Podcasts about Japonisme

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

When Japan opened its borders for trade and travel in the 1850s, the goods that hit markets across Europe and America sparked an international craze known as “Japonisme.” On this episode we explore the history, legacy, and a new exhibition on this era with Rachel Keith, Deputy Director for Audience Engagement & Curatorial Affairs at Philbrook Museum of Art.  

In der Folge 319 von Rolling Sushi geht es um „Japonisme“, warum der Anime-Industrie die Arbeitskräfte weglaufen, Ärzte-Mangel auf dem Land, die wackelnde Macht der LDP, die Beziehung zu Südkorea, gut gemeinte Werbekampange in der Kritik und weitere interessante News.

Bill Perthes, the Bernard C. Watson Director of Adult Education for the Barnes Foundation discussed founder Albert Barnes and his foundation's history and mission as they celebrate their 120 Anniversary.   This summer, the Barnes Foundation and Mural Arts Philadelphia present Visions, an exhibition of original work created by artists from Mural Arts Philadelphia's Guild program and artists at State Correctional Institution Phoenix (SCI Phoenix), southeast Pennsylvania's maximum-security prison for men. The Guild is a paid apprenticeship program that gives justice-impacted young people the opportunity to develop marketable job skills, reconnect with their community, and explore the transformative power of art.    The Barnes and Mural Arts launched their collaborative restorative justice initiative in 2018 with art education classes led by Barnes educators and printmaking workshops held at Philadelphia studios. Workshops have taken place at the print studio at the Pennsylvania Academy of the Fine Arts (PAFA) and, for the past several years, Second State Press.  The program engages individuals who are incarcerated or on parole, probation, home detainment, or work release, and those with open criminal cases, by providing opportunities to reconnect with society in productive ways through community engagement, skill-building, and collaborative mural projects. Free with general admission to the Barnes, Visions will be on view in the first-floor classroom of the Collection Gallery now through August 26, 2024. We also discussed the current exhibit, Matisse & Renoir in a New Light.  The exhibit is supported by classes and workshops at the Barnes and online to allow an international audience.  Visit July and August classes.     Additional classes include Impressionism and Japonisme, Art & Literature of the Harlem Renaissance and Bill's own Close-Looking Immersion: William Glackens's The Raft. For more information about the Barnes Foundation, visit BarnesFoundation.org.   

In this episode of the Books on Asia podcast, host Amy Chavez talks with author and translator Frederik L. Schodt, who has written/translated many books on Japan including The Osamu Tezuka Story, Manga, Manga!: The The World of Japanese Comics, The Astro Boy Essays, and My Heart Sutra: The World in 260 Characters (read our review).But the two books we're going to talk about today are his historical non-fiction books Professor Risley and the Imperial Japanese Troupe: How an American Acrobat Introduced Circus to Japan and Japan to the West, and Native American in the Land of the Shogun: Ranald MacDonald and the Opening of Japan. Both books, published by our sponsor Stone Bridge Press, are accounts of American men who pioneered US-Japan relations. Schodt talks about "Professor" Risley, an early acrobat of the mid-nineteenth century who starts his own circus that he takes to Japan. His trademark move involved juggling his two small sons with his feet. See an example of what is now known as the Risley Act in this video we found on Youtube:https://youtu.be/VkFIkXXyDVc?si=zXfmUyeW9QBrwM_oRisley later starts a Japanese circus that he takes touring around the world. The other book we discuss is Schodt's biography of Native American Ranald MacDonald, who makes his way to Japan during the Edo period and ends up not just teaching English but having a hand in negotiations with Commodore Perry and the opening of Japan.About the AuthorFrederik L. Schodt is a writer, translator, and conference interpreter based in the San Francisco Bay area. He has written widely on Japanese history, popular culture, and technology. His writings on manga, and his translations of them, helped trigger the current popularity of Japanese comics in the English-speaking world. He was awarded the Special Category of the Asahi Shimbun's prestigious Osamu Tezuka Culture Award, and in 2009, he was awarded the Order of the Rising Sun, Gold Rays with Rosette, for his work helping to promote Japan's popular culture overseas.You can find him at his Website, on Twitter(X) @fschodt  and on Facebook.The Books on Asia Podcast is sponsored by Stone Bridge Press. Check out their books on Japan at the publisher's website. Amy Chavez, podcast host, is author of Amy's Guide to Best Behavior in Japan and The Widow, the Priest, and the Octopus Hunter: Discovering a Lost Way of Life on a Secluded Japanese Island.Subscribe to the Books on Asia podcast.

