captiverto venture: se lancerto stretch: s'étirerthe promise: la promesseto blossom: fleurir

David is an art history professor. For the last year, he has been researching an early 20th-century American impressionist named Agnes Millen Richmond. He's started buying her paintings… and they're expensive. Susan says they have too many already! She says her husband is obsessed! Who's right? Who's wrong?We are on TikTok and YouTube! Follow us on both @judgejohnhodgmanpod! Follow us on Instagram @judgejohnhodgman!Thanks to reddit user u/OldTechNewSpecs for naming this week's case! To suggest a title for a future episode, keep an eye on the Maximum Fun subreddit at reddit.com/r/maximumfun! Judge John Hodgman is member-supported! Join at $5 a month at maximumfun.org/join!

Before Monet painted water lilies or Degas sketched ballerinas, a wave was crashing in from the East. In this episode, we explore how Japanese woodblock prints—especially Hokusai's ‘The Great Wave off Kanagawa'—reshaped the way Western artists thought about space, subject, and form. From flattened perspective to everyday scenes, ukiyo-e wasn't just decorative—it was revolutionary. We'll unpack the rise of Japonisme, its deep (and sometimes uneasy) influence on Impressionism, and how one iconic wave helped turn the tide of art history. Today's image: Katsushika Hokusai, ‘Under the Wave off Kanagawa (Kanagawa oki nami ura),' (1830-32). Woodblock print; ink and color on paper. Metropolitan Museum of Art, New York. ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Instagram: @artofhistorypodcast | @matta_of_fact

From Jan 2024. Dive into the provocative world of artistic "theft" as Ty and Nathan explore how creative innovation truly emerges from our influences. This conversation challenges the myth of pure originality, arguing instead that the greatest artists throughout history have been masterful collectors and transformers of ideas.Beginning with Japanese fashion designer Yohji Yamamoto's transformative quote—"Start copying what you love... at the end of the copy you will find yourself"—the duo examines how creative development flourishes through strategic borrowing. From Quentin Tarantino's open acknowledgment of film references to David Bowie's musical influences, the most distinctive voices often emerge from those who've absorbed the most diverse inspirations.They unpack wisdom from creative legends including Jim Jarmusch, Paul Schrader, and Jean-Luc Godard, who all emphasize that true originality lies not in where you take ideas from, but where you take them to. Art movements throughout history—from Impressionism to Abstract Expressionism—evolved through artists stealing ideas from each other while working side by side, proving that innovation rarely emerges in isolation.What distinguishes mere imitation from transformative theft? When does copying become finding your voice? The conversation offers practical advice for artists at every stage: diversify your influences, document what moves you and why, maintain an "omnivorous" approach to inspiration, and create systems to capture ideas when they strike. Ultimately, the episode makes a compelling case that the most authentic artistic expression comes not from avoiding influence, but from embracing it wholeheartedly.Follow us on Instagram @ty_nathan_clark and @nathanturborg to continue exploring how creative influences shape artistic development.Send us a message - we would love to hear from you!Make sure to follow us on Instagram here:@justmakeartpodcast @tynathanclark @nathanterborg

Kyle Wood returns to the show today to talk with Tim about some of their favorite lesser-known artists in art history, and share ideas on why we need to move beyond the traditional art historical canon. Ranging from Abstract Expressionism to Surrealism, Impressionism to Cubism, they pass right by the Picassos and Pollocks and talk about Janet Sobel, Remedios Varo, Charuvi Agrawal, and so many more artists that can expand your students' views on art history. They finish the show by discussing how a more representative set of artists in your curriculum can lead to understanding, engagement, and empowerment for your students. Resources and Links Join the Art of Ed Community Listen to Who Arted? and Fun Facts Daily from Kyle Art Ed Radio Ep. 009: No More Dead White Guys! 6 Contemporary Artists Storytelling, Art History, and Student Engagement

Send us your thoughts! The French Impressionists revolutionized the art world by privileging the emotional and spiritual perception of the natural world over its literal reproduction. Hailing from France, harpist Isabelle Olivier has always felt an innate affinity for Impressionism and discovered its echoes within her other artistic passions, primarily the parallel worlds of jazz and classical music.On her vibrant new album, Impressions, Olivier conjures a bold musical landscape from the lush and stirring hues of her diverse influences. Inspired by tenor sax icon John Coltrane's revered composition “Impressions,” she explores the confluences of jazz and Impressionism with a painter's instinct for complementary colors, forms and textures. “I think about Impressionism as a combination between elegance, minimalism, spectral notions, feelings and vibes – things that you can feel but you cannot explain,” Olivier describes. “Looking at Impressionist art is like becoming part of nature, to the point where you forget that you're human. I love this feeling.”Out now in Europe and in the US/Canada on March 21, 2025 via Olivier's Rewound Echoes imprint, Impressions features a versatile and genre-fluid ensemble that includes the harpist's sons – pianist and accordionist Tom Olivier-Beuf and electronic musician Raphael Olivier – along with a string quartet (violinists Mathias Naon and Anne Le Pape, violist Cyprien Busolini and cellist Jean-Philippe Feiss) and drummer Baptiste Thiebault. In addition to Olivier's Impressionism-inspired compositions, the album is interspersed with a number of group improvisations that suggest or were suggested by impressionistic ideas – from the misty, crepuscular “Fog on the Lake” to the stark, pointillist “A Pizzicato Life.”With its many references to Chicago art and artists, Impressions brings together the two metropolises that Olivier calls home – the Windy City and the City of Lights, Chicago and Paris. The album bridges various landmarks for the harpist, including her roots in jazz and classical music, as well as her love for aural and visual art. These seemingly divergent poles have never been separate in her mind – she was introduced to her instrument in the first place by Duchess, the harp-playing cat in Walt Disney's jazz-inflected 1970 animated film The Aristocats. Not long after finishing her classical studies at the Conservatoire National Supérieur de Musique et de Danse in Lyon, she co-founded the jazz quartet Océan with the Moutin Brothers, well known figures on the French and American jazz scenes.Support the show

