Podcasts about Impressionism

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.   

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

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

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

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

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

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

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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Fluent Fiction - French: Heartfelt Courage: Émilie's Parisian Journey Through Art Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2024-12-29-08-38-20-fr Story Transcript:Fr: L'air vif de l'hiver soufflait doucement à travers Paris, apportant une fraîcheur piquante à l'atmosphère festive.En: The brisk winter air gently blew across Paris, bringing a sharp freshness to the festive atmosphere.Fr: Au cœur de la ville des lumières se tenait le Louvre, majestueux et imposant.En: In the heart of the City of Lights stood the Louvre, majestic and imposing.Fr: Les couloirs étaient animés par le murmure des visiteurs, tous impatients de découvrir les merveilles cachées derrière chaque porte.En: The corridors were filled with the murmurs of visitors, all eager to discover the wonders hidden behind every door.Fr: Émilie, nouvelle au poste de conservatrice, ressentait un mélange d'excitation et d'inquiétude.En: Émilie, new to the position of curator, felt a mix of excitement and anxiety.Fr: Sa passion pour l'art et son admiration pour Claude Monet l'avaient menée ici.En: Her passion for art and her admiration for Claude Monet had led her here.Fr: Elle avait travaillé avec ferveur sur une exposition spéciale pour la Saint-Sylvestre en honneur de ce maître de l'impressionnisme.En: She had worked fervently on a special exhibition for New Year's Eve in honor of this master of Impressionism.Fr: Pourtant, caché sous son enthousiasme se trouvait un secret lourd : une maladie cardiaque récemment diagnostiquée.En: Yet, hidden beneath her enthusiasm, there was a heavy secret: a recently diagnosed heart condition.Fr: Sa décision de ne rien dire à Lucas, son superviseur sévère mais juste, et à Claire, sa meilleure amie, la pesait.En: Her decision to say nothing to Lucas, her stern but fair supervisor, and Claire, her best friend, weighed on her.Fr: Dans les salles du musée, les œuvres de Monet brillaient sous les lumières tamisées.En: In the museum halls, Monet's works gleamed under the dimmed lights.Fr: Les Nymphéas semblaient presque réels dans l'éclat doré.En: The Water Lilies seemed almost real in the golden glow.Fr: Émilie passa une main tremblante sur son cœur, se remémorant les recommandations du médecin.En: Émilie passed a trembling hand over her heart, recalling the doctor's recommendations.Fr: Se reposer ?En: Rest?Fr: Impossible avec tant à faire.En: Impossible with so much to do.Fr: Claire remarqua quelque chose d'étrange.En: Claire noticed something strange.Fr: "Tu sembles fatiguée, Émilie," dit-elle, préoccupée.En: "You seem tired, Émilie," she said, concerned.Fr: Émilie esquiva la question avec un sourire forcé.En: Émilie dodged the question with a forced smile.Fr: "Juste la tension du grand jour."En: "Just the tension of the big day."Fr: Claire n'était pas convaincue.En: Claire was not convinced.Fr: À l'approche du jour de l'exposition, la pression augmenta.En: As the day of the exhibition approached, the pressure mounted.Fr: Lucas, insoucieux de l'état de santé d'Émilie, exigeait la perfection.En: Lucas, unaware of Émilie's health condition, demanded perfection.Fr: Son ton, bienveillant mais ferme, poussa Émilie à se surpasser.En: His tone, kind yet firm, pushed Émilie to outdo herself.Fr: Enfin arriva le dernier jour de décembre.En: Finally, the last day of December arrived.Fr: La nuit était tombée, et le Louvre scintillait comme un joyau.En: Night had fallen, and the Louvre glittered like a jewel.Fr: Cependant, en plein milieu des préparatifs finaux, Émilie sentit une douleur aiguë dans sa poitrine.En: However, right in the middle of the final preparations, Émilie felt a sharp pain in her chest.Fr: Le monde tourna autour d'elle, flou et incertain.En: The world spun around her, blurry and uncertain.Fr: Dans un moment de panique et de réalisme, elle s'effondra doucement près d'un banc.En: In a moment of panic and realism, she slowly collapsed near a bench.Fr: Claire, toujours attentive, se précipita à son secours.En: Claire, ever attentive, rushed to her aid.Fr: Lucas, alerté, rejoignit rapidement les deux femmes.En: Lucas, alerted, quickly joined the two women.Fr: Il était temps pour Émilie de briser le silence.En: It was time for Émilie to break the silence.Fr: "J'ai besoin d'aide...En: "I need help...Fr: J'ai une maladie cardiaque," avoua-t-elle, ses yeux brillants de larmes.En: I have a heart condition," she confessed, her eyes shining with tears.Fr: Le silence de Lucas ne dura qu'un instant.En: Lucas' silence lasted only a moment.Fr: Puis, avec une compréhension nouvelle, il prit la main d'Émilie et promit : "Nous sommes là pour toi.En: Then, with newfound understanding, he took Émilie's hand and promised, "We are here for you.Fr: Allons terminer cette exposition ensemble."En: Let's finish this exhibition together."Fr: Grâce au soutien de Claire et Lucas, l'exposition de Monet fut un succès éclatant.En: With the support of Claire and Lucas, the Monet exhibition was a resounding success.Fr: Les visiteurs affluaient, émerveillés par la beauté intemporelle des peintures.En: Visitors flocked, amazed by the timeless beauty of the paintings.Fr: Émilie regarda autour d'elle, respirant profondément.En: Émilie looked around, breathing deeply.Fr: Elle avait appris que la vulnérabilité n'était pas une faiblesse mais une porte vers des liens plus forts.En: She had learned that vulnerability was not a weakness but a gateway to stronger bonds.Fr: Main dans la main avec ses amis, elle se tenait prête à affronter une nouvelle année, les feux d'artifice illuminant la nuit froide au-dessus de Paris.En: Hand in hand with her friends, she stood ready to face a new year, the fireworks illuminating the cold night above Paris. Vocabulary Words:the brisk winter air: l'air vif de l'hivermajestic: majestueuximposing: imposantthe murmurs: le murmureeager: impatientsthe wonders: les merveillesthe curator: la conservatricethe excitement: l'excitationthe anxiety: l'inquiétudeadmiration: l'admirationfervently: avec ferveura special exhibition: une exposition spécialeNew Year's Eve: la Saint-Sylvestrea heavy secret: un secret lourda heart condition: une maladie cardiaquestern: sévèrethe trembling hand: la main tremblantethe doctor's recommendations: les recommandations du médecinaware: insoucieuxthe pressure: la pressiona sharp pain: une douleur aiguëthe moment of panic: le moment de paniqueunderstanding: la compréhensiontimeless beauty: la beauté intemporellethe vulnerability: la vulnérabilitéa weakness: une faiblessethe gateway: une portestronger bonds: des liens plus fortsthe fireworks: les feux d'artificeto collapse: s'effondrer

