Podcasts about impressionistic

In this episode of Bend Don't Break, host Aaron Switzer sits down with Paula Dreyer, a classically-trained pianist and composer based in Bend, Oregon, whose distinctive music draws from Romantic, Impressionistic, and Spanish influences. Paula shares her inspiring journey from early piano lessons to becoming an internationally recognized musician, educator, and author of the popular Little Gems for Piano books.

Read by Terry Casburn Production and Sound Design by Kevin Seaman

This week, Wes and Todd do their annual interview withArtist Topher Straus. Topher talks about technology, Maui, charities, Sauvage Spectrum Winery, changes in his business model, World Heritage Sites, marketing & advertising, Vail International Gallery, the secondary market for his work, new gallery representation, Japan, traveling, new work, photo collages, the Design With Us competition, proven business tactics and goals. Join us as we catch up with Topher Straus. Check out Topher's work on his website: www.topherstraus.com  Follow Topher Straus on social media: On Facebook - www.facebook.com/CreativeTopher/ On Instagram - www.instagram.com/creativetopher/@creativetopher

This week Wes and Todd sit down with Colorado Springs Artist, Clay Ross. Clay discusses growing up in Colorado Springs, his journey as an Artist, being color blind, the “ache” to make art, working in acrylic, his two series, being a cheerleader for his community, True North Art Gallery, mixed media, abstract work, cityscapes, his current exhibition, Colorado Springs pride, light, pricing, selling art, Yobel, and The Look Up Gallery. Check out Clay's work at his website www.clayross.artClay's exhibition “City Series” opens Friday, August 4th at The Look Up Gallery inside Yobel.Yobel and The Lookup Gallery are located at:11 E. Bijou StreetColorado Springs, CO 80903 Follow Clay on social media:Instagram - www.instagram.com/719clay/@719clayFacebook - www.facebook.com/719clay  You can check out The Look Up Gallery at www.thelookupgallery.comFollow The Look Up Gallery on social media:Instagram - www.instagram.com/thelookupgallery/@thelookupgallery Facebook - www.facebook.com/thelookupgallery Check out Clay & Emily's fair trade, ethically sourced boutique, Yobel, via the website www.shopyobel.comFollow Yobel on social media:Instagram – www.instagram.com/shopyobel/@shopyobelFacebook - www.facebook.com/shopyobel

Our individual and collective histories are composed of fragments—bits of information we piece together in different ways. According to former professional athlete, multidisciplinary artist, and NOT REAL ART 2022 grant winner Kiley Ames, these fragments can be rearranged and reinterpreted to create personalized perceptions of reality.Using small, distinct brushstrokes to illustrate her philosophy on fragments, Kiley paints in an Impressionistic style that prioritizes light, color, and texture. “[Painting] is a very tactile experience, and I want people to get up close to it and see it [from] far away and look at it from the side,” says Kiley, who often invites patrons to her studio at the Beacon Arts Building in Inglewood, California. “I love for people to see my work in person […] the way I paint is incredibly difficult to see online, regardless of how great the photos are.”On today's podcast episode, host and NOT REAL ART founder Scott “Sourdough” Power sits down with Kiley to discuss the importance of authenticity, how she developed her unique style, and why she ultimately embraces duality in both work and life. Kiley also shares her thoughts on freelancing at the Annie Leibovitz Studio for the better part of a decade: “When you see someone like Annie [Leibowitz] or Irving Penn or Van Gogh, you only see the final piece or the final photograph,” she says. “You don't see all the ones that weren't chosen.” In short? Even great artists don't get it right the first time.A self-professed latecomer to the art world, Kiley embraced an expressive style after realizing that “good art” isn't necessarily photorealistic. “[Photorealistic art] is beautiful, but I also realized that it wasn't representative of who I am,” she says. “ It took me a really long time to break out of that because you get rewarded for creating something that looks like something else.” Subjective, evocative, and dreamy, Kiley's style evolved from exploration and experimentation, traits she encourages in other emerging artists. Tune into our conversation with Kiley Ames on the player below, then head over to our 2022 grant winner's exhibition to see her winning work.Key Points From This Episode:The welcoming community and support system that Kiley found at Beacon Arts Building.Challenges with networking in the art world and how Kiley has built relationships.Why it's difficult to properly appreciate her paintings in pictures or online.How Kiley found her artistic voice and developed her unique visual style.Some insight into who Kiley is and how she embraces duality.What being a professional athlete taught her about discipline and redefining success.A look at Kiley's creative process (which doesn't involve sketchbooks!)Her most recent body of work and what it represents, and what she's working on now.Kiley's take on why lawmakers are focused on drag shows and not gun control.Ways that art can facilitate less combative discussions about very serious issues.Advice for navigating the art world, staying on budget, and applying for artist grants.The impact COVID had on Kiley as an artist, and how the ocean helped her personally.Lessons and personal reflections from Kiley's experience of working with Annie Leibowitz.Words of wisdom for young artists: learn to fall in love with the process!Why artists shouldn't restrict themselves to just one...

What would impressionistic paintings have to do with marketing? As it turns out, quite a bit in terms of being an art form. Impressionistic marketing is a term that describes one of the most quintessential elements of being successful in launching your products, services and brands. In fact, it also can make a significant difference in anyone's personal career.  Impressions are so important in all aspects of branding, sales, marketing...and all along the customer journey. Join Michael as he explains the art of impressionistic marketing and why it will make or break your business growth objectives. 

Hulda Guzman in the studio, 2023 Hulda Guzmán (b. 1984, Santo Domingo, Dominican Republic) depicts her tropical surroundings as she explores perspective and reality. Situated between Impressionistic landscape, psychological autobiography, Mexican muralism, Caribbean folk traditions, endearing comedy, and magical realism, Guzmán's work engenders an emphatic compassion for the united forces of the living, celebrated through the act of painting. Guzmán received a BA from Altos de Chavón School of Design in the Dominican Republic and went on to study photography and mural painting at the National School of Visual Arts, Mexico. Her work is included in the permanent collections of the Baltimore Museum of Art, MD; Dallas Museum of Art, TX; Denver Art Museum, CO; He Art Museum (HEM), Guangdong, CN; Institute of Contemporary Art, Miami, FL; Los Angeles County Museum of Art (LACMA), CA; Museu de Arte de São Paulo (MASP), São Paulo, Brazil; Pérez Art Museum Miami, FL; and San Francisco Museum of Modern Art (SFMOMA), CA, among others. Guzmán has been featured in the Dominican Republic's pavilion at the 58th International Art Exhibition at the Venice Biennale. Guzmán has shown with Stephen Friedman Gallery, London, UK; Alexander Berggruen, NY; Anat Ebgi, Los Angeles, CA; Dio Horia Gallery, Mykonos; Arte BA, Buenos Aires; Galería Machete, Mexico City; Gallery Ariane Paffrath Dusseldorf; and at institutions such as the Denver Art Museum, CO; Museo de Arte Moderno, Santo Domingo; the Pérez Art Museum Miami, FL; Museo de Arte de São Paulo, Brazil; Museo de Arte y Diseño Contemporáneo, Costa Rica; and Art Museum of the Americas, Washington, DC. The artist lives and works in Santo Domingo, Dominican Republic. Hulda Guzmán, Hojas de fuego, 2023, acrylic gouache on linen, triptych overall: 48 1/8 x 88 1/2 in. (122.2 x 224.8 cm.), each: 48 1/8 x 29 1/2 in. (122.2 x 74.9 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni Hulda Guzmán, Pets. Are they real?, 2023, acrylic gouache on linen, 48 x 29 5/8 in. (121.9 x 75.2 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni Hulda Guzmán, Eddy y Bo 1, 2023, acrylic gouache on linen, 60 x 37 in. (152.4 x 94 cm.) Included in Hulda Guzmán: They come from water (May 24-July 5, 2023) at Alexander Berggruen, New York, NY. Copyright the artist. Courtesy of the artist; Alexander Berggruen, NY; and Stephen Friedman Gallery, London. Photo: Dario Lasagni

Read by Terry Casburn Production and Sound Design by Kevin Seaman

Alice Wong lives in San Francisco. Her book, Year of the Tiger, came out in September of 2022. Alice reads a letter that she wishes was sent to her when she was younger. Alice recorded her reading using a text-to-speech app.