Emma and Christy use Eugène Grasset's lithograph Morphinomaniac (1897) as a starting point to talk about artistic depictions of morphine and historical opioid addiction, as well as decadence and degeneration in fin-de-siècle Parisian society. In this episode, we cover vampires, hypodermic syringes, Orientalism and Japonisme, 'dangerous' women, masturbation, pleasure, and sex work, true crime waxworks, and gendered consumption — of women, goods, and drugs. CLICK HERE TO VIEW THE IMAGES WE DISCUSS, as well as complete show notes, references, and suggestions for further reading. MEDIA DISCUSSED Eugène Grasset, Morphinomaniac (1897) Photographs of a ‘hysterical' woman yawning at the Salpetrière from Nouvelle Iconographie de la Salpêtrière (c. 1888-1918) Eugène Grasset, Inquiétude (1897) Aubrey Beardsley, cover illustrations for The Yellow Book, An Illustrated Quarterly (1894) Henri de Toulouse-Lautrec, Divan Japonais poster (1892-93) Bernini, detail from Rape of Proserpina (1621-22) Edvard Munch, Vampire II (Vampyr II) (1895) Walter Sickert, Reclining Nude (Le lit de cuivre) (c. 1906) Examples of Parisian wax work: Death of Marat at the Musée Grévin (photograph taken 1959) Albert Joseph Pénot, La Femme Chauve-Souris ('The Bat-Woman') (c. 1890) Luis Ricardo Falero, Vision of Faust (1878) Eugène Grasset, Vitrioleuse (The Acid Thrower) (1894) Katsushika Hokusai, The Waterfall Where Yoshitsune Washed His Horse at Yoshino in Yamato Province(c. 1832) Jules Cheret, Vin Mariani (c. 1896-1900) Jean Bernard Restout, Morpheus (Sleep) (c. 1771) Pablo Picasso, Waiting (Margot) (1901) Pablo Picasso, Morphinomanes (1900) Paul-Albert Besnard, Morphine Addicts (Morphinomanes) (1887) CREDITS This season of ‘Drawing Blood' was funded in part by the Association for Art History. Follow our Twitter @drawingblood_ ‘Drawing Blood' cover art © Emma Merkling All audio and content © Emma Merkling and Christy Slobogin Intro music: ‘There Will Be Blood' by Kim Petras, © BunHead Records 2019. We're still trying to get hold of permissions for this song - Kim Petras text us back!!