Fluent Fiction - French: Facing Fears: A Winter Day's Journey in the Art Museum Find the full episode transcript, vocabulary words, and more:fluentfiction.com/fr/episode/2024-12-21-23-34-01-fr Story Transcript:Fr: Les flocons de neige tourbillonnaient doucement dans l'air froid alors que Julien, Corinne et Élodie marchaient vers le grand musée d'art.En: The snowflakes swirled gently in the cold air as Julien, Corinne, and Élodie walked towards the grand art museum.Fr: Les décorations de Noël illuminaient l'entrée.En: The Christmas decorations illuminated the entrance.Fr: Bien que l'extérieur soit glacé, l'intérieur du musée était chaleureux, rempli de lumière douce et de musique festive.En: Although the outside was icy, the inside of the museum was warm, filled with soft light and festive music.Fr: Julien souriait, impatient de voir l'exposition impressionniste.En: Julien was smiling, eager to see the Impressionist exhibition.Fr: Il aimait particulièrement Monet et sa façon de capturer la lumière.En: He particularly loved Monet and his way of capturing light.Fr: Cependant, un nuage de souci assombrit son enthousiasme.En: However, a cloud of worry darkened his enthusiasm.Fr: En fouillant dans sa poche, il réalisa qu'il avait oublié quelque chose d'important chez lui. Son médicament pour l'anxiété.En: While rummaging through his pocket, he realized he had forgotten something important at home—his medication for anxiety.Fr: Ses mains tremblaient légèrement.En: His hands trembled slightly.Fr: "Qu'y a-t-il, Julien ?" demanda Corinne, remarquant son agitation.En: "What is it, Julien?" asked Corinne, noticing his agitation.Fr: Elle lui prit la main avec un sourire rassurant.En: She took his hand with a reassuring smile.Fr: "J'ai oublié mes médicaments," murmura Julien, une pointe de panique dans la voix.En: "I forgot my medication," murmured Julien, a hint of panic in his voice.Fr: Élodie, en ajustant ses lunettes de curator, écouta avec attention.En: Élodie, adjusting her curator glasses, listened attentively.Fr: "Tu vas y arriver, Julien. On est là pour toi." Élodie le guida plus loin dans le musée, vers une salle tranquille.En: "You can do it, Julien. We're here for you." Élodie guided him further into the museum, towards a quiet room.Fr: Ils passèrent devant des tableaux de Renoir et Degas, leurs couleurs vives réconfortant Julien comme une couverture.En: They passed by paintings by Renoir and Degas, their vivid colors comforting Julien like a blanket.Fr: Malgré la beauté autour de lui, son cœur battait vite.En: Despite the beauty around him, his heart was racing.Fr: Dans une salle bondée autour d'un chef-d'œuvre de Monet, l'anxiété atteignit son paroxysme.En: In a crowded room around a Monet masterpiece, his anxiety reached its peak.Fr: La foule, le bruit, tout semblait tourner.En: The crowd, the noise, everything seemed to spin.Fr: Julien ferma les yeux, essayant de respirer profondément.En: Julien closed his eyes, trying to breathe deeply.Fr: Élodie et Corinne sentirent son trouble.En: Élodie and Corinne sensed his distress.Fr: "Viens avec moi," dit doucement Corinne, l'amenant à un espace plus calme.En: "Come with me," said Corinne softly, leading him to a quieter space.Fr: Élodie les suivit, cherchant un endroit apaisant.En: Élodie followed, looking for a soothing spot.Fr: Ils trouvèrent une petite alcôve avec une vue sur un jardin enneigé à travers une grande fenêtre.En: They found a small alcove with a view of a snow-covered garden through a large window.Fr: "Assieds-toi, Julien." Corinne tapota le banc à côté d'elle.En: "Sit down, Julien." Corinne patted the bench beside her.Fr: Julien s'assit, le regard fixé sur le paysage immaculé dehors.En: Julien sat down, his gaze fixed on the pristine landscape outside.Fr: Élodie posa une main réconfortante sur son épaule.En: Élodie placed a comforting hand on his shoulder.Fr: "Ferme les yeux. Inspire profondément," conseilla-t-elle.En: "Close your eyes. Breathe deeply," she advised.Fr: Julien ferma les yeux, imitant les mouvements calmes de Corinne et Élodie.En: Julien closed his eyes, mimicking the calm movements of Corinne and Élodie.Fr: Il se concentra sur sa respiration, lentement.En: He focused on his breathing, slowly.Fr: Le battement de son cœur commença à ralentir.En: The beating of his heart began to slow.Fr: Les images paisibles de Monet, des eaux scintillantes et des nénuphars dansaient dans son esprit.En: Peaceful images of Monet, shimmering waters, and water lilies danced in his mind.Fr: Progressivement, ses muscles se relâchèrent, et la terreur s'éloigna à pas légers.En: Gradually, his muscles relaxed, and the terror retreated lightly.Fr: "Merci," souffla-t-il, reconnaissant pour leur soutien.En: "Thank you," he whispered, grateful for their support.Fr: Après quelques moments de calme, il rouvrit les yeux.En: After a few moments of calm, he opened his eyes.Fr: Le monde lui parut plus serein et accueillant.En: The world seemed more serene and welcoming.Fr: Ils se relevèrent ensemble, prêts à continuer de profiter de l'exposition.En: They stood up together, ready to continue enjoying the exhibition.Fr: Julien sourit, le poids de l'anxiété s'étant allégé.En: Julien smiled, the weight of anxiety much lighter.Fr: Bien que le froid de l'hiver soufflât toujours au-dehors, à l'intérieur, tout était paisible, tout était lumineux.En: Although the winter chill still blew outside, inside, everything was peaceful, everything was bright.Fr: Pour la première fois depuis longtemps, il sentit qu'avec ses amis à ses côtés, il pouvait affronter ses peurs.En: For the first time in a long while, he felt that with his friends by his side, he could face his fears.Fr: Le musée et ses couleurs étaient un endroit merveilleux où se retrouver, et il s'y sentait chez lui.En: The museum and its colors were a wonderful place to reconnect, and he felt at home there. Vocabulary Words:the snowflake: le floconto swirl: tourbillonnergentle/gently: doux/doucementthe decoration: la décorationto illuminate: illuminerto rummage: fouillerthe anxiety: l'anxiététo tremble: tremblerthe agitation: l'agitationthe curator: le curatorattentively: avec attentionthe vivid color: la couleur vivethe masterpiece: le chef-d'œuvreto reach a peak: atteindre son paroxysmeto spin: tournerto sense: sentirto lead: amenerthe quiet space: l'espace tranquillethe alcove: la alcôvethe window: la fenêtreto mimic: imiterthe serene: sereinthe landscape: le paysagethe water lily: le nénupharto relax: se relâcherthe terror: la terreurto retreat: s'éloignergrateful: reconnaissantto reconnect: se retrouverthe fear: la peur