Welcome back, spooky kids! In this end-of-the-year episode, Ren Wednesday and Adam Whybray are talking about a suitably wintery ghost story - Moondial by Helen Cresswell. Impressionistic, atmospheric and philosophical, Moondial is a book rich in language and ideas, and in this episode your co-hosts have a tussle with conceptions of time and ghosthood, as well as sharing a rare unanimous Texture of the Week. The transcript is available here: https://stillscared.podigee.io/50-moondial-book

Synopsis La Valse -- one of the most popular orchestral works of Maurice Ravel -- was performed for the first time this day in 1920 by the Lamoureux Orchestra in Paris, conducted by Camille Chevillard. Ravel's score was subtitled a "choreographic poem for orchestra in the tempo of the Viennese waltz." La Valse is a far more Impressionistic work than any of the waltzes by the Strauss Family. It is certainly darker. Ravel himself said, "I had intended this work to be a kind of apotheosis of the Viennese waltz, with which was associated in my imagination an impression of a fantastic and fatal kind of Dervish's dance." La Valse was written for the great ballet impresario Serge Diagalev, who apparently found it undanceable, and his failure to stage La Valse caused a serious rift in his friendship with Ravel. The contemporary composer Judith Lang Zaimont is an unabashed Ravel enthusiast—"Ravel's music defines 'gorgeous,'" says Zaimoint, "it's beguiling to the ear, and sensuous. His textures are built in thin layers, like a Napoleon pastry, and his intricate surfaces—beautifully worked-out—shine and fascinate." Judith Lang Zaimont should know. For many years she taught composition at the University of Minnesota, and her own solo piano, chamber and orchestra works are increasingly finding their way into concert halls and onto compact disc. Music Played in Today's Program Maurice Ravel (1875 -1937) La Valse Boston Symphony; Charles Munch, cond. RCA 6522 Judith Lang Zaimont (b. 1945) Symphony No. 1 Czech Radio Symphony; Leos Svarovsky, conductor. Arabesque 6742

 Trained as an architect, Josephine A. Geiger's glass art is inspired by hidden depths in the landscape. These scenes are distilled into a bold palette of rectangles and squares of colored light as she translates a photo or sketch with an Impressionistic eye, capturing the essence of the subject. Josephine's process is organically linear, adding, shifting, flipping, or removing glass elements until the visual puzzle is finally solved — often in surprising ways.In addition to a steady stream of private commissions (even a chicken coop), Josephine's artwork is represented in various installations and public collections. Josephine also recently created and installed an original skylight on the Frank Lloyd Wright Lovness Estate in Minnesota. Her distinctive style has earned multiple awards and has been featured in both regional and national print publications, as well as TV episodes on TPT's MN Original and INSP's Handcrafted America.Josephine's instagram is @jageigerstudio and website is jageigerstudio.com. For the Cracked Patreon members she is giving away a fused Holiday ornament as well as one of her new 2023 Calendars. The drawing for that is on Dec 18th, 2022 which is 12 days after this episode is released.  Your name is automatically entered into these artist giveaways when you join for as little as $5 per month. Find out more at Patreon.com. From Josephine:PotekGlass – The Twin Cities (Minneapolis/St. Paul area) had BOTH main stained glass supply locations close this year. Malcom Potek had been stepping into the fused glass retailer space the year before, but ended up hiring on the restoration specialist from one closed location and has started stocking stained glass supplies. He is also a fabulous artist and teacher.potekglass.com Favorite artists-Kristen Dieng kristindieng.com@kristinindiengart Karl Unnasch karlunnasch.com FLW book – Growing Up Wright growingupwright.comFletcher ScoreMaster II Glass Cutter – this is Josephine's difficult to find glass cutter https://www.amazon.comCopper re-stripdelphiglass.comMcKesson Adhesive Bandages amazon.comFine Art Studio Online  website hosttry.faso.comFor episodic sponsorship opportunities please email hello@runaglassworks.com. Thank you to this episode's sponsors: The Stained Glass Association of America The Professional Trade Association for Architectural Art GlassSolstice Stained Glass RESTORATION|PRESERVATION|FABRICATION Creating & Restoring Authentic Beauty in the Built EnvironmenCanfield Technologies Canfield sets the standard for the Stained Glass industry. Support the show

Episode 83: Today I sit down with award-winning fine art photographer, Charles Needle, to chat about:How photography helped him recover from a debilitating illnessThe benefits of having a mindful approach to photographyPhotographers who mentored him early in his photography journey and helped him to find his vision and encouraged him to teach photographyPhotography as a subtractive artHow to let the subject speak to youWhy you should consider using a smartphone over a DSLR or mirrorless camera for creative photographyWhat the differences and similarities are between macrophotography, abstract photography, and impressionistic photographyThe key types of contrast that generally work well for impressionistic photographyTechnical and creative tips on using techniques like intentional camera movement (ICM) and multiple exposures (ME) - even with a smartphone!Compositional elements and assets he looks for when creating abstracts and impressionistic imagesCompositional tips for abstract and impressionistic photographyPhotography as a performance artCharles answers your submitted macrophotography questionsAnd much more!LINKS MENTIONED:Website: https://charlesneedlephoto.com/Impressionistic Photography, by Charles NeedleCreative Macro Photography, by Charles NeedleCharles' Gear RecommendationsCharles' free Multiple Exposure Script for PhotoshopFollow Charles on InstagramFollow Charles on FacebookNancy RotenbergFreeman PattersonTopaz Gigapixel AISlow Shutter Cam AppAverage Camera Pro AppThe PlampFull Show Notes***HAVE A QUESTION?Record a Question for Tidbit TuesdayLOVE THE OUTDOOR PHOTOGRAPHY PODCAST?Ways you can support the show:Buy Me a CoffeeLeave a Rating and ReviewSign up for the Outdoor Photography School NewsletterShare the show with others!CONFUSED ABOUT WHERE TO FOCUS?Download my FREE Hyperfocal Distance Made Easy EbookABOUT BRENDA PETRELLA (host)Learn more about meVisit my online portfolioConnect with me on Instagram

This week, Wes and Todd do their annual interview with Artist Topher Straus. Topher talks about what has changed in his world, new gallery representation, changes to his brand and business model, his routine, the new additions to his National Park series, advertising, his book “Aloha Love”, charities, press, snowscapes, the Topher Straus Art Walk and some of his new endeavors.Join us as we catch up and have an enlightening and entertaining conversation with Topher Straus.Check out Topher's work on his website: www.topherstraus.comFollow Topher Straus on social media:On Facebook - www.facebook.com/CreativeTopher/On Instagram - www.instagram.com/creativetopher/@creativetopher

After awhile of hand-wringing about the importance of Wilco's magnum opus, Matt settles in on the deconstructive and experimental bent of Yankee Hotel Foxtrot. (He's also sorely tempted by the 9/11 significance of it all, but stay tuned for more on that!) Bonny Light Horseman's updated folk standards go toe-to-toe with Ben Howard's moody and destabilizing landscapes in this battle of deeply felt and Impressionistic albums.