Debussy and Ravel are often described as the prototypical musical impressionists. It is often said that the two composers are the closest equivalents to the artistic world of Monet, Renoir, Pisarro, Degas, and others. But both Ravel and Debussy (like Monet for that matter), vehemently rejected the term Impressionism, and they both felt that they were striking out on their own individual paths in their msuic. That didn't stop the public and critics from constantly comparing the music of these two shining lights of French music, despite the fact that Ravel and Debussy are actually quite different. Comparing Ravel and Debussy is a bit like comparing Haydn and Mozart. At first glance, there are many similarities, but if you look and listen more closely, Ravel and Debussy(like Mozart and Haydn) had totally different approaches, goals, and styles. All of the constant comparisons and attempts at making the composers compete with each other had a real impact on Debussy and Ravel. Initially they were friends and mutual admirers of each others work, but they slowly drifted apart over time until they stopped speaking to each other altogether. We'll talk about this complicated personal relationship, as well as looking at these differences in their music, not from a critical standpoint, but from the perspective of bringing out what is so wonderfully unique about their music. We'll also talk about Ravel's arrangements of two Debussy's greatest orchestral works: his two piano arrangement of Debussy's Nocturnes, and his piano 4 hands arrangement of the legendary Prelude to the Afternoon of a Faun. Join us on another collaboration with G Henle Publishers! Recordings: Nocturnes Claudio Abbado with London Symphony Anne Shasby, Richard McMahon, Piano Prelude to the Afternoon of a Faun Ravel arrangement: Jean-Pierre Armengaud and Olivier Chauzu Debussy Arrangement: Charles Badami and Anthony Olson 

The story of French electronic music over the last hundred years is one of artistic and technical innovations that changed the course of contemporary music. The late 19th century stylistic inventions of GABRIEL FAURÉ, MAURICE RAVEL, and CLAUDE DEBUSSY led to the emergence of Impressionism and Minimalism in the 20th century—while the revolutionary innovations of ERIK SATIE laid the foundation for ambient background music and personal music for solo piano. At the same time, the invention of playable French electronic instruments like the “Ondes Martenot” in 1928, accelerated the arrival of live electronic performance, and the French brilliance in style and design produced exceptionally refined sonic and textural quality in recordings after mid-century. On this transmission of HEARTS of SPACE, a look at French ambient and electronic music from the 1970's to now, on a program called "AMBIANCE FRANÇAIS." Music is by DEBUSSY via TOMITA, JEAN MICHEL JARRE, THIERRY DAVID, CHRISTIAN WITTMAN, PAUL SAUVANET, and AIR. https://bit.ly/HOS-1394. [ view playlist ] [ view Flickr image gallery ] [ play 30 second MP3 promo ]

Le musée d'Orsay à Paris célèbre les 150 ans de l'Impressionnisme avec une remise en place inédite des chefs-d'œuvre qui ont lancé ce mouvement.Traduction :The Orsay Museum in Paris is marking 150 years of Impressionism with an unprecedented reassembling of the masterpieces that launched the movement. Hosted on Acast. See acast.com/privacy for more information.

Le musée d'Orsay à Paris célèbre les 150 ans de l'Impressionnisme avec une remise en place inédite des chefs-d'œuvre qui ont lancé ce mouvement.Traduction :The Orsay Museum in Paris is marking 150 years of Impressionism with an unprecedented reassembling of the masterpieces that launched the movement. Hosted on Acast. See acast.com/privacy for more information.

Dario Faini - a composer, songwriter, and producer whose music and songs have been heard at the Superbowl, NBA matches, and the Winter Olympics - talks about his latest solo piano album, Urban Impressionism, putting him in league with the likes of Nils Frahm and Ólafur Arnalds.