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

The podcast episode explores the fascinating layers of Vincent van Gogh'spainting The Night Café. It begins with a discussion of Van Gogh'sunconventional life, focusing on his late start in art and his restless search forpurpose. The host and guest highlight his evolution from the dark, earthy tones ofearly works like The Potato Eaters to the vibrant and expressive style thatemerged after his exposure to Impressionism and Japanese prints in Paris, as wellas his move to the artistic solitude of Arles.The conversation then shifts to The Night Café, painted during Van Gogh'sproductive time in Arles. With its clashing red and green palette, distortedperspective, and isolated figures, the painting captures a psychologicalatmosphere of loneliness and despair. The guest explains how Van Gogh usedintentional “ugliness” to evoke emotion, portraying the café as a place of uneaserather than comfort. This approach, unconventional for its time, contrasts starklywith the typical expectations of a cozy café scene.Finally, the episode explores the subjectivity of art and how Van Gogh's self-described “ugly” painting has been reinterpreted as emotionally profound andgroundbreaking. Critics have praised The Night Café as a precursor toExpressionism, a psychological reflection of Van Gogh's struggles, and acommentary on isolation in everyday spaces. The discussion concludes bysituating the painting within Van Gogh's legacy, emphasizing his challenge totraditional notions of beauty and his influence on modern art. The host wraps upby thanking the guest and encouraging listeners to remain curious.

For the 32nd episode of "Reading the Art World," host Megan Fox Kelly speaks with Mary Morton, Curator and Head of the Department of French Paintings, and Kimberly Jones, Curator of 19th Century French Paintings at the National Gallery of Art in Washington, D.C. Together, they discuss their work on the landmark exhibition, “Paris 1874: The Impressionist Moment,” and the accompanying exhibition catalogue.The conversation centers on the daring spirit of the first Impressionist exhibition in 1874, a moment that saw artists defy the prestigious Paris Salon to showcase new ways of capturing modern life. Jones and Morton share insights into the forces behind Impressionism's revolutionary appeal, from the political and social upheavals in France to the transformation of Paris under Haussmannization. They explain how these changes inspired artists to redefine not only the subjects they painted but also how art itself was exhibited and experienced.This exhibition and catalog shine a light on lesser-known figures who were critical to the movement's evolution, challenging visitors to unlearn what they think they know about Impressionism. With its juxtapositions of Salon and Impressionist works, “Paris 1874: The Impressionist Moment” allows audiences to feel the radical nature of these pieces that once shocked critics but are now beloved worldwide.“Paris 1874: The Impressionist Moment”  is on view at the National Gallery of Art in Washington, D.C. through January 19, 2025. Learn more here: https://www.nga.gov/exhibitions/2024/paris-1874-impressionist-moment.htmlABOUT THE CURATORSMary Morton has been curator and head of French paintings at the National Gallery of Art since 2010. She previously served as associate curator of paintings at the J. Paul Getty Museum (2004–2010) and associate curator of European art at the Museum of Fine Arts (MFA), Houston (1998–2004). In 2018, Morton was awarded the Chevalier of the Order of Arts and Letters by France's Ministry of Culture. Morton received her PhD from Brown University (1998), concentrating on 19th- and early 20th-century European painting. She also holds a BA in history from Stanford University (1987).Kimberly A. Jones has been curator of nineteenth-century French paintings at the National Gallery of Art since 2016. A former museum fellow at the Musée national du château de Pau (1990–1991) and the Musée d'Orsay, Paris (1993–1994), she joined the curatorial staff of the National Gallery of Art in 1995 as assistant curator of French paintings. Jones holds a PhD and MA from the University of Maryland with specialization in 19th-century European and American art, as well as a dual degree in art history and studio art from Western Maryland College (now McDaniel College).PURCHASE THE BOOK: https://shop.nga.gov/paris-1874-the-impressionist-moment SUBSCRIBE, 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 pub