This week, Wes and Todd check in with their friend, Artist Topher Straus. They talk about what's been going on since last year during the pandemic, his evolving style, Grand Teton National Park, Hawaii, gallery relationships and their importance, commissions, dealing with rejection, charitable work, wineries, art fairs, marketing, collectors and he shares with us a powerful story. We finish up with another special visit with Topher's son, Oliver, and what's been going on with his artistic endeavors.Join us for a fun and informational conversation with Topher and Oliver Straus.Check out Topher's work on his website:www.topherstraus.comFollow Topher Straus on social media:On Facebook - www.facebook.com/CreativeTopher/On Instagram - www.instagram.com/creativetopher/@creativetopherWant to check out and support some of the charitable organizations that Topher is involved with?BGOLDN - www.bgoldn.orgWings of Hope - www.wingsofhopepcr.orgDenver Center for the Performing Arts - www.denvercenter.org/education/for-educators/?_for_educators=in-school-programsIf you're interested in the Call for Entry for Denver International Airport, go to this link for more info. Deadline 9/7/21https://artist.callforentry.org/festivals_unique_info.php?ID=9271

Did the Hawks put us out of our misery? Did the Knicks have no bullets left? Por que no los dos?

This week on Animation Kimmunication: KP and Lauren are excited to welcome special guest Brian Hull to the show, and go over what it's like being not only a voice actor, but also an impressionist! Introduction by Scribbler Intro Theme by Thomas Collins Edited by Overload Twitter: Brian Hull - https://twitter.com/BrianHullsVoice

One of the most singularly talented pianists of all time, Franz Liszt (1811—1886) dominated the musical world of the 19th century. An unrivaled virtuoso who also composed his own music, Liszt laid the bedrock for the Late Romantic and Impressionistic schools that would follow after him. To this day he is considered a musical genius who ranks alongside his contemporaries Chopin and Schumann as one of history’s most influential musicians. Now in the fifth decade of an illustrious international career, Misha Dichter has performed with virtually all of the world's great orchestras. His critically-praised classical recordings display a passionate and nuanced interpretation of Brahms, Liszt, Gershwin, Beethoven, Stravinsky, Tchaikovsky, Schumann, Schubert, and other master composers and has received the "Grand Prix International du Disque Liszt" for his recording of Liszt's piano transcriptions. He joins us on Culture Insight to share his insight into the life and work of Franz Liszt.

The Genius of What Isn't ThereJune 1, 2020 http://goodies.wizardacademypress.com/MMM20200601-GeniusOfWhatIsntThere.mp3 (Listen) https://www.mondaymorningmemo.com/heineken-beagle/ (A) Three friends, who have never met each other, all sent me the same advice last week. What makes this convergence particularly interesting is that there was no common trigger. Each of the three messages I received was prompted by something different. The essence of those messages? You've got to leave things out. Genius is rarely about what is there. Genius is about what isn't there. David Freeman is a world-famous coach of fictional character construction. His credentials and accomplishments are staggering. David read in my memo of May 18 that, “I am finally writing that screenplay I've been thinking and talking about for 15 years. It's a buddy movie about a guy with 12 friends. I plan to shoot it in New Orleans next year.” So he sent me an email from Hollywood. “If you're going to have 12 characters, the traditional wisdom is that 1, 2, 3, 4, and maybe 5 should be far more primary the others. The more characters we're supposed to know and care about, the less emotion the audience feels because we can't get deeply invested in any one character if our attention is split between too many. Characters require screen time for us to get emotionally involved with them. The more major characters, the less screen time for each.” According to David, a screenwriter has to choose which characters get fully realized. The others are effectively left out.Stephen Semple is a lifelong student of the sales process. He studies every aspect of persuasion, from advertising to lead generation to product demonstrations to sales presentations. Stephen wrote to me about how reading the transcripts of his Zoom conferences taught him how people speak differently than they write. “We repeat words, finish other people's sentences, and forget about grammar.” According to Stephen, when highly engaged in an inspired conversation, we leave out much of what we would have written.Tom Grimes is a scholar, a thinker, a philosopher and a friend, and the President Plenipotentiary of the Worldwide Worthless Bastards. Tom owns a booming business, but he is always available to take your phone call or respond to your email. So I asked him what he does all day. Tom replied, “Famous ‘leaders' are often very noisy people… or they were dealing with a crisis. We sometimes think leadership is about dealing with the aftermath when the sh#t hits the fan. We fail to appreciate that the real objective is to never let the sh#t hit the fan in the first place. One time I was at the water treatment facility of a large manufacturing plant. The place was eerily quiet. When I made the observation that it looked like the staff was doing next to nothing, the head operator explained that the secret to running a facility like his was a stringent Preventive Maintenance program. He said that if you see people running around it meant there was a problem. And the objective of the maintenance team was to prevent problems before they became problems. A quiet place was the sign of a well-run operation.” According to Tom, the secret of being a great leader is to leave out the emergencies.When asked the secret of writing bestselling novels, Elmore Leonard said, “I leave out the parts that people skip.” Impressionistic painters leave out the details, requiring us to supply them from our storehouses of imagination. Talented photographers leave out sections of what they photograph, requiring us to imagine the parts that extend beyond the framelines. When writing ads, if you try to appeal to everyone, you will appeal to no one. You've got to choose who to lose. Indy Beagle has some great examples of this in the rabbit hole. He suggests that you hurry. The rabbit is afoot. The adventure has begun. Roy H. Williams

Some people call this intentional camera movement but Impressionistic fits it so much better! Charles Needle excels in this technique, even bringing photographers over to Monet's garden in France for inspiration. Charles goes step by step how to do some of these very cool techniques – right in your camera! This is the behind the scenes video of our podcast interview. To check out Charles' amazing photos, head on over to https://www.understandphotography.com/?p=14143 We recommend these products. We are an affiliate for Amazon and will receive a small commission if you purchase via our links: Mono gimbal head by Wimberly: https://amzn.to/2RLcMnS Manfrotto Monopod with Auto Locking Leg https://amzn.to/3cp2GRm If you need a strong foundation in photography concepts and how to apply them to YOUR camera, watch our free webinar: https://www.understandphotography.com... ~~~ Show notes are here: https://www.understandphotography.com... The Understand Photography Show is an interview-style podcast about travel, nature, and fine art photography. You are watching the behind-the-scenes interview with video. Host Peggy Farren interviews famous photographers, beginner photographers, specialty photographers, travel gurus, and more on this weekly show. It airs on Fridays on the Understand Photography Facebook page, Youtube, and iTunes. The motto at Understand Photography is "We Simplify the Technical". If you like things explained to you in a simple, step by step manner, you'll love The Understand Photography Show!

Shelley and I paint and sell our Impressionistic art to buyers in  Montmartre by Florian Sirieix from Blam! and then put on post-modern circus performances in  The Magnificent by Eilif Svensson and Kristian A. Ostby from Aporta Games

One of the most singularly talented pianists of all time, Franz Liszt (1811—1886) dominated the musical world of the 19th century. An unrivaled virtuoso who also composed his own music, Liszt laid the bedrock for the Late Romantic and Impressionistic schools that would follow after him. To this day he is considered a musical genius who ranks alongside his contemporaries Chopin and Schumann as one of history’s most influential musicians. Now in the fifth decade of an illustrious international career, Misha Dichter has performed with virtually all of the world's great orchestras. His critically-praised classical recordings display a passionate and nuanced interpretation of Brahms, Liszt, Gershwin, Beethoven, Stravinsky, Tchaikovsky, Schumann, Schubert, and other master composers and has received the "Grand Prix International du Disque Liszt" for his recording of Liszt's piano transcriptions. He joins us on Culture Insight to share his insight into the life and work of Franz Liszt.