Welcome to Season 04 Episode 10 - the "Desert Spring" edition - of Notes from the Aisle Seat, the podcast featuring news and information about the arts in  northern Chautauqua County NY, sponsored by the 1891 Fredonia Opera House. Your host is Tom Loughlin, SUNY Distinguished Teaching Professor and Chair Emeritus of Theatre and Dance at SUNY Fredonia. Guests on this episode include: Distinguished Professor Emeritus Alberto Rey discussing Dawn of Impressionism; Dr. Eliran Avni and Ms. Meredith McIntyre on the Fredonia Young Artist Recitals; and 4 members of the production crew for Twelfth Night from the Dept. of Theatre and Dance at SUNY Fredonia - Dr. Robert Deemer, Ms. Jessica Lustig, Ms. Amelia Elman, and Ms. Aidan Heaney. Notes from the Aisle Seat is available from most of your favorite podcast sites, as well as on the Opera House YouTube Channel. If you enjoy this podcast, please spread the word through your social media feeds, give us a link on your website, and consider becoming a follower by clicking the "Follow" button in the upper right-hand corner of our home page. If you have an arts event you'd like to publicize, hit us up at operahouse@fredopera.org and let us know what you have! Please give us at least one month's notice to facilitate timely scheduling. And don't forget to enter the giveaway for a pair of free tickets to the Long Point String Band Concert on Friday April 11th, as well as a $25 gift card from Central Station in Dunkirk. Entries must be received by Friday March 28th at 12 noon! Listen to the podcast for the question and answer. Then email your answer to operahouse@fredopera.org. Make sure you put the word "Giveaway" in the subject line. Thanks for listening! Time Stamps (Approximate) 02:01 - Prof. Alberto Rey/Dawn of Impressionism 18:25 - Dr. Eliran Avni/Ms. Meredith McIntyre/Fredonia Young Artist Recital 36:33 - Arts Calendar 38:50 - Dept. Theatre and Dance/Twelfth Night Media "Desert Flower", performed by Guitarra Azul, from the album Lotus Flower, composed by Stephano, 2012 April Preludes op. 13 (3rd movement), Vitezslava Kaprálová, composer, performed by Francis Kay, pianist, January 2023 Sonata No.15 in D major, Op.28 - Pastoral (Rondo); Ludwig von Beethoven, composer, performed by Schaghajegh Nosrati, piano, February 2024 Twelfth Night, produced by ITV (UK); Joan Plowright (Viola), Adrienne Corri (Olivia), 1970. Ghost Riders in the Sky, written by Stan Jones (1948), performed by Inka Gold, from a live concert at Mesa Regal Resort, Nov. 2024 Artist Links Department of Theatre and Dance, SUNY Fredonia Dr. Eliran Avni Prof. Alberto Rey   Box Office at SUNY Fredonia Lake Shore Center for the Arts Main Street Studios Ticket Website Register Here for the 1891 Run/Walk for the Opera House BECOME AN OPERA HOUSE MEMBER!          