“Du bol !”À travers les collections asiatiques du musée des Arts décoratifsau MAD, musée des Arts Décoratifs, Paris, du 7 juin au 9 juillet 2023Interview de Béatrice Quette, conservatrice, collections asiatiques et extra-occidentales, et commissaire de l'exposition,par Anne-Frédérique Fer,à Paris, le 6 juin 2023, durée 21'31,© FranceFineArt.https://francefineart.com/2023/06/10/3451_du-bol_musee-des-arts-decoratifs/Communiqué de presseCommissaire :Béatrice Quette,, conservatrice, collections asiatiques et extra-occidentalesassistée de Marie Oulès, assistante de conservation, bourse de la Fondation du JaponLe musée des Arts décoratifs présente du 7 juin au 9 juillet 2023 l'exposition « Du Bol ! À travers les collections du musée des Arts décoratifs », à l'occasion de la 6e édition du Printemps Asiatique. Plus de 150 bols issus des fonds asiatiques du musée, dialoguent avec les accessoires indispensables qui les accompagnent, soit près de 250 oeuvres du XIIIe au XXIe siècle. Dans le cadre de ce projet, une « unité de tokonoma », alcôve démontable d'un pavillon de thé de la maison Yamasho (Kyôto) est exceptionnellement exposée.Le musée des Arts décoratifs de Paris conserve l'une des plus importantes collections d'arts décoratifs au monde, présentant dans un parcours chronologique, les collections du Moyen Âge jusqu'aux périodes contemporaines. Les collections asiatiques y occupent une place particulière : du développement des échanges commerciaux le long des routes dites de la soie du XIIIe au XVIIIe siècle, à la Chinoiserie au XVIIIe siècle, puis au Japonisme survenu à la suite de l'ouverture du Japon dans la seconde moitié du XIXe siècle, les objets asiatiques symbolisent le luxe, fascinent par leur exotisme, offrent modèles et matières à création. Au XIXe siècle, les musées d'arts appliqués, au premier rang desquels le musée des Arts décoratifs, enrichissent leurs fonds de ces objets extra-européens pour constituer des répertoires de formes, de motifs et de savoir-faire qui renouvellent les sources d'inspiration des artistes, créateurs et industriels.Forme archétypale de la table en Asie, le bol est dédié à plusieurs usages, mais aussi intimement lié à une pratique particulière. Il ne se limite pas à l'usage du thé, il permet de présenter et de consommer les aliments ou les boissons alcoolisées, il peut également contenir les offrandes sur les autels ou les aumônes. De petit format ou muni d'un pied plus haut, le bol devient coupe, muni d'une anse, il devient tasse lorsqu'il est exporté vers l'Europe. La richesse des collections anciennes et contemporaines du musée offre une large déclinaison de formes, de formats et de décors réalisés dans différentes matières telles que le grès, la porcelaine, l'agate, le métal, le bois laqué, les émaux cloisonnés ou peints, le verre.Les bols anciens et les signatures contemporaines telles que la maison Shang Xia, la maison Kaikado, le coréen Min-Soo Lee, Jean Girel, et bien d'autres sont complétés par les indispensables accessoires qui accompagnent leur utilisation : théières, verseuses, pots à poudre ou à feuilles de thé, pots à eau, mais aussi plats à condiments et mets, ou bouilloire.#dubol L'Album aux Éditions des Arts DécoratifsAuteures, Béatrice Quette, conservatrice, collections asiatiques et extra-occidentales, et Marie Oulès, assistante de conservation, bourse de la Fondation du Japon Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Associate Professor Chelsea Foxwell from the Department of Art History talks about how being a museum docent as a kid and her first encounter with an art historian inspired her to study Japanese art history. Her early interest in creative writing translates to her work in the field of art history and becoming an author. She further shares advice for those interested in studying the art of foreign cultures and gives us a sneak preview of an exhibition she's organizing.

In the autumn of year 1280, Kublai Khan, the only non-Han to rule China convened a meeting at his summer palace in Shangdu, Inner Mongolia. He wanted to mount and attack on Japan, and eventually did so in 1281. Seven hundred years later, Japan was fighting another war it was losing quickly - World War II. What could possibly connect these two wars fought in completely different eras? And what does that have to do with cherry blossom trees and a cocktail you can find all around the world? This week, we travel to Japan, and uncover the story of Cherry Blossom Trees, and how they shaped European Impressionism and Japanese Nationalism. Till then Check out the other episodes of "Ireland Untravelled" Lost Treasures, Dynamite and the Irish Nation : https://ivm.today/3okwxm5Gaelic and the stunning decline of the Irish Language : https://ivm.today/3zmhE9iTrinity Long Room and the Soul of the Irish Nation : https://ivm.today/3PnZkSEU2, Body Snatching and the Irish Way of Death : https://ivm.today/3IQ6fl3Bombay, Paris and the improbable victory for LGBTQ+ rights in Ireland : https://ivm.today/3AJLa9BIrish roads that go nowhere, Houses no one lives in : https://ivm.today/3PGG95XTitanic, Mosul and the Global shame of Western Museums : https://ivm.today/3R9uBceThree Irish Women, Emigration and India's National Anthem : https://ivm.today/3KfZdqz You can check previous episodes of 'Podcasts from Nowhere' on IVM Podcasts websitehttps://ivm.today/3xuayw9You can reach out to our host Utsav on Instagram: @whywetravel42(https://www.instagram.com/whywetravel42)You can listen to this show and other awesome shows on the IVM Podcasts app on Android: https://ivm.today/android or iOS: https://ivm.today/ios, or any other podcast app.See omnystudio.com/listener for privacy information.