Welcome to our brand-new movie podcast! In this episode, Elise Moore and David Fiore ramble on about their respective lives cinematic and present impressionistic lists of their characteristic enthusiasms. Last, but not least, we sketch out the shape of ‘casts to come. Among the topics covered here:  our not being a David Lynch podcast, RCA Videodiscs, Canadians watching New England PBS stations, Xanadu, The Lady in the Lake, reading about movies you fear you’ll never see, The Strawberry Blonde, The Private Lives of Elizabeth and Essex, Bette Davis in general, Stanley Cavell, Ray Carney, Jonathan Rosenbaum, and the great Jerry Lewis. Time Codes: 0h 1m 00s:   Dave and Elise’s Nitrate Nativities 1h 16m 33s: 4 Impressionistic lists 1h 57m 35s: Coming attractions   *Read Elise’s Writing at Bright Wall/Dark Room, Cléo, and Bright Lights.* Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com Theme Music: “What’s Yr Take on Cassavetes?” – Le Tigre

We had a great question in from Charles regarding oil pastels. Charles says: "Good day, Steve and Colin, I know that you have addressed Impressionism and how to achieve it using pastel pencils (thank you!). I have just recently been introduced to oil pastels, and naturally they lend themselves to Impressionistic artwork. My question for you, Colin: Have you ever worked with oil pastels, and if so, do you recommend them? Would you ever consider doing a video using oil pastels? Many thanks for everything, guys." In this episode we share our thoughts on Oil Pastels in comparison to Pastel Pencils and Soft Pastels.

Did you know that the sense of sight has a huge impact on your business? About a quarter of our brains are involved in visual processing. This behavioral economics podcast is all about the sense of sight. I share the surprising truth about what percentage of the body’s sense receptors are in the eyes and why our subconscious is so visual and the impact that has on our businesses. This is the beginning of a series on the five senses – beginning with sight and moving through sound, touch, taste and smell (not necessarily in that order). I am starting with sight because it is the most powerful of our senses by far and the things I am going to share with you in this episode are going to just blow your mind. CLICK HERE FOR YOUR FREE DOWNLOAD! Show Notes [14:48] There is so much more to know thank you think about the sense of sight and how it absolutely impacts your business. [15:23] I'm beginning with sight, because it's the most impactful. About a quarter of our brains are involved with visual processing. [16:05] About 70% of the body's sense receptors are in our eyes. This is why our subconscious is so visual. [17:11] Is vision in your eyes or in your brain? [17:24] The sense of SIGHT takes place in the eyes. It is all the little bits of information coming into them. But Vision? Vision does not actually happen in your eyes. VISION is in your BRAIN and is much more complex than simple sight. [17:56] Vision is actually built on expectations in the brain based on past experience. [18:39] The sense of sight is bringing in a lot of stimuli it can’t actually interact with – light, color, contrast – in a big flood of information all the time. The process of INTERPRETING that information is a task for the brain. [20:30] When we present our product data for our business, people's brains will fill in the gaps and tie things together. [21:47] Inside the retina are photoreceptors – perhaps you have heard of the rods and cones in your eye. They are shaped differently (hence their different names) because they do different things: rods are sensitive to dark versus light and cones are sensitive to color. [22:57] Color Illusions can trick the brain into thinking that it sees a different color. [24:30] FOCUS Our eyes interpret information with the highest resolution in the middle. [26:19] Impressionistic paintings were styled because of diseases in the eye. Monet's early work was full of blues and purples that were absent in later work. Brush strokes became thicker, because he had cataracts. [28:07] Degas developed retinal disease at the age of 36, and he could not be in intense light. [28:38] When we see a Monet or a Degas you still know what the images are. Our brains piece together what they are looking at based on prior experience. [29:33] Our brains are actually conditioned to see and pick out faces. This can either be to see predators, or understand allies. [30:14] Being able to focus forward is what creates our depth perception. This is why optical illusions and a drawing on a flat sheet of paper can look three-dimensional to us. [31:47] Binocular disparity is this state of two eyes pointing in the same direction from slightly different spots (test it by looking at objects through different eyes and watch how they appear to move). [33:03] With 3D images one side is red and the other side is blue (cyan). With 3D glasses, one side takes in each color making things appear three-dimensional. [36:02] Our brains are constantly scanning and interpreting information. We scan the world around us three times every second. [37:02] This is why priming impacts behavior and ads have impact on people even though they say they don't watch them. [37:42] Our brains take things in but don't alert the conscious brain unless there's a reason to. [38:17] Remember vision is in our brains. We have evolved so we can focus on one thing while constantly scanning our environment. [38:45] Saccades are why things like flip books work – our brain weaves together a stream of basically still images and connects the missing pieces. [40:24] When the actor on camera is supposed to be watching something go from one side of the shot to another, they need to actually watch someone (or something) go from one side to the other so the camera doesn’t pick up their eyes darting all over the place. [41:52] Our brains need to deploy selective attention to only flag the conscious brain of what matters. [46:58] What is reality? Do we all live in the same reality? Or is my reality different from yours? [48:20] Miscommunications come up often because we are unwilling to believe that our way is not the only way and that multiple people and perspectives can still be right. [49:18] Our brains can often attach meaning to all sorts of things when they aren’t there. [51:26] Our brain mostly thinks in images and emotions and processes them constantly and basically instantaneously. [52:00] When it comes to your brand and business it is worth investing in great images. DO NOT use clip art or stretch out images to fit a size so that your logo or a person’s face is stretched out. The brain picks up on the discrepancy immediately and assumes you are amateur. [53:39] You can say MORE with a lot LESS if you have a strong and strategic image with a lot less WORDS. [54:58] Basically, everything has too much copy. We need to decide the ONE THING to focus on and then put everything into that effort. [56:51] Our life is a string of memories – including the way we interact with brands. Brands are memories. And because the memory is heavily composed of visuals and emotions – the visuals you choose to use will impact how people think of you, your business, and your brand. [59:26] Be intentional about what people see when you create a video or when they walk into your store or place of business. Thanks for listening. Don’t forget to subscribe on Apple Podcasts or Android. If you like what you heard, please leave a review on iTunes and share what you liked about the show. Links and Resources: Estate Planning Mom on Instagram BizChix on Instagram Britt Joiner on Instagram The Knotted Wood @theBrainyBiz on Facebook Episode 11. Behavioral Economics Foundations: Anchoring and Adjustment The Buying Brain The Science Behind the Dress Colour Illusion Optical Illusions Show How We See | Beau Lotto Seeing the World as it Isn't | Daniel Simons | TEDxUIUC Eye Diseases Changed Great Painters' Vision of Their Work Later in Their Lives How 3D Glasses Work How Does This Work? Stare at the Red Dot and See the Woman in Full Color on the Wall How Do Our Brains Reconstruct the Visual World? Episode 18. Behavioral Economics Foundations: Priming Episode 15: Behavioral Economics Foundations: Availability How Vision Works Prefontaine Selective Attention Test The Invisible Gorilla: How Our Intuitions Deceive Us

We’re so excited to reveal that the 3rd Demonstration picture is “A Bar at the Folies-Bergère” by Édouard Manet! Listen to us discuss the picture and how you too can learn how to draw masterpiece with pastel pencils. Read the transcription and see the picture here: https://goo.gl/JNggf9

A lifetime in the making, All Happy Families is Jeanne McCulloch’s entry into the other side of the literary process. As a former managing editor of the Paris Review and an editor at Tin House, she’s nurtured the early careers of an all-star roster of writers including David Foster Wallace, Ann Patchett, Jeffrey Eugenides, among others. Now she is ready to share her clear-eyed account of her struggle to find her own voice and finally tell her own story. Impressionistic, lyrical, at turns both witty and poignant, All Happy Families is an unforgettable look at a world where all that glitters on the surface is not gold, and each unhappy family is ultimately unhappy in its own unique way. McCulloch is in conversation Laurie Winer, founding editor of the L.A. Review of Books.