This Day in Legal History: Bloody SundayOn March 7, 1965, a pivotal moment in the civil rights movement unfolded in Selma, Alabama. A group of 525 peaceful demonstrators, led by activists like John Lewis and Hosea Williams, began a march to Montgomery to demand voting rights for Black Americans. As they crossed the Edmund Pettus Bridge, they were met by Alabama state troopers and local law enforcement, who brutally attacked them with billy clubs and tear gas. The violent crackdown, later known as "Bloody Sunday," left at least 65 people injured and shocked the nation. Television broadcasts of the assault galvanized public support for civil rights, prompting federal intervention. After securing court protection, a second attempt on March 9, led by Martin Luther King Jr., was turned around peacefully to avoid further violence. Finally, under federal protection, thousands of marchers resumed the journey on March 21, arriving in Montgomery on March 25 with 25,000 people. The march directly contributed to the passage of the Voting Rights Act of 1965, which outlawed discriminatory voting practices. "Bloody Sunday" remains a defining moment in the struggle for racial justice in America, symbolizing both the brutality of oppression and the power of collective resistance.President Donald Trump issued an executive order targeting Perkins Coie LLP, citing the firm's role in commissioning the Steele dossier during the 2016 election and its diversity hiring practices. The order suspends security clearances for Perkins Coie employees and directs federal agencies to review and potentially terminate contracts with the firm and its business partners. It also instructs the Equal Employment Opportunity Commission (EEOC) and the Justice Department to investigate racial discrimination policies at major law firms, referencing Perkins Coie's past use of racial hiring quotas. The directive extends to restricting Perkins Coie employees from entering federal buildings and limiting their engagement with government officials.Trump's move comes after similar actions against Covington & Burling for its representation of former special counsel Jack Smith. The executive order frames Perkins Coie as a national security risk, linking its past election law litigation to alleged threats against democratic integrity. It also mandates that federal contractors disclose business ties to the firm, aiming to cut off government funds to entities associated with it. The order's broader scope signals heightened scrutiny of “Big Law” firms, especially those engaged in diversity, equity, and inclusion (DEI) initiatives. Trump's administration has pushed back against race-conscious hiring practices, aligning the order with prior efforts to dismantle DEI policies in education and employment.Perkins Coie, a longtime legal adviser to Democrats, denounced the order as unlawful and vowed to challenge it. The firm has been at the center of Republican criticism over election-related litigation and its former attorneys' ties to Democratic campaigns. The administration's focus on law firms suggests a broader effort to reshape the legal industry's relationship with the federal government.Trump Targets Law Firms Over Steele Dossier, Diversity Moves (1)A federal judge reinstated Gwynne Wilcox to the National Labor Relations Board (NLRB), ruling that former President Donald Trump lacked the authority to fire her. Judge Beryl Howell of the U.S. District Court for the District of Columbia found Trump's dismissal of Wilcox violated legal protections for independent agency members, emphasizing that the president's removal powers are not absolute. Howell's decision strongly reaffirmed Humphrey's Executor v. United States(1935), which upheld restrictions on presidential firings of independent agency officials.The ruling restores the NLRB's quorum, allowing it to issue decisions again, but the Trump administration immediately appealed, seeking to block Wilcox's return. Howell's opinion included a sharp rebuke of Trump's attempts to assert unchecked presidential authority, stating, “An American President is not a king.” She pointed to longstanding legal precedent that limits the president's power to remove officials from multi-member independent agencies, dating back to the Interstate Commerce Commission's creation in 1887.Trump's legal team argued that Wilcox's firing was justified under the Supreme Court's 2020 Seila Law v. CFPB decision, which expanded presidential removal power over single-agency heads. However, Howell rejected this claim, noting that NLRB members' powers resemble those of the Federal Trade Commission members protected under Humphrey's Executor. The ruling marks the third time a court has reversed Trump's firings of agency officials, signaling a broader legal battle over executive authority that may reach the Supreme Court. Wilcox's attorney praised the decision as a victory for the independence of federal agencies, while the Justice Department has not yet commented.Fired NLRB Member Reinstated in Decision Nixing Trump Move (4)A coalition of 20 Democrat-led states, led by New York Attorney General Letitia James, has sued the Trump administration over mass firings of federal workers. Filed in a Maryland federal court, the lawsuit argues that President Donald Trump illegally dismissed tens of thousands of employees without proper notice or justification. The states seek to reinstate the workers and block further terminations.Trump's efforts to shrink the federal workforce have already faced legal pushback. A judge recently reinstated a National Labor Relations Board member fired by Trump, and another court temporarily halted the administration's directive to fire new hires en masse. Additionally, a federal workforce board reinstated thousands of employees at the U.S. Department of Agriculture.Trump and Tesla CEO Elon Musk have framed the firings as part of a campaign to eliminate government inefficiency and waste. However, critics, including the states in this lawsuit, argue that the dismissals violate labor laws and undermine public service. The case adds to mounting legal challenges against Trump's sweeping efforts to reshape the federal bureaucracy.Democrat-led states join legal fight over Trump's mass firings of federal workers | ReutersThe Trump administration is planning to shut down nearly a dozen U.S. diplomatic missions, primarily in Western Europe, as part of a broader effort to reduce government spending and reshape foreign policy. The State Department is also considering merging several Washington-based expert bureaus focused on human rights, refugees, and global criminal justice. Additionally, U.S. embassies worldwide have been instructed to cut at least 10% of their American and locally employed staff.The proposed closures include consulates in Germany, France, Italy, Brazil, and Portugal, though officials say some locations may be spared. The administration argues these cuts align with Trump's “America First” agenda and his campaign promise to reduce the so-called "deep state." Critics warn that reducing the U.S. diplomatic presence, along with cuts to the U.S. Agency for International Development (USAID), could weaken American global influence and create openings for adversaries like China and Russia.Congress has been notified of the plan to close the U.S. consulate in Gaziantep, Turkey, a key hub for Syrian humanitarian aid. In Washington, dozens of State Department contractors have been terminated, including those handling Afghan refugee resettlement. Diplomats working on Asian affairs have been asked to justify their missions' alignment with Trump's policies. The administration's deep cuts to foreign aid and staffing have already resulted in thousands of USAID workers being laid off and billions in humanitarian aid being eliminated.Trump administration weighs closure of nearly a dozen diplomatic missions abroad | ReutersThis week's closing theme is by Maurice Ravel.Our theme is Piano Concerto in G - I. Allegramente by Maurice Ravel, a composer known for his shimmering orchestration and masterful blend of classical form with modern harmonies. Born on March 7, 1875, Ravel was a key figure in early 20th-century music, often associated with Impressionism, though he resisted the label. His Piano Concerto in G, composed between 1929 and 1931, reflects his fascination with jazz, which he encountered during a trip to the United States. The first movement, Allegramente, is bright and rhythmic, opening with a whip-crack that sets the tone for its energy and playfulness. Ravel weaves in blues-inspired harmonies, rapid piano flourishes, and sparkling orchestral textures, creating a piece that feels both spontaneous and carefully crafted. Despite its liveliness, the movement is meticulously structured, showcasing Ravel's precision and attention to detail. The concerto as a whole balances virtuosic brilliance with lyricism, particularly in the dreamy second movement. Ravel himself admitted he aimed for a work that was “light and brilliant,” rather than deep or profound. Yet, in its elegance and wit, the concerto captures the vibrancy of early 20th-century musical innovation. As the spirited Allegramente unfolds, it serves as a fitting farewell to the week—playful, energetic, and bursting with color.Without further ado, Piano Concerto in G - I. Allegramente by Maurice Ravel. Enjoy! This is a public episode. 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Chapter 1 What's Noa Noa by Paul Gauguin"Noa Noa" is both a collection of writings and an artistic exploration by French artist Paul Gauguin, chronicling his experiences in Tahiti. Written in 1893, it highlights his quest for beauty, spirituality, and a return to primitive simplicity. Through vivid descriptions of the landscape and people, Gauguin reflects on the contrasts between Western civilization and the perceived Edenic state of Tahitian life. The text combines poetry and prose, interwoven with his thoughts about art, culture, and the essence of existence. Gauguin's work emphasizes the vibrant colors, exotic atmosphere, and sensuality of the island, portraying an idealized vision of paradise. While it serves as an artistic manifesto, "Noa Noa" also reveals the artist's struggles with his identity, showcasing the complex interplay between reality and Gauguin's romanticized interpretations.Chapter 2 Noa Noa by Paul Gauguin SummaryNoa Noa by Paul Gauguin: Summary Background: "Noa Noa" is a semi-autobiographical novel written by French post-impressionist painter Paul Gauguin, published in 1901. The work is a blend of travel narrative, art commentary, and personal reflections, detailing Gauguin's experiences in Tahiti, where he sought to escape European civilization and find inspiration for his art. Setting: The story is set in early 1890s Tahiti, a place that fascinated Gauguin for its natural beauty, cultural practices, and perceived primitivism. Here, he depicts the stark contrast between the lush landscapes of the island and the complexities of Western society. Narrative Structure: The book is presented as a series of interconnected fragments, exploring Gauguin's life, relationships, and artistic motivations during his time in Tahiti. He uses a poetic and impressionistic style to convey a dreamy, almost mystical perspective of the island and its people. Themes: The Quest for Authenticity: Gauguin's journey signifies a search for an authentic existence, away from the materialism and moral constraints of European civilization. He idealizes the simplicity and vitality of Tahitian life. Art and Nature: The artist's relationship with nature is a recurrent theme. When Gauguin describes the vibrant landscapes and cultural practices, he emphasizes how these experiences influence his artistic vision and creations. Colonialism: Through his reflections on Tahiti, Gauguin addresses the impact of colonialism, contrasting the innocence of the island's inhabitants with the exploitative actions of European powers. Identity and Exile: Gauguin grapples with his own identity as both an artist and a man in exile from society. His feelings of isolation inform his creative practice and philosophical musings throughout the text. Imagery and Symbolism: Gauguin's vivid descriptions are rich in color and form, using symbolism to enhance the narrative. He often incorporates local folklore, spirituality, and the natural world to reflect deeper human experiences and emotions. Conclusion: "Noa Noa" provides a unique insight into Gauguin's life as an artist and his complicated relationship with both the exotic Tahitian culture and his own background. It serves as a testament to his struggles, inspirations, and the profound impact of place on artistic expression, revealing not only an artist's journey but a cultural encounter shaped by differing worldviews.Chapter 3 Noa Noa AuthorPaul Gauguin was a French painter and one of the leading figures of post-Impressionism. He was born on June 7, 1848, in Paris, France, and died on May 8, 1903, in Atuona, French Polynesia. Gauguin is best known for his bold use of color and synthetist style that influenced modern art. Noa NoaHe wrote the book Noa Noa during his time in Tahiti, and it...