Les stéréotypes sont des images, préfabriquées, potentiellement inexactes, et surtout tenaces dans l'imaginaire collectif. Et justement !! L'art produit de telles images. Il les illustre... Il les met en scène... Notre histoire et nos musées en sont remplis. Alors partons à la découverte de ces stéréotypes sur "l'ailleurs", cet endroit lointain, fantasmagorique et effrayant. Tâchons d'en déconstruire les biais pour, éventuellement, recommencer à apprécier les œuvres. Certaines images sont indéniablement irrespectueuses envers "l'autre". Mais d'autre sont plus subtiles... Elles mettent en scène des imaginaires distillé de connotations positives, et pourtant profondément inexactes et européanocentrées. A travers quelques exemples, penchons-nous sur les stéréotypes dans l'art de l'ailleurs. Featuring. Le livre des Merveilles de Marco Polo, l'invitation au voyage de Baudelaire, Aladdin, le colonialisme et l'esclavage, la théorie des races, Eugène Delacroix, Jean-Dominique Ingres, Edward Saïd, Balthazar, Saint Maurice d'Augaune, Jan Mostaert, les portraits de familles négrières, -M- (Matthieu Chedid) *** Retrouvez Art Talks Coffret! Dans des coffrets assemblés à la main, numérotés et signés, retrouvez un livre d'art, le podcast, et dix œuvres satyriques, en lien avec les séries d'Art Talks. Ils sont tirés en 100 exemplaires seulement, et c'est un magnifique objet d'art à offrir, ou simplement pour compléter la découverte du podcast. Rendez-vous sur : https://www.art-talks.fr Retrouvez les œuvres du podcast et suivez Art Talks sur Instagram @art.talks.podcast

Les métissages culturels sont partout : dans notre langue, dans notre nourriture, dans notre pensée, et... dans nos arts ! Car l'art de l'ailleurs ne s'est pas toujours bâti dans l'altérité. Bien souvent, les peuples lointains ont su faire infuser leur culture, imperceptiblement, par petites touches, sans qu'il n'y soit nécessairement question de pouvoir et de domination (quoique...). Le "miracle grec", cette civilisation lumineuse sortie du néant, vous connaissez? Une jolie fable... À travers les influences égyptiennes, arabes, portugaises, italiennes, chinoises, tâchons de sortir du schéma ethnocentré de l'histoire de l'art occidentale ! Partons à la découverte de ces œuvres qui ont fait la synthèse entre des cultures éloignées, et qui racontent des chapitres de l'histoire humaine, loin des stéréotypes de l'époque moderne. Featuring. La civilisation égyptienne, le greco-bouddhisme, le style hispano-mauresque, l'Alhambra de Grenade, le damasquinage, Leyli et Majnun, la Renaissance italienne, les Salières Edo, le Quai Branly, les ivoires afro-portugais, les chinoiseries... *** Retrouvez Art Talks Coffret! Dans des coffrets assemblés à la main, numérotés et signés, retrouvez un livre d'art, le podcast, et dix œuvres satyriques, en lien avec les séries d'Art Talks. Ils sont tirés en 100 exemplaires seulement, et c'est un magnifique objet d'art à offrir, ou simplement pour compléter la découverte du podcast. Rendez-vous sur : https://www.art-talks.fr Retrouvez les œuvres du podcast et suivez Art Talks sur Instagram @art.talks.podcast