Matt Smith is an outdoor painter whose style may best be described as Impressionistic Naturalism. His lyrical brush work and impressionistic portrayal of light and shadow are informed by his love of the great outdoors. Matt earned a BFA from Arizona State University. Disillusioned with their focus on abstract painting and modern art, Matt turned his attention to instructors who embodied representational art that spoke to Matt's heart and vision. That's when his real education in painting began in earnest. His love of the outdoors naturally led to his embrace of plein air painting. His skills as an outdoor painter eventually led to him becoming a signature member of the Plein Air Painters of America group, and he is currently serving as PAPA's president. In this art lesson from Matt Smith, you will hear: Why Matt is reluctant to call himself an artist The value of painting outdoors How a photograph is a useful tool to a painter, but beware photography's limitations Mastering the fundamentals Laws vs. rules of painting Why an artist should ask if the subject is even worthy of painting Matt's new online video course What’s in Matt’s outdoor painting tool box Matt Smith's website: https://mattsmithstudio.com Matt Smith's online course Understanding Natural Light: http://www.tucsonartacademyonline.com/matt-smith-artist-instructional-video 2019 Master Workshop (Plein Air Painters of America): http://p-a-p-a.com/page/11071/2019-master-workshop-scottsdale-artists-school-scottsdale-az The Artful Painter website: https://theartfulpainter.com  

PseudoesthesiaThis is a song about accepting loss. Not an ordinary kind of loss, but a loss that a significant portion of yourself has become entangled with. A kind of pseudoesthesia, if you will; the pain of a loss of a part of yourself.Pseudoesthesia is "An illusion of feeling in a limb that has been amputated. It is also called 'phantom pain.'" (source: [PsychologyDictionary.org]). This is a psychological and clinical term for phantom pain; sometimes when you lose a limb, you still have the sensation that the limb is there, and sometimes, you even feel pain in the area as if it were coming from the place that limb used to be. Certain psychological events cause a kind spiritual limb loss.I chose the title to describe a spiritual equivalence. The psyche experiences death from time to time. This is necessary. It attaches itself to things and people. Sometimes, those things fail us on a fundamental level. At times, we have fully identified with the connection that has now failed us. When that happens, we have to let pieces of ourselves die. The truth is, you can't actually let that piece of you go; the only thing you can really do is suppress it, and ignore it until it falls silent. It is a death of self, and the sensation of death certainly does accompany it. Over time, we resurrect and return to the living, ready to form new connections to people and things, but we never forget that sense of death.Some Notes on This PieceThis piece begins and ends in c# minor, which I consider to be the darkest key. Spiritual pseudoesthesia immerses the self into a darkness - a terrible nothingness. The piece is slow and stoic about itself. It undergoes a development section, and there is some polyphonic emergence against the primary theme, and then piece returns to c# minor, and ends on a double octave with an embedded fifth scale degree in the higher octave, which gives the piece a hollow emptiness at the end.Stylistically, this piece is quite impressionistic with some blues influence.

PseudoesthesiaThis is a song about accepting loss. Not an ordinary kind of loss, but a loss that a significant portion of yourself has become entangled with. A kind of pseudoesthesia, if you will; the pain of a loss of a part of yourself.Pseudoesthesia is "An illusion of feeling in a limb that has been amputated. It is also called 'phantom pain.'" (source: [PsychologyDictionary.org]). This is a psychological and clinical term for phantom pain; sometimes when you lose a limb, you still have the sensation that the limb is there, and sometimes, you even feel pain in the area as if it were coming from the place that limb used to be. Certain psychological events cause a kind spiritual limb loss.I chose the title to describe a spiritual equivalence. The psyche experiences death from time to time. This is necessary. It attaches itself to things and people. Sometimes, those things fail us on a fundamental level. At times, we have fully identified with the connection that has now failed us. When that happens, we have to let pieces of ourselves die. The truth is, you can't actually let that piece of you go; the only thing you can really do is suppress it, and ignore it until it falls silent. It is a death of self, and the sensation of death certainly does accompany it. Over time, we resurrect and return to the living, ready to form new connections to people and things, but we never forget that sense of death.Some Notes on This PieceThis piece begins and ends in c# minor, which I consider to be the darkest key. Spiritual pseudoesthesia immerses the self into a darkness - a terrible nothingness. The piece is slow and stoic about itself. It undergoes a development section, and there is some polyphonic emergence against the primary theme, and then piece returns to c# minor, and ends on a double octave with an embedded fifth scale degree in the higher octave, which gives the piece a hollow emptiness at the end.Stylistically, this piece is quite impressionistic with some blues influence.

Stan Mabry is an art seller by day and jiu-jitsu fighter by night. After dealing privately in New York and a stint at Sotheby's, Stanford Mabry founded the Nashville, Tennessee gallery in 1987 and has since established Stanford Fine Art as the premier purveyor of historical, Impressionistic and regional art in the Southeast. Works formerly in the collection of Stanford Fine Art have been acquired by various art museums around the world from as far away as the Musee American in Giverny, France, to as close as our local Tennessee State Museum. Stan's clients know him as an art gallery owner. But what they don't know is that once the gallery closes for the day, he's something entirely different — seven-time Brazilian jiu-jitsu world champion Stan “The Man” Mabry. On any given night, Stan can be found at Brentwood Jiu-Jitsu, a small training facility. Though in his sixties, Stan shows no signs of slowing down now both in his business or his physical combat. Show Highlights: If it's truly important to you, you'll do the things it takes to get the job done. You'll find a way to do it. -Stan MabryTo excel at anything, you have to put the work in. -Stan MabryI write down my goals each night for the next day…It prepares your mind for it to become a reality. -Stan MabryYou can't be so locked in to a way that you aren't open to a new vision. -Stan MabryVictory is reserved for those willing to pay its price. -Sun TzuYour daily actions must match your goals. -Stan Mabry Stan's closing thoughts–You might be the one on the podium, but a team got you there. Seek out mentors and their wisdom. Zero in on your energy pie. The Action Catalyst is a weekly podcast hosted by Dan Moore, President of Southwestern Advantage, the oldest direct-sales company in America, and Partner with Southwestern Consulting. With more than 45 years in sales leadership and marketing management, Dan has a wealth of knowledge to share on how to make better use of time to achieve life, sales, and other business goals. Each week, he interviews some of the nation's top thought leaders and experts, sharing meaningful tips and advice. Subscribe on iTunes and please leave a rating and review!