pianist Jeffrey Savage plays from his upcoming benefit recital and talks about musical Impressionism and much more with Jim Tevenan

5/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 SIEGE OF PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

6/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 SIEGE OF PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

7/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1871 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

8/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS  https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

GOOD EVENING: The show begins in Malibu and the Palisades where an atmospheric river...  1870 FRANCO-PRUSSIAN WAR CBS EYE ON THE WORLD WITH JOHN BATCHELOR FIRST HOUR 9:00-9:15 #PACIFICWATCH: Atmospheric river strikes @JCBliss 9:15-9:30 LANCASTER REPORT: Bird flu strikes Jim McTague, former Washington Editor, Barrons @MCTagueJ Author of "Martin and Twyla Boundary Series" 9:30-9:45 SCOTUS: Independent boards cannot be fired without cause Richard Epstein, Civitas 9:45-10:00 DOJ: Civil suit against NY Attorney General and Governor Richard Epstein, Civitas SECOND HOUR 10:00-10:15 #GAZA: What is the Arab plan? Cliff May, FDD 10:15-10:30 #CA: Gavin Newsom bides his time for 2028 Bill Whalen, Hoover 10:30-11:00 SPACEX Rescuing the stranded on ISS Starbase rising Bob Zimmerman, BehindtheBlack.com THIRD HOUR 11:00-12:00 Extended discussion of "Paris in Ruins: Love, War, and the Birth of Impressionism" Sebastian Smee, Author The birth of Impressionism during the "Terrible Year" Focus on Manet, Morisot, and the siege of Paris FOURTH HOUR 12:00-12:15 #GAZA: Free to go Sadanand Dhume, WSJ 12:15-12:30 #ITALY: The rains of Elba Lorenzo Fiori 12:30-12:45 #ISRAEL: Tiered review and necessary arms Bradley Bowman, FDD 12:45-1:00 UKRAINE: Terror attack on Chernobyl Henry Sokolski, NPEC