"L'ailleurs" c'est ce qui n'est pas "ici".... C'est là où vivent les "autres". Et cela a toujours fasciné les artistes ! Comment représenter ces peuples lointains, là où se mêle fantasme, peur et curiosité ? De l'Antiquité à nos jours, cette question passionne. Alors, sur fond d'humanisme, de post-colonialisme, et d'inventaire d'un passé souvent trop ethnocentré, découvrons ces œuvres qui façonnent nos imaginaires. Dans l'altérité, il y a de la poésie et du rêve... des métissages parfois ! Mais l'art de l'ailleurs est aussi le fruit de notre histoire, et celle-ci est complexe. On ne peut plus le regarder naïvement : dans l'altérité, se cache aussi bien des stéréotypes. Mais ne jetons pas le bébé avec l'eau du bain. Featuring. Les paravents Namban, Man Ray et sa célèbre "Blanche et Noire", la Madone Algérienne, Pascal Convert, Baudelaire, les chapiteaux d'église romane, quelques post-colonial studies... *** Retrouvez Art Talks Coffret! Dans des coffrets assemblés à la main, numérotés et signés, retrouvez un livre d'art, le podcast, et dix œuvres satyriques, en lien avec les séries d'Art Talks. Ils sont tirés en 100 exemplaires seulement, et c'est un magnifique objet d'art à offrir, ou simplement pour compléter la découverte du podcast. Rendez-vous sur : https://www.art-talks.fr Retrouvez les œuvres du podcast et suivez Art Talks sur Instagram @art.talks.podcast