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

Send us a textWhat an incredible honor it is to introduce someone to Jesus. When was the last time you were able to do that?John 1:40Andrew, Simon Peter's brother, was one of the two who heard John and followed him. He first found his own brother Simon and told him, “We have found the Messiah” (which is translated “the Christ”),and he brought Simon to Jesus.Remaster of Episode 12, originally released on June 12, 2019.Support the show

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.

On today's Friday Morning Coffee, Caitlin Malcuit uses impressionism as a jumping off point to discuss what humanity loses when we're bound more to shareholders, capitalism, and war rather than equity; economic, environmental, housing, and food security; art and creativity; and joy.   Sebastian Smee, art critic at The Washington Post, then chats with Daniel Ford about his book Paris in Ruins: Love, War, and the Birth of Impressionism. Writer's Bone is proudly sponsored by Libro.fm, As Told To: The Ghostwriting Podcast, and The Shit No One Tells You About Writing. 

Sure - Dead Butt Syndrome.  Ultra Processed Foods; turns out some might be good for you.  Gen Z can't Type. Nvidia Investors.  Impressionism at the National Gallery.  Edward C. Moore Collection (Tiffany's) at the Met.  Plug-in Hybrids are having a moment.  It Zwibble. Credits: Talent:  Tamsen Granger and Dan Abuhoff Engineer:  Ellie Suttmeier Art:  Zeke Abuhoff

This week: the Van Gogh blockbuster in London, a new book on the birth of Impressionism, and Juan Pablo Echeverri's performative self-portraits. As the exhibition Van Gogh: Poets and Lovers opens at the National Gallery in London as part of its bicentenary celebrations, The Art Newspaper's special correspondent and resident expert in the Dutch painter, Martin Bailey, takes a tour of the exhibition with our associate digital editor, Alexander Morrison. The National Gallery of Art in Washington, meanwhile, has just opened the exhibition Paris 1874: The Impressionist Moment, its iteration of the show marking 150 years since the first Impressionist exhibition, which began earlier this year at the Musée d'Orsay in Paris. Coinciding with the show is the publication of the book Paris in Ruins: Love, War, and the Birth of Impressionism, by the Washington Post art critic, Sebastian Smee. Ben Luke speaks to Sebastian about the book. And this episode's Work of the Week is MUTIlady (2003) by Juan Pablo Echeverri. The photographic piece features nine photographs in which the late Colombian artist pictures himself with an apparently flayed body and wildly different haircuts seemingly reflecting a multitude of identities. The work is part of the exhibition GROW IT, SHOW IT! A look at hair from Diane Arbus to TikTok, which opened this week at the Museum Folkwang in Essen, Germany. The show's curator, Miriam Bettin, tells Ben more about the artist and the work.Van Gogh: Poets and Lovers, The National Gallery, London, 14 September-19 January 2025; The Sunflowers are Mine: The Story of Van Gogh's Masterpiece and Van Gogh's Finale: Auvers and the Artist's Rise to Fame by Martin Bailey, Frances Lincoln, each £10.99/$14.99 (pb), from 17 October, but available now at the National Gallery.Paris in Ruins: Love, War, and the Birth of Impressionism is published by W. W. Norton & Company in US and out now, priced $35. In the UK it's published by Oneworld, out on 17 October and priced £25; Paris 1874: The Impressionist Moment, National Gallery of Art, Washington, until 19 January 2025.GROW IT, SHOW IT! A look at hair from Diane Arbus to TikTok, Museum Folkwang, Essen, Germany, until 12 January 2025.Subscription offer: you can get the perfect start to the new academic year with 50% off a student subscription to The Art Newspaper—that's £28, or the equivalent in your currency, for one year. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