2/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

4/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionis

GOOD EVENING.  The show begins in Ukraine waiting on more details of the negotiations between Washington and Moscow... 1898 Brussels # CBS EYE ON THE WORLD WITH JOHN BATCHELOR ## FIRST HOUR **9:00-9:30** #UKRAINE: No ceasefire before talks - Anatol Lieven, Quincy Institute **9:30-9:45** #SCALAREPORT: While Europe slept - Chris Riegel CEO, Scala.com @Stratacache **9:45-10:00** #QUANTUM REPORT: Breakthrough at Oxford - Brandon Weichert, Center for National Interest ## SECOND HOUR **10:00-10:15** #PRC: Billionaire Communists - Grant Newsham, "When China Attacks" **10:15-10:30** #CANADA: Off-put by POTUS remarks - Conrad Black, National Post **10:30-11:00** #POTUS: Tax cuts and the discontents - John Cochrane, Hoover ## THIRD HOUR **11:00-12:00** Extended discussion of "Paris in Ruins: Love, War, and the Birth of Impressionism" - Sebastian Smee, Author - Discussion of Impressionism's birth during the Franco-Prussian War - Focus on Manet, Morisot, and other key Impressionists ## FOURTH HOUR **12:00-12:15** #PRC: FENTANYL: Follow the money - Elaine Dezenski, FDD **12:15-12:30** #MRMARKET: DOGE isn't sufficient for the debt - Veronique De Rugy, Mercatus **12:30-12:45** #HOTEL MARS: Endgame SLS - Eric Berger, Ars Technica - David Livingston, SpaceShow.com **12:45-1:00** #HOTEL MARS: Endgame ROSCOSMOS - Eric Berger, Ars Technica - David Livingston, SpaceShow.com

1/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

3/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

Next month, the German artist Anselm Kiefer will be 80, and the first of a number of shows internationally to mark this landmark moment opened this week at the Ashmolean Museum, Oxford, UK. It focuses on his early works, and Ben Luke visits Oxford to discuss this pivotal moment in his career with Lena Fritsch, the curator of the exhibition. The latest edition of the biennial in the United Arab Emirate of Sharjah opened earlier this month. The Art Newspaper's correspondent Dale Berning Sawa visited during opening week and spoke to Sheikha Hoor Al Qasimi, the president and director of Sharjah Art Foundation, which runs the biennial, about this year's edition, her journey in art, and her role in establishing the biennial as a leading art world event. And this episode's Work of the Week is Portrait of Mateu Fernández de Soto (1901) by Pablo Picasso, a painting from the artist's Blue Period. Conservators at The Courtauld Institute in London have discovered an image of a mystery woman hidden beneath this portrait of De Soto, Picasso's friend and fellow artist. We talk to Barnaby Wright, deputy head of The Courtauld Gallery, about the painting and the image beneath it. The work features in a new exhibition at the gallery, Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection.Anselm Kiefer: Early Works, Ashmolean Museum, Oxford, UK, 14 February-15 June; Anselm Kiefer: Where Have All the Flowers Gone, Van Gogh Museum and the Stedelijk Museum, Amsterdam, 7 March-9 June; Kiefer / Van Gogh, Royal Academy of Arts, London, 28 June-26 October; Anselm Kiefer: Becoming the Ocean, Saint Louis Art Museum, US, 18 October 2025-25 January 2026To carry, the 16th Sharjah Biennial, until 15 June 2025.The Griffin Catalyst Exhibition: Goya to Impressionism. Masterpieces from the Oskar Reinhart Collection, The Courtauld Gallery, London, 14 February-26 May.The Art Newspaper's book The Year Ahead 2025, an authoritative guide to the year's unmissable art exhibitions, museum openings and significant art events, is still available to buy at theartnewspaper.com for £14.99 or the equivalent in your currency. Buy it here. Hosted on Acast. See acast.com/privacy for more information.