History is an important facet of mokuhanga. It goes without saying that whatever we learn as printmakers comes from somewhere else. It's up to us as to whether we embrace it or push it away. In this episode of The Unfinished Print I look to the past, at artist Walter J Phillips, who's prints I have been a fan of long before I took up the art form myself. As a British Canadian, Phillips used Canada as his muse, it's ruggedness, power, and humanity to make his woodblock prints. Phillips was a bit of a Renaissance man, with his hand in many aspects of society and art in Winnipeg, Manitoba, from 1913-1940; and then teaching in Banff, Alberta, Canada. He was a water colourist, made etches, also tried his hand at oils but it's his woodblock prints which have always been the most powerful of his artistic forays. Joining me on this episode is curator Sophie Lavoie, of The Muse/Douglas Family Art Centre, a museum and gallery located in Kenora, Ontario. Sophie curated the popular Phillips Interpreted show which ran from July 16th - September 11th, 2021. She also guest curated the amazing McMichael Gallery show, Walter J Phillips: At The Lake which ran from February 15th - October 12th, 2020. Her knowledge about the life and times of Walter J. Phillips is what makes this episode special for me. Please follow The Unfinished Print and my own print work on Instagram @popular_wheatprints, Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Walter J Phillips - here are various hyperlinks for information about Phillips. A great historical website dedicated to Phillips can be found, here. Phillips technique and method can be found, here. This is a modern website dedicated to Phillips, here. Sophie Lavoie - The Muse/Lake Of The Woods/Douglas Family Arts Centre info can be found, here. The McMichael Gallery info can be found, here. etching - also called intaglio printmaking which uses chemicals on a metal plate , copper or zinc. The Tate Modern has a good definition, here. Cyril Barraud (1877-1965) - was a British/Canadian artist who focused on etching. Roberts Gallery has a fine bio of him, here. Winnipeg, Manitoba - Phillips spent a lot of time in Winnipeg, before moving out West to Banff in 1941 and then Victoria, British Columbia in 1948. For the history of Winnipeg, more info can be found here. Studio International Magazine - founded in 1863 and lasted until 1964 was based in London, England. The International Studio was the American version from 1897-1921. Pavilion Gallery Museum - based in Assiniboine Park in Winnipeg the Pavillion focuses on artists from the province of Manitoba and contains many of Phillips' works. Website, here. brayer - is an artists tool used to spread ink or pigment onto a surface. It looks like a small roller but with a handle. The Technique of the Colour Wood Cut (1926) - was a book published by Brown-Robertson & Co, which is Phillips describing his process of making woodblock prints. It can be found in its entirety, here. Winnipeg Tribune - was a newspaper servicing the city of Winnipeg from 1890-1980. Archives of Manitoba - is an online repository of the history of the province of Manitoba. More information can be found, here. Glenbow Museum  - is a museum located in Calgary, Alberta, Canada. Their collection is made up of Canadian artists with some international artists.  More info, here. Early 20th Century wood cuts - Sophie brings up in our interview the renaissance of early 20th wood cuts in New York. With the little bit of research of this subject it seems that many artists during the Great Depression found wood cut as an inexpensive way of creating. During this time was the Regionalist  Movement where farms, industry and labour in New York were being documented through the wood cut. The woodcut revival of the early 20th century in the US and Canada also, according to one source, was connected to the Art Deco movement, as well as German Expressionism. Not to mention the popularity of Hiroshige and of Japonisme of late 19th Century Europe. The sources for my definition can be found, here, and here. Please reach out to me if you have access to more information, as I find this fascinating. Urushibara Yoshijirō - (1888-1953) was a Japanese carver and printmaker who lived in London, England from 1910-1940. He had arrived during the Anglo-Japanese Exhibition of 1910 and stayed until the Pacific War when he moved back to Japan. As a carver and printmaker he collaborated with many artists in England especially Frank Brangwyn (1867-1956). It has been said that Urushibara was a great influence on Phillips and his career as a woodblock printmaker from 1925. More information can be found, here, and here. hosho - is a type of mulberry paper either hand made or machine made for many uses but especially for mokuhanga. torinoko - a printmaking paper made of gampi as the main ingredient although there are different types of torinoko. A more detailed description can be found, here. McMichael Gallery - located in Kleinburg, Ontario just outside of Toronto it houses the largest collection of The Group Of Seven artists. The Go7 were a collective of artists who painted the Canadian landscape, getting away from the European traditions. More info can be found here about their history. The Great Depression - was a world economic downturn from 1929-1939. Beginning with the stock market crash of 1929 it affected people of most walks of life. More information can be found here.  Winnipeg Art Gallery Qaumajuq - is an art gallery located in Winnipeg, Manitoba. It's contains Canadian and international artists as well as a large amount of Inuit Art. More information can be found here. The Banff School - where Phillips taught from 1940 is now called the Banff Centre for Arts and Creativity. More info, here. Whyte Museum of the Canadian Rockies - established by artists Peter and Catherine Whyte, located in Banff, Alberta.  More info, here. Truth and Beauty in the Canadian Rockies: An Explorer's Guide   to the Art of Walter J. Phillips - is a book by Lisa Christiansen about Phillips and his travels throughout Canadian Rockies. Find the book, here. Canadian Pacific Railway - is a railway system founded in Canada in 1881 and has routes throughout southern Canada and the northern States of the US. The National Gallery of Canada - established in 1880 in Ottawa, Ontario. The gallery contains Canadian and international pieces of art of all mediums. More info, here. Art Gallery of Greater Victoria - the largest public collection in British Columbia, and founded in 1951. More info, here. Orientalism and The Arts and Crafts Movement - Sophie speaks a bit on the idea of Orientalism in art and how it influenced artists in the arts and crafts movement of Walter J. Phillips. This is a very large topic to cover and can't really be done here. Briefly, Orientalism in art history, has roots in how Western artists of the 19th Century saw and represented Western Asian peoples in romantic and “mysterious” ways. It wasn't until Edward Said (1935-2003) wrote his Orientalism in 1978 which critiques the concept of Orientalism as a racist and hegemonic, and an ultimately inaccurate and romantic, representation of the East. John P. Crabb Gallery - located in Annisiboine Park is a gallery dedicated to Walter J. Phillips and the collection of Philips' work acquired by Crabb himself. More info, here. opening and closing credit background music:  Sepalot - More Flute from Selected Archive (1996-2002) (2021) © Popular Wheat Productions 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 :) if you find any issue with something in the show notes please let me know. The opinions expressed in The Unfinished Print podcast are not necessarily those of Andre Zadorozny and of Popular Wheat Productions.          