When embarking on your mokuhanga journey, whether through making or collecting, one name stands out above the rest: (pause) Yoshida. The Yoshida family of artists have helped create some of the most important and exciting mokuhanga prints of the last 100 years. Their designs, techniques, and marketing transformed the perception of prints in Japan and around the world.   I speak with Dr. Monika Hinkel, Lecturer in the Arts of East Asia at SOAS (the School of Oriental and African Studies) at the University of London and an Academic Member of the Japan Research Centre. Dr. Hinkel is also the curator of the current exhibtion (at the time of recording)  about the Yoshida family of artists, titled Yoshida: Three Generations of Printmaking, being held at the Dulwich Picture Gallery in London, England.   Dr. Hinkel joins me to discuss the Yoshida family, from Hiroshi to Ayomi, the exhibition at the Dulwich Picture Gallery—the first of its kind in the United Kingdom—the Yoshida family's history, and their impact on the global art community.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Dulwich Picture Gallery - located in London, England the Dulwich Picture Gallery is the worlds first public "purpose-built" public art gallery founded in 1811.  Robert Rauschenberg (1925–2008) - was an American artist known for his innovative and boundary-defying work that blurred the lines between painting, sculpture, and everyday life. Emerging in the 1950s, Rauschenberg challenged the conventions of traditional art with his "Combines," a series of works that incorporated found objects, photographs, and non-traditional materials into paintings, creating dynamic, multi-dimensional pieces. Characterized by a spirit of experimentation and a desire to break down the distinctions between art and the real world, Rauschenberg played a crucial role in the transition from Abstract Expressionism to Pop Art. Charlene (1954) mixed media Pop Art - was an art movement from the 1950s and 1960s that incorporated imagery from popular culture, such as advertising, comic books, and consumer goods. It challenged traditional art by blurring the lines between high art and everyday life. Key figures like Andy Warhol and Roy Lichtenstein used bold colors and familiar icons to both celebrate and critique consumer culture, making Pop Art one of the most influential movements in modern art. Yoshida: Three Generations of Japanese Printmakers - is the current exhibition at the Dulwich Picture Gallery from June 19, 2024 -  November 3, 2024.  Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Kumoi Cherry Tree 23" x 29 1/8 " (1926) Yoshida Fujio (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Flower - B (1954) 15 3/4" x 10 5/8" Yoshida Tōshi (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  American Girl A (1954) 15 7/8" x 11 1/8" Yoshida Chizuko (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Jazz (1953) 15 3/4" x 11" Yoshida Hodaka (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures. Abstract (1958) 11" x 15 7/8" Yoshida Ayomi - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Spring Rain (2018) woodblock installation  Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Spring Rain at Sakurada Gate (1952) 10 3/8" x 15 3/8" Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.    Impressionism - was an art movement that emerged in France in the late 19th century, characterized by a focus on capturing the fleeting effects of light and color in everyday scenes. Instead of detailed realism, Impressionist artists like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas used loose brushwork and vibrant colors to convey the atmosphere and momentary impressions of their subjects. This movement broke from traditional art by often painting en plein air (outdoors) and prioritizing personal perception over exact representation, leading to a revolutionary shift in modern art. Wassily Kandinsky (1866–1944) - was a key figure in the development of abstract art, known for using color and form to express emotions and ideas without representational content. His influential writings and innovative approach helped shape modern art, making him a central figure in movements like Expressionism and the Bauhaus. Stars (1938) 13 7/8" x 10 1/4" colour lithograph  Charles Freer (1854–1919) - was an American industrialist and art collector, best known for his significant contributions to the field of art through the establishment of the Freer Gallery of Art. Freer was a wealthy entrepreneur who made his fortune in the railroad industry. In his later years, he became an avid collector of art, particularly Asian art, including Chinese and Japanese ceramics, paintings, and sculptures. Nakagawa Hachiro (1877-1922) - was a close friend of Yoshida Hiroshi and traveled to the United States together for the first time in 1899. He was a yōga painter and showed primarily in Japan. Landcape in The Inland Sea 13.94" x 20.87" colour on watercolour  The Great Kanto Earthquake - struck Japan on September 1, 1923, with a magnitude of approximately 7.9. It devastated the Kanto region, including Tokyo and Yokohama, causing widespread destruction and fires that led to the deaths of over 100,000 people. The earthquake also resulted in significant infrastructure damage, homelessness, and economic disruption. In the aftermath, the disaster prompted major rebuilding efforts and urban planning changes. Additionally, the earthquake led to social and political unrest, including widespread anti-Korean sentiment, as rumors falsely blamed Korean immigrants for the disaster. Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.  Thirty Six Views of Mount Fuji No. 21 Lake at Hakone 14" x 9 1/4" Kawase Hasui (1883-1957) - a designer of more than six hundred woodblock prints, Kawase Hasui is one of the most famous designers of the shin-hanga movement of the early twentieth century. Hasui began his career with the artist and woodblock designer Kaburaki Kiyokata (1878-1971), joining several artistic societies along the way early in his career. It wasn't until he joined the Watanabe atelier in 1918 that he really began to gain recognition. Watanabe Shōzaburō (1885-1962) had Hasui design landscapes of the Japanese country-side, small towns, and everyday life. Hasui also worked closely with the carvers and printers of his prints to reach the level Hasui wanted his prints to be.  Selection of Views of the Tokaido (1934) Bishu Seto Kilns 15 3/4"  x 10 3/8" Itō Shinsui (1898-1972) - Nihon-ga, and woodblock print artist and designer who worked for print publisher Watanabe Shōzaburō (1885-1962). Shinsui designed some of our most famous shin hanga, or “new” prints of the early 20th century. One of my favorites is “Fragrance of a Bath” 1930. Kasumi Teshigawara Arranging Chrysanthemums (1966) 21 7/8" x 16 1/2" Katsushika Hokusai (1760-1849) - is one of the most famous Japanese artists to have ever lived. Hokusai was an illustrator, painter and woodblock print designer. His work can be found on paper, wood, silk, and screen. His woodblock print design for Under The Wave off Kanagawa (ca. 1830-32) is beyond famous. His work, his manga, his woodblocks, his paintings, influence artists from all over the world.  Tama River in Musashi Province from 36 Views of Mount Fuji (1830-32) 9 7/8" x 14 7/8"  Boston Museum of Fine Arts - a museum with a rich history with Japanese artwork, especially woodblock prints. It holds the largest collection of Japanese art outside of Japan. Many of their woodblock prints are held online, here. A video on YouTube found, here, describing the MFA's history, and its collections.  Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most important sōsaku hanga artists and promotor of the medium. His works are highly sought after today. More info, here. Nijubashi Bridge to the Imperial Palace from Scenes of Lost Tokyo (1945) 7.8" x 11.1" published by Uemura Masuro Tarō Okamoto (1911–1996) was a prominent Japanese artist known for his avant-garde works and dynamic use of color and form. His art, which includes painting, sculpture, and public installations like the "Tower of the Sun," often explores themes of chaos and modernity. Okamoto was influential in Japanese contemporary art and also made significant contributions as a writer and cultural commentator. More info, here.  Seashore (1976) lithograph 5.55" × 22.05" Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” St. Olaf College - is a private liberal arts college located in Northfield, Minnesota. Founded in 1874 by Norwegian-American settlers, it has a strong emphasis on a comprehensive liberal arts education, integrating rigorous academics with a commitment to fostering critical thinking, leadership, and global citizenship. The college is known for its vibrant community, strong programs in the humanities, social sciences, and natural sciences, and its affiliation with the Evangelical Lutheran Church in America (ELCA). St. Olaf is also recognized for its strong music program, including its acclaimed choir and music ensembles. More info, here. The Detroit Institute of Arts (DIA) -  is an art museum in Detroit, Michigan, founded in 1885. It is known for its extensive collection of artworks from various cultures and periods, including significant American, European, and African art. The DIA is particularly famous for Diego Rivera's Detroit Industry Murals and serves as a major cultural center with diverse exhibitions and educational programs. More info, here.   baren - is a Japanese word to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although baren have many variations.    Jeannie Kenmotsu, PhD - is the Arlene and Harold Schnitzer Curator of Asian Art at the Portland Art Museum in Portland, Oregon. She specializes in early modern Japanese art, with a focus on painting, illustrated books, and prints. Her interview with The Unfinished Print about her work about the Joryū Hanga Kyōkai can be found, here.    © Popular Wheat Productions opening and closing credit - by Gordon Lightfoot - Affair on 8th Avenue from the album Back Here On Earth (1968) on United Artists. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                        