"PREVIEW: PARIS: Art critic Sebastian Smee, author of 'Paris in Ruins,' explores the birth of Impressionism during the Franco-Prussian War and the complex relationship between Édouard Manet and Berthe Morisot. More tonight." 1871 Commune

“In the end, what interests me is the way art connects with life. Because otherwise, I don't quite understand what it's for.” - Sebastian Smee Sebastian Smee has been the art critic for the Washington Post since 2018, but has written extensively about art for every publication you can think of, from here to his native Australia, and winning a Pulitzer prize for criticism along the way. Both his prose and his love of the work leaps off the page and into your lap, offering a guiding hand past the velvet rope, not just for his readers, but for himself: he's a critic who is constantly looking inward, curious about his own responses to artworks, and what it can teach him about teaching us. Sebastian joined me to discuss his latest book, “Paris in Ruins: Love, War, and the Birth of Impressionism,” as well as writers on writing, becoming an expert about a movement on deadline, how looking back at the muddiness of a historical moment can help us understand the muddiness of ours, and what happens when art critics are themselves at a loss for the words to express why they just love this or that painting so darn much. See the images: https://www.thelonelypalette.com/interview/2025/2/6/sebastian-smee-art-critic Music used: The Blue Dot Sessions, “Town Market,” “Night Light,” “Brass Buttons” Episode sponsor: The Art of Crime Podcast

Helen McNicoll was a Canadian painter who had a significant influence on the rise of Impressionism in that country. McNicoll, who lost her hearing in childhood, was quite successful as an artist, though her career and life were short. Research: Anderson, Jocelyn. “William Brymner: Life & Work.” Art Canada Institute. https://www.aci-iac.ca/art-books/william-brymner/biography/ Atanassova, Katerina. “Helen McNicoll: In Search of Light.” National Gallery of Canada. 5/4/2023. https://www.gallery.ca/magazine/your-collection/helen-mcnicoll-in-search-of-light Babbs, Verity. “Painting Bought for $2,700 Revealed to Be $390,000 Masterpiece.” Artnet. 10/23/2024. https://news.artnet.com/art-world/fake-or-fortune-helen-mcnicoll-painting-2557012 Burton, Samantha. “Helen McNicoll: Life and Work.” Art Canada Institute. https://www.aci-iac.ca/art-books/helen-mcnicoll/biography/ Canadian Women Artists History Initiative. “MCNICOLL, Helen Galloway.” https://cwahi.concordia.ca/sources/artists/displayArtist.php?ID_artist=105 Goodman, Rachel. “Renowned Canadian artist’s painting that was lost for over 100 years discovered by U.K. artist.” Now Toronto. 10/6/2024. https://nowtoronto.com/news/renowned-canadian-artists-painting-that-was-lost-for-over-100-years-discovered-by-u-k-artist/ “Death Cuts Short Promising Career.” The Gazette (Montreal, Quebec, Canada). Mon, Jun 28, 1915. Page 5 Haworth, Lorna Helen. “A History of McKay School for the Deaf.” Master’s Thesis. McGill University. 1960. Huneault, Kristina. “Impressions of difference: the painted canvases of Helen McNicoll.” Art History. April 2004. Luckyj, Natalie. “Helen McNicoll : a Canadian Impressionist.” Art Gallery of Ontario. 1999. Luckyj, Natalie. “McNICOLL, HELEN GALLOWAY,” in Dictionary of Canadian Biography, vol. 14, University of Toronto/Université Laval, 2003–, accessed January 14, 2025, https://www.biographi.ca/en/bio/mcnicoll_helen_galloway_14E.html. Musee National des Beaux Arts du Quebec. “Musee National des Beaux Arts du Quebec.” https://www.mnbaq.org/en/exhibition/helen-mcnicoll-1306 Musée national des beaux-arts du Québec. “Helen McNicoll. An impressionist Journey A celebration of light!.” Canadian Newswire. 6/19/2024. https://www.newswire.ca/news-releases/helen-mcnicoll-an-impressionist-journey-a-celebration-of-light--811205352.html Nash, Julie. “Defining Moments: Mary Cassatt and Helen McNicoll in 1913.” At Herstory. 8/8/2023. https://artherstory.net/defining-moments-mary-cassatt-and-helen-mcnicoll-in-1913/ Prakash, A.K. "Independent Spirit: Early Canadian Women Artists." Queen's Quarterly, vol. 116, no. 3, fall 2009, pp. 354+. Gale General OneFile, link.gale.com/apps/doc/A211717399/GPS?u=mlin_n_melpub&sid=bookmark-GPS&xid=f5c4f4e2. Accessed 13 Jan. 2025. Widd, Thomas. “History of the Protestant Institution for Deaf-Mutes, Montreal, Canada.” American Annals of the Deaf and Dumb. Vol. 22, No. 4. October 1877. https://www.jstor.org/stable/44401559 See omnystudio.com/listener for privacy information.