Everyday Monet A Giverny-Inspired Gardening and Lifestyle Guide to Living Your Best Impressionist LifeBy Aileen Bordman Suzy Chase: Welcome to Cookery by the Book podcast, with me, Suzy Chase.Aileen: Hi. This is Aileen Bordman, and I'm the author of the new book Everyday Monet.Suzy Chase: Describe the beginning of your journey at 23 when your mother sent you an envelope.Aileen: Ah. Well, you know, I had entered graduate school, and I was sitting in my apartment and received this envelope, which is your typical kind of envelope that comes, at the time, that was sent for email, not email, but for airmail from England and France and the like. I opened it up just as if it was any other correspondence of the time. I actually had been dating a man from England and was receiving many of the same similar configuration, and then realized this one was from my mother.Aileen: I opened up this envelope quickly, and then quickly stopped opening it quickly because I realized that she had placed a beautiful sprig of, at the time of course, fresh lavender in the envelope. I immediately could smell the gorgeous scent, and thought, "Oh, this is just so lovely."Aileen: It took me a few moments to realize, or to take it in, that this wasn't just any sprig of lavender. That this was a sprig of lavender that came from Monet's garden at Giverny, a place where my mother was now residing. A place where she and a number of other Americans were busy trying to restore what had fallen into ruin for many, many, many, many decades.Aileen: I was so overwhelmed by the significance of it at the moment. I'm not the most sentimental person in the world, and I am proud of myself, because I maintained this envelope and this sprig of lavender to this day, and happily I got to take a little photograph of it and place it into Everyday Monet as a sort of representation of history, and a spanning of the decades, and the beauty of Giverny and also stewardship of preserving. That's really what I'm trying to do is help ... I'm one of the people. I'm just one of the people who's out there trying to preserve the legacy and the beauty that Monet created for all of us.Suzy Chase: And your mother is one of the Americans responsible for the renaissance of Monet's home and garden, too.Aileen: Well, she is the most significant in the duo, that's for sure. My mother has been the American representative at Monet's garden at Giverny since 1980. She has resided there every spring since then. She's at Giverny right now, in her 38th year. The garden will celebrate its 40th year obviously in two years, but this is the 30th year that Giverny has been opened to the public since it was restored.Aileen: In the early days, she actually slept in Monet's home before she had her own accommodations. I'm happy and very proud to say, and this is the first time I've said it in an interview, that we received very special news. Meryl Streep had nominated my mother to receive the highest cultural award from the French government. It's the Chevalier des Arts et Lettres. It's the subset of the French Legion of Honor in terms of cultural aspects, and we just got notification that my mother has been awarded this tremendous honor, that's special.Aileen: It's just, she's been very quiet about what she's done all these years. I'm the one who's out there now singing her praises. She's done this under the radar, and done it simply as a journey of love and devotion also to the beauty that Monet created at his home and gardens in Giverny. I'm happy to see that she's getting some of the recognition I think she didn't want, but she so deserves.Suzy Chase: So, Claude Monet, a founding father of the French Impressionist movement, but a little known fact is that his family wanted him to be a greengrocer in the family business. Isn't that interesting?Aileen: It's very interesting. And it says a lot about one always following one's own heart and one's own inclinations. Another little known fact is that Monet started out as a caricature artist. He did caricatures of, whether it was people on the street, or the local baker, or the president, prime minister of France Clemenceau, he would do these little caricatures. That started the process of art for Claude Monet.Aileen: His family obviously over the years became more supportive of his endeavor, because after all there are very few artists that in their own lifetime have success. The word "starving artist" is the norm. Unlike many of his cohort, Monet was successful. I'm sure, of course, this led to a lot of pride with respect to his family, and I'm sure they forgot quickly that they wanted him to be in the grocery business.Suzy Chase: He had a lifelong obsession with color. Talk a little bit about Monet's palette.Aileen: I will, and again, wow, what a great question, because Monet's palette was a departure from the other palettes, P-A-L-E-T-T-E, in the world. One of the things that happened at the time of Monet was a development in the field of artwork, and that was that they, you used to always have to mix your pigments and create your paints, and all the sudden there were tubes of paints. All of the colors were now being sold whereby you could purchase them, and Monet did also purchase these in tubes.Aileen: It allowed for two things. One, it allowed for the real burgeoning of the Impressionist movement. Being able to get out en plein air, which means in the outside air, under the sun, in the sunlight, with your palette and your paintbrush and your canvas, and get out there and do a landscape. Paint a water lily. All of the wonderful things that Monet did. But it also allowed for the mixing of colors to be much more accessible and easily done in the moment.Aileen: Monet took considerable advantage of this. One thing in particular about Monet's palette, painter's palette, is that he never, ever used black. He always created the feeling and the shadows, because of course Impressionist painting is all about the light and the beauty of the light, and how color resonates based on how the light is hitting it. So, Monet never had black on his palette. I don't think a lot of people know that. And that he created the sense of the shadow, the sense of lack of color, lack of color of the palette, with the use of the shadows and the light on the canvas.Suzy Chase: And then it's been said that late in life he had cataracts, and he painted colors by memory. Is that correct?Aileen: He had horrible cataracts. Obviously he was spending a lot of time outdoors and there weren't sunglasses at that time. He had two significant surgeries to help restore his light, his eyesight. In fact, a lot of his later paintings that may look a little bit more Impressionistic may not be due so much to Impressionism, but Monet's eyesight deteriorating as much as it did.Aileen: At the end of the day he was able to find, friends brought him eyeglasses that actually contained these lenses by the very prestigious and amazing lens maker Zeiss, Z-E-I-S-S, out of Germany, and that in his later years helped restore Monet's ability, at least for the last two years of his life, to see.Aileen: What you mentioned about memory is not something that I'm particularly familiar with. I've not ... I would not say that's correct, but I have heard it, and there are many urban legends about Monet.Suzy Chase: I bet.Aileen: There's a wonderful urban legend about him winning the lottery. That he won the lottery and that this afforded him the ability to purchase the property at Giverny, but just like his cataracts, another urban legend.Suzy Chase: One of my favorite Monet's is his first wife Camille in a traditional Japanese kimono. It demonstrates his passion for Japanese style. The Water Lilies series is the most iconic series of works, which he cultivated and was very influenced by Japanese art. Did he also have a passion for Japanese cuisine?Aileen: It's interesting. Cuisine in particular I would say he wasn't familiar with. He never did get to visit Japan, although there were many Japanese visitors that came to Giverny and still do because of Monet's passion for Japaneseism, which was not unique only to Monet. There were many of the Impressionist artists, and at the time they were collecting the wonderful Japanese woodcut prints, but in particular he didn't get to enjoy Japanese cuisine.Aileen: Having said that, and knowing a little bit about Monet's palate, the P-A-L-A-T-E part of palate, he would have loved Japanese cuisine, the freshness and the preparation, and of course how it is displayed on, plated, for lack of the better word of saying it. How they artistically plate their dishes. It would have been something that would have appealed to his sensibilities very much. And of course he loved fresh fish, without question, and was interested in spicy foods.Aileen: I have no doubt, in fact, I include in my book Everyday Monet, a little take on a steak sandwich, and I created a dressing, and I used wasabi in the dressing, because Monet loved spicy foods, and this is my way of introducing, or bridging, his love of Japanese culture and art and integrating it with his own tastes and sensibilities with food.Suzy Chase: All throughout the book you have neat little Everyday Monet ideas, like line your kitchen walls with copper pots, bowls and pans. Monet had quite an affinity for copper. Talk a little bit about that.Aileen: They're not just utilitarian, they're gorgeous. They're stunning. And the way he had them displayed in the kitchen, and the way ... even if you cannot afford a full range of 20 copper