Sam discusses the joy fest during the DNC and the growing gulf between those who think you can stop fascism in the US while still enabling a genocide in Gaza, and those who think that is completely incompatible. Cheers to all the protesters at the DNC for telling the truth this past week. Follow @uncommittedmvmt on TikTok for the voices clipped in today's episode. Then, she talks with Stephen Eisenman, Professor Emeritus of Art History at Northwestern University. He has a forthcoming book out with artist collaborator Sue Coe titled The Young Person's Illustrated Guide to American Fascism (⁠available in October; preorder now⁠). Eisenman is also the author of numerous articles and nine books including The Abu Ghraib Effect and The Ecology of Impressionism. Eisenman is also a curator, critic, activist and co-founder of the environmental non-profit, Anthropocene Alliance. He is a regular contributor to the online publication CounterPunch. View Sue Coe's artwork at suecoe.com and follow her on Instagram at @suecoeart. Mentioned in this episode: Celebrating at the DNC in a Time of Genocide by Adam Johnson (The Nation) Ep 212 The GOP, Netanyahu and Jewish Safety Ep. 210 The War on Women & The Genocide in Gaza Ep 202 Perspectives on Stopping Fascism Ep 200 This American Fascism: A Retrospective By popular demand! Get your Refuse Fascism T-Shirt here: ⁠⁠⁠⁠⁠bonfire.com/refuse-fascism-pod-shirt⁠⁠⁠⁠ Find out more about Refuse Fascism and get involved at RefuseFascism.org. Find us on all the socials: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@RefuseFascism⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Plus, Sam is on TikTok, check out ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@samgoldmanrf⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠. Support the show at ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/RefuseFascism⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Music for this episode: Penny the Snitch by Ikebe Shakedown⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