For the 34th episode of "Reading the Art World," host Megan Fox Kelly speaks with Sebastian Smee, Pulitzer Prize-winning art critic for The Washington Post and author of "Paris in Ruins: Love, War, and the Birth of Impressionism,” published by W. W. Norton.This fascinating conversation explores the violent political upheavals of 1870-71 Paris — the Siege of Paris and the Paris Commune — and how they influenced the Impressionist movement. Smee shares insights into the lives of the artists who survived these dramatic days, including Edgar Degas, Édouard Manet and Berthe Morisot, who were trapped in Paris; Pierre-Auguste Renoir and Frédéric Bazille, who joined regiments outside of the capital; and Claude Monet and Camille Pissarro, who fled the country just in time.Through rigorous research into personal letters and historical documents, Smee illuminates the human context behind familiar masterpieces of light created during this dark period. He offers a fresh perspective on why the Impressionists, with their newfound sense of the fragility of life, turned toward transient subjects of modern life, leisure, fleeting moments and the impermanence of all things in the aftermath of such devastating events.ABOUT THE AUTHOR Sebastian Smee is an art critic for The Washington Post and winner of the 2011 Pulitzer Prize for Criticism. His previous works include "The Art of Rivalry" and books on Mark Bradford and Lucian Freud. He was awarded the Rabkin Prize for art journalism in 2018 and was a MacDowell Fellow in 2021.PURCHASE THE BOOK https://wwnorton.com/books/9781324006954SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

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Impressionism is perhaps the most-viewed and best-loved movement in art history. A new exhibition, first shown in Paris, looks back 150 years to its founding moment and to the darkness hidden behind all that light. Jeffrey Brown visited "Paris 1874: The Impressionist Moment" at the National Gallery of Art for our arts and culture series, CANVAS. PBS News is supported by - https://www.pbs.org/newshour/about/funders

Sebastian Smee is the author of Paris in Ruins: Love, War, and the Birth of Impressionism, available from W.W. Norton & Co. Smee is a Pulitzer Prize-winning art critic at the Washington Post and the author of The Art of Rivalry. Formerly the chief art critic at the Boston Globe and national art critic for the Australian, he has also written for the Daily Telegraph, Guardian, Financial Times, and the Independent, among other publications. He lives in Boston. *** Otherppl with Brad Listi is a weekly podcast featuring in-depth interviews with today's leading writers. Available where podcasts are available: Apple Podcasts, Spotify, YouTube, etc. Subscribe to Brad Listi's email newsletter. Support the show on Patreon Merch Twitter Instagram  TikTok Bluesky Email the show: letters [at] otherppl [dot] com The podcast is a proud affiliate partner of Bookshop, working to support local, independent bookstores. Learn more about your ad choices. Visit megaphone.fm/adchoices

The Impressionists fled the studio for the great outdoors, and with bold brushstrokes made light, color, and shadow the true stars of their canvases. For European travel information, visit https://www.ricksteves.com.

Melvyn Bragg and guests discuss the work of the great French Impressionist Claude Monet (1840-1926) in London, initially in 1870 and then from 1899. He spent his first visit in poverty, escaping from war in France, while by the second he had become so commercially successful that he stayed at the Savoy Hotel. There, from his balcony, he began a series of almost a hundred paintings that captured the essence of this dynamic city at that time, with fog and smoke almost obscuring the bridges, boats and Houses of Parliament. The pollution was terrible for health but the diffraction through the sooty droplets offered an ever-changing light that captivated Monet, and he was to paint the Thames more than he did his water lilies or haystacks or Rouen Cathedral. On his return to France, Monet appeared to have a new confidence to explore an art that was more abstract than impressionist.WithKaren Serres Senior Curator of Paintings at the Courtauld Gallery, London Curator of the exhibition 'Monet and London. Views of the Thames'Frances Fowle Professor of Nineteenth-Century Art at the University of Edinburgh and Senior Curator of French Art at the National Galleries of ScotlandAnd Jackie Wullschläger Chief Art Critic for the Financial Times and author of ‘Monet, The Restless Vision'In Our Time is a BBC Studios Audio ProductionProducer: Simon Tillotson Studio production: John GoudieReading list:Caroline Corbeau Parsons, Impressionists in London: French Artists in Exile 1870-1904 (Tate Publishing, 2017)Frances Fowle, Monet and French Landscape: Vétheuil and Normandy (National Galleries of Scotland, 2007), especially the chapter ‘Making Money out of Monet: Marketing Monet in Britain 1870-1905'Robert Gordon and Andrew Forge, Monet (Harry N. Abrams, 1983)Paul Hayes Tucker, Monet in the '90s: The Series Paintings (Yale University Press, 1990)Paul Hayes Tucker, Monet in the 20th Century (Yale University Press, 1998)Katharine A. Lochnan, Turner, Whistler, Monet (Tate Publishing, 2005)Nicholas Reed, Monet and the Thames: Paintings and Modern Views of Monet's London (Lilburne Press, 1998)Grace Seiberling, Monet in London (High Museum of Art, 1988)Karen Serres, Frances Fowle and Jennifer A. Thompson, Monet and London: Views of the Thames (Paul Holberton Publishing, 2024 – catalogue to accompany Courtauld Gallery exhibition)Charles Stuckey, Monet: A Retrospective (Random House, 1985)Daniel Wildenstein, Monet: The Triumph of Impressionism (first published 1996; Taschen, 2022)Jackie Wullschläger, Monet: The Restless Vision (Allen Lane, 2023)