pans, perhaps, as Monet had in his home, even a very small little copper dish or a small little copper pan in your kitchen or anywhere in your home can connect you to Monet's love of copper.Aileen: Also copper, getting back to Monet's art and his love of and appreciation of how light plays off of different items and plays off of landscape, copper has such a beautiful way of reflecting light. In Monet's kitchen, in the early morning, the way the light dances off of the copper pans that are hanging across from the windows, Suzy, it's beautiful. What can I say?Suzy Chase: Didn't he acquire Giverny because of the light?Aileen: It is said, and it's true, that Monet and the other Impressionists first saw the light going to Normandy, taking the train from Paris. Clearly, at the time, Monet was successful and could have lived in Paris, could have lived anywhere. But there was something about Normandy, the mists, and the light that was so attractive to him. It wasn't just that it was where he was born, it was something that was really, really special to Monet.Aileen: He found the property, and it was an old cider press that he, over time, developed and renovated and put additions on, and created the water garden, and really created this magnificent oasis that we get 8,000 people a day now during the months that the garden is open visiting, because it's a place of wonder. It's a place of magic, and it's really a place to make a pilgrimage. It's not just any other place in the world.Suzy Chase: Monet was very interested in the layout, equipment and design of his kitchen, which happens to be your favorite place in the home.Aileen: Yes.Suzy Chase: Please describe the kitchen.Aileen: The kitchen is not very large. It's a country farm layout. There are two very, very large windows which allow significant light to come in. There's a large iron stove. There's a lovely kitchen table. There are orchids in the kitchen, which Monet would always have and we, to this day, make sure that there are orchids. There are the copper pans, and there are tiles that lined the walls and often visitors mistake these tiles as being from Holland, and they're not.Aileen: They're actually from Rouen. They're French tiles, blue and white tiles. They're so beautiful. Rouen is about 40 minutes north of Giverny, and it's where Monet did the wonderful series of the cathedral at different times of day and in different light. So, these beautiful tiles line the walls, and it's just, it's welcoming, it's beautiful.Aileen: It's got just ... the color. There's a blue in areas where there's paint required. There's a blue that I have actually identified in the book if somebody wants to paint their kitchen blue, all they need to do is drop the color swatch, or bring the book to their local paint shop and they can match it up and have that same sort of dreamy, eggshell blue that Monet had in his kitchen.Suzy Chase: Now in this gorgeous kitchen, Monet did not like to cook. Talk a little bit about Marguerite, his chef.Aileen: Yes. Well, Marguerite was with Monet almost from the get-go, when he moved with the family to Giverny, and she was a dedicated ... she became part of the family. She was a dedicated chef for Monet, and the family, and helped with all of the entertaining. He had many quirks in terms of his eating habits which I discuss in Everyday Monet.Aileen: Every day she would go to, because in Monet's time, as we're trying to do today, they wanted to eat what was fresh and what was seasonal. We're all trying to do that more and more, and thankfully that's the case, to eat locally and eat fresh. They would both, together, Monet and Marguerite, just go up the road to where Monet had planted a kitchen garden, a potager. This is where he had all of his vegetables and herbs.Aileen: Some of them were seeds that Monet brought to Giverny, and had never been planted before in Normandy. I'll give you an example. Zucchini, which he had enjoyed in Provence while he was painting there, didn't exist in Normandy. Monet had never had them before, and he collected the seeds and he brought them back to Normandy.Aileen: Giverny is Zone 8 for those that are interested in zones, when planting flowers and the like, and Zone 8 was conducive to having the zucchini grow as well. So Monet, besides being the father of Impressionism, can be credited for bringing many flowers and vegetables to Giverny, to Normandy, that had never grown there before.Aileen: Getting back to Monet and Marguerite, every day that Monet was at Giverny, because of course he traveled a lot to paint, when he was at home, he would visit the kitchen garden with Marguerite, and they would plan the menu with her suggestions and with his suggestions based on what was fresh that day in the kitchen garden. Marguerite remained at the house after Monet passed, but she couldn't live there for much longer, she was just so sad. Eventually she left. But it was a wonderful relationship, friendship, and she really, really became part of the family.Suzy Chase: What were a few of his food quirks?Aileen: Monet's food quirks were many. And that's okay. Look, you know, he wanted what he wanted in terms of many things in life.Suzy Chase: He was an artist.Aileen: He's a good artist, yes. And you know, he was a Renaissance Man. His quirks were he had to have ... Something so silly, like how well his asparagus were cooked. They used to have to watch over the pot to make sure that they didn't go limp. He would send them back from the table if the asparagus weren't properly cooked. Of course, he loved pepper, and he actually had his own little dish of pepper. Instead of the pepper mill or the pepper and salt at the table, there would be that for everybody he was entertaining. But then, in addition to that, Monet would have to have his own little dish of pepper.Aileen: It was not unusual, Suzy, for Monet to all the sudden be entertaining people at lunch, at a beautiful lunch with many courses, and the wine was flowing, and champagne, and there were going to be desserts, for him to all the sudden stand up and literally run out of the dining room. He did so because all the sudden he saw the light change upon the table, and he knew that the light had changed in the garden, and there was something he wanted to capture on a canvas that he had left. So, he would literally leave.Suzy Chase: Oh, my goodness.Aileen: Yeah. All these guests, that some of them had made a long voyage to be received by Monet, for him to go out and paint. But hey, you know, when you're Monet, and-Suzy Chase: You can do it.Aileen: ... you're the father of Impressionism, people got it. They understood.Suzy Chase: It's funny that you brought up the pepper, because a cookbook author friend of mine, Judith Fertig, who knew I was going to talk to you said, "You have to ask about the ground pepper he put on his salad."Suzy Chase: I was like, "Judith, what are you talking about?"Suzy Chase: She said, "Just ask."Suzy Chase: So, that's so interesting that you bring up the pepper.Aileen: Absolutely. I mean, it was like coated with the black pepper. And he grew, in his kitchen garden peppers, many of the spicy, hot peppers, chili peppers that we are aware of. Again, that's not necessarily French Norman cooking.Suzy Chase: No. I made your recipe for green garden potato salad on page 87.Aileen: Oh, lovely.Suzy Chase: Talk about Monet's love for hearty meals that included potatoes.Aileen: Hearty meals were not unusual at Monet's time. That was really sort of how people ate. He loved the root vegetables, all kinds of potatoes were grown, and of course his love of the root vegetables and his love of potatoes inspired my wanting to do the potato salad.Aileen: I wanted to do something that if you took it to a picnic, you wouldn't have to worry if it was laden with mayonnaise. On top of that, I utilized many of the fresh herbs that Monet grew in his kitchen garden. So, I think coupling these fresh herbs with these beautiful, hearty potatoes that Monet would have loved in a dish that's as friendly on your dining room table as it would be on your picnic blanket was very, very much the way to be everyday Monet.Suzy Chase: Definitely. It was so fresh.Aileen: Ah, yeah. That's the premise, and that's what I was going for, and I'm so glad that you enjoyed it.Suzy Chase: Where can we find you on the web and social media?Aileen: I would love for people to learn more about Everyday Monet, his lifestyle, and I always post additional pictures to what we're talking about on any given day at monetspalate.com, W-W-W-dot-M-O-N-E-T-S-P-A-L-A-T-E-dot com. I also have a very wonderful, engaging Facebook page that I think your listeners would love to visit. Every day we bring something new to the table, to the palate, to the canvas. As we say in Everyday Monet, we try to bring the aesthetic of Monet's beauty and the world at Giverny into your home.Suzy Chase: Even if you can't live with a Monet painting in your home or travel to France, you can experience it through the pages in this beautiful, beautiful book. Thanks, Aileen, for coming on Cookery by the Book podcast.Aileen: Suzy, thank you so much, and as we say in the world of Everyday Monet, a toast to Giverny and a toast to Claude Monet.Suzy Chase: Subscribe in Apple Podcasts, and while you're there, please take a moment to rate and review Cookery by the Book. You can also follow me on Instagram at CookerybytheBook. Twitter is IamSuzyChase, and download your Kitchen Mix Tapes, music to cook by, on Spotify at CookerybytheBook. Thanks for listening.