TODAY ON THE ROBERT SCOTT BELL SHOW: Throne and Altar Expectations, Michelle Shine, Mesmerised, Homeopathy and Impressionism, Jalapa Homeopathic Hit, Diet vs Meds for IBS, Jordan Mendoza, Blaze Your Own Trail, Lead in Cocoa Puffs, and MORE! https://robertscottbell.com/throne-and-altar-expectations-michelle-shine-mesmerised-homeopathy-and-impressionism-jalapa-homeopathic-hit-diet-vs-meds-for-ibs-jordan-mendoza-blaze-your-own-trail-lead-in-cocoa-puffs-and-m/

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)

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)

Email Us:dbahnsen@thebahnsengroup.comwill@calpolicycenter.orgFollow Us:@DavidBahnsen@WillSwaim@TheRadioFreeCAShow Notes:Another surprising reason Joe Biden should now step asideDaily Show brutally roasts Kamala Harris word salads by introducing her ‘holistic advisor': ‘A process I call speaking without thinking'Sonoma State president retires after being placed on leave for supporting anti-Israel boycottUC Santa Cruz academic workers stage strike over UC protest responseWSJ: Gavin Newsom says no new taxesState Assembly passes bill apologizing for California's role in supporting slaveryCalifornia's looming crime catastropheLegislative audit committee unanimously passes review of state worker return-to-office mandateGavin Newsom confronted at press conference about missing $24bn spent on tackling homelessnessS.F. program gives homeless people free booze. Here's why the city says it's helpfulLong Beach health officials to screen 175 people for tuberculosis amid outbreakLawmakers just quietly killed a bill to keep your PG&E bill in check. They better have a backup planLance Christensen: Teachers launch budget fight with NewsomTeachers criticize Newsom's budget proposal, say it would 'wreak havoc on funding for our schools'California district agrees to pay $360K to teacher who refused to use students' preferred pronounsFollowing ADF lawsuit, CA library changes policy, allows women's sports discussionKern Board of Education approves policy on appropriate books in classrooms, parents can now file complaintsAs Black college enrollment lags, study suggests strengthening communitiesBrian T. Allen: California artThe old California missions: Force for good or evil?Impressionism's rebels, from Paris to California: Light, light, and more lightMoving past paint in California art

For the first time Iran launched a huge attack on Israel from its own territory, though the effort largely failed. Israel's response could easily lead to regional war; what is it likely to be? The first of the four criminal trials that Donald Trump faces will get under way today. It is by some margin the tawdriest (11:46). And celebrating the 150th anniversary of Impressionism (20:02).   Listen to what matters most, from global politics and business to science and technology—subscribe to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

For the first time Iran launched a huge attack on Israel from its own territory, though the effort largely failed. Israel's response could easily lead to regional war; what is it likely to be? The first of the four criminal trials that Donald Trump faces will get under way today. It is by some margin the tawdriest (11:46). And celebrating the 150th anniversary of Impressionism (20:02).   Listen to what matters most, from global politics and business to science and technology—subscribe to Economist Podcasts+. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.