Listen in as Eric Rhoads interviews accomplished Impressionistic plein air painter Kevin Macpherson about his international travels and more.

“I think we make better art because we're really truthful with each other, and we can tell each other exactly how we feel something is being read or how it gets taken.” The post Project Management: An Impressionistic Art Form – Ghost of a Dream appeared first on Clark Hulings Fund.

Casey Baugh is a New York based painter. His work can be described as narrative impressionistic realism.  Specializing in oil paint and charcoal, he began painting at the age of 13 and began selling professionally at age 17.  When he was only 21 years old, Baugh began showing in galleries and after four years of studying with artist Richard Schmid, he had his first solo show at age 25.  He has made several television appearances and has been featured on the covers of many publications, including The Artist's Magazine, American Artist's Magazine, and American Art Collector. Baugh's art has evolved over time to become more narrative.  Though still maintaining figures as his prime subject matter, he is telling more stories, and his series and exhibits are becoming more thematic.  On a constant quest to push new boundaries, he is persistent in experimenting with his inspirations and artistic translations, pursuing more complicated compositions and achieving grander shows.  Experience with electrical engineering as well as video and movie-making has attributed greatly in his use of props, set building, lighting, and translates to the overall harmony of his visual layouts. In this episode we talk about... His relationship with his mentor, realist artist, Richard Schmid and how that relationship has impacted his career. Thinking outside the box and not sticking to traditional educational formulas. Being fearless and freely exploring uncharted territories. The importance of coming up with tangible ideas before you put a paintbrush to a canvas. Balancing artistic freedom and financial stability. Working with what you have even if you don't have the right tools. www.artistdecoded.com www.instagram.com/artistdecoded www.twitter.com/yoshinostudios

Impressionistic painters, the perception of time, nails, and running as fast as a car.

In episode 100 we invite a special guest on the show. We discuss “the early years”, contemporary art, manifesting impressionism and lots more.

Solo once again, but not a shortage of stuff to talk about. I start off by ranting about bigfoot, flying squid and cool scientific advancements. I delve a little bit into some mental aspects and the competition aspects of bass fishing. I somehow tied the 19th century impressionistic art movement to Bass Squad, and totally forgot to do advertising so I save it for the end. Hope you enjoy! -TG

John begins his gospel, his prologue, with some big, broad brushstrokes in which he is setting the scene for all that follows. He is laying down some opening colours and images which he will build upon and develop as he provides more and more of the picture. In the gospel of John we are, bit by bit, layer by layer, given a picture of who Jesus is and why we should believe.

Episode 11: Impressionistic & The Twentieth Century. Full video episode of Introduction to the Humanities, a university course produced by Distance Education at Utah Valley University in the USA.

Maestro 008: feat. Impressionistic Piano Works, Part 1 1. Anthony Goldstone "The Bumble Bee" (mp3) from "A Night at the Opera - Liszt, Gluck, Chopin, et al." (Divine Art) Buy at iTunes Music Store Buy at Rhapsody Buy at Napster Buy at appliedSB / Groupietunes Buy at Puretracks Buy at mTraks More On This Album "Flight of the Bumblebee" is an orchestral interlude written by Nikolai Rimsky-Korsakov for his opera The Tale of Tsar Saltan, composed in 1899–1900. The piece closes Act III, Tableau 1, right after the magic Swan-Bird gives Prince Gvidon Saltanovich (the Tsar's son) instructions on how to change into an insect so that he can fly away to visit his father (who does not know that he is alive). Although in the opera the Swan-Bird sings during the first part of the "Flight", her vocal line is melodically uninvolved and easily omitted; this feature, combined with the fact that the number decisively closes the scene, made easy extraction as an orchestral concert piece possible. Nicolas Rimsky-Korsakov was a Russian composer, and a member of the group of composers known as "The Five." Noted particularly for a predilection for folk and fairy-tale subjects as well as his extraordinary skill in orchestration, his best known orchestral compositions—Capriccio espagnol, Russian Easter Festival Overture, and the symphonic suite Scheherazade—are considered staples of the classical music repertoire, along with suites and excerpts from some of his 15 operas. 2. Marzia Ragazzoni, Fabiana Ragazzoni "Dalle Sei Burlesken, Op. 58 per pianoforte a quattro mani" (mp3) from "Cuore Ragione Ironia" (Materiali Sonori) Buy at iTunes Music Store Stream from Rhapsody More On This Album Max Reger was a German composer, conductor, pianist, organist, and teacher. During a composing life of little more than 25 years, Reger produced an enormous output in all genres, nearly always in abstract forms, although few of his compositions are well known today. Many of his works are fugues or in variation form, including what is probably his best known orchestral work, the Variations and Fugue on a Theme by Mozart (based on the opening theme of Wolfgang Amadeus Mozart's Piano Sonata, K. 331). He also wrote a large amount of music for organ, including the Fantasy and Fugue on BACH (this piece, based on the BACH motif, is considered one of the most difficult and demanding in organ literature). He was particularly attracted to the fugal form his entire life, once remarking: "Other people write fugues - I live inside them". He composed music in virtually every genre—opera being a notable exception.

Beginners. Art is all around us. There are many forms of art, such as paintings, sketches, sculpture, architecture, ceramics, stained glass windows, and even wood burning. Art is a personal thing, also. If somebody loves to grow flowers, their work in the garden could be considered art. Life without art would be very dull and quite strange. Think about never seeing pictures or photos in buildings. No statues, no water fountains, no interesting details. And what about fashion? You could say that fashion, hair styles, make-up etc are forms of art because they are personal tastes to do with color and shape. Music is a huge subject that is related to art. It makes you think, doesn't it? When someone is very good at being creative in some way, people say that he is "an artist". My recent visit to a bakery made me realize that baked goods can also be works of art. Let me know how art is important to you, my listeners. Drop me a comment or an E-mail, and I will share your thoughts in a future episode. Grammar notes. Could be considered: His language could be considered rude. His interview went well; he could be considered for the job. Art vocabulary: paint, paint brush, shade, form, style, arts and crafts, exhibition, genre. Advanced. The other day, I found myself gazing at a painting, and enjoying the contact that my eyes were making with the work. Nothing more. Something about the arrangement of the colors and their differing tones, pleased a part of my brain, and had me not wanting to look away. That's how it is with art. In the deep recesses of our grey matter, just left of the hypocampus, is the art appreciation gland, better known as artemilikus. Every time a person is in contact with art that appeals to him or her, it is stimulated. Well, okay, I just made that one up. But, my point is, we humans can get transfixed by any kind of art without understanding why it is so satisfying and important. The picture on this post is the kind of art that I love. Impressionistic? Perhaps. Modern? Maybe. Well, I'm sure many influences have flowed into the mind of the artist, Majka Sadel, but the end result is that it just is. So, hmm, what do you think? Is it a river reflecting in the water? A busy street on a rainy day? It could be. Though its title is 'Cityscape', it could be, and conjure up, anything for any person. Grammar notes. Useful vocabulary: Arrangement, differing, recesses, appreciation, gland, impressionistic, influence, to be in contact. Verbs: to gaze (reg.), to make (make, made, made), to flow (reg.), to conjure (up) (reg.).