One of the most interesting and intriguing mokuhanga printmakers working in the medium today, is Kevin Frances. Kevin lives in New York City and uses the everyday life of his space to make his prints. Combining sculpture, and photography in his mokuhanga Kevin Frances uses these different mediums to create some of the most compelling and fascinating woodblock prints I have ever seen. His attention to detail is amazing. In this episode of The Unfinished Print, we delve into Kevin's mokuhanga, how he creates his projects, via tools and pigments, his philosophical approach and all with a sense of humour. Please follow The Unfinished Print and my own print work on Instagram @popular_wheatprints, Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: notes may contain a hyperlink. Simply click on the highlighted word or phrase. Any and all of Kevin's works mentioned in this episode can be found on his website. Kevin's interview and studio tour with the New Leaf Gallery can be found here.  Stella Ebner - printmaker and Associate Professor of Art and Design at SUNY, Purchase, NY Richard Serra - celebrated sculptor and artist from San Francisco. Serra uses steel, lead, stone, and other materials for his massive installations and sculptures. MDF - medium density fiberboard, used by artists for all types of art from oil painting to models. Arnold Berleant - is a scholar and academic focusing on philosophy, music, and the environment. He discusses many subject through the lens of aesthetics. George Adam's Gallery - located in New York City, the George Adams Gallery provides a platform for new and emerging contemporary artists. You can read the galleries interview with Kevin Frances, for his 2020 show Superpositions, here.  2001 A Space Odyssey (1968) - is a science fiction film directed by Stanley Kubrick (1928-1999). Talas - is a conservation, archival, and bookbinding supply store based in Brooklyn, NY. Guerra Paint & Pigment - is an art supply store based in NYC with a wide assortment of pigments from powder to dispersions. Used by many mokuhanga printmakers. Daniel Heyman - is a painter and printmaker currently working as an assistant professor at the Rhode Island School of Design. Some of his most recent work can be found, here.  murasaki baren - is a specific style of baren unique to mokuhanga. It is generally cheaper than other baren. According to David Bull's Encyclopedia of Woodblock Printmaking, this baren shouldn't be used for fine and delicate work. But, if it's all you have, then you'll make it work. If you're in the US, then McClains carries this baren, here. Yoonmi Nam - is an artist and mokuhanga printmaker originally from Seoul, South Korea. Her work is delicate and powerful. Richard Steiner - is an American printmaker who has made Kyōto, Japan his home for over forty years. Richard has been interviewed for The Unfinished Print, here. A huge proponent of the yuki baren, a ball bearing baren invented by printmaker Rei Yuki (1928-2003) this particular baren is a fine example of the ball bearing baren style. A video of Richard using the yuki baren can be found here.  Awagami Factory - a Japanese paper manufacturer popular with mokuhanga artists. Based in Tokushima, Shikoku, Japan. kentō - in mokuhanga one uses kentō, an “L” shaped corner cut and another flat cut to the right/center of the block. It, in essence, allows the paper to align with your carving, especially with multi block colour prints. But as Kevin described in his interview, there are various other ways to get proper registration, such as the positive and negative bolts, or a floating kentō, which is a piece of wood with your cut registration marks but used in conjunction with your block. These registration marks aren't carved directly into your block. Kamisaka Sekka - (1866-1942) was a painter and woodblock printmaker. He was influenced and was a part of the Rinpa school of painting, focusing on nature, animals, and people which he worked into his woodblock prints. Some of his prints can be found, here. His travels, subsidized by the Japanese government of the time, made him look at the European attraction to Japanese arts and culture, later called Japonisme. Japonisme is a French term describing the influence of things Japanese to Europe in the 19th Century. Japanese art, architecture, and culture influenced Vincent Van Gogh (1853-1890), and Edgar Degas (1834-1917) to name but a few.  More can be found in Japonisme and The Rise of The Modern Art Movement (2013) by Gregory Irvine. Bushwick Community Darkroom - is a community film processing space in Bushwick, Brooklyn , NYC. Hiroshi Yoshida (1876-1950) and his family made many famous prints which didn't contain a “traditional” key block, the black “outline” block associated with ukiyo-e woodblock prints. As mentioned in his Japanese Woodblock Print-Making (1939). Yoshida describes the process of not using a key block, here, briefly. Not using a key block adds to the photographic feeling of the print itself, see printmaker Lynita Shimizu's work here, for an example. Matt Brown - is an American mokuhanga artist who has been interviewed on the Unfinished Print, here. He is a brilliant philosopher of mokuhanga, its concepts, its ideals. His work can be found here. He is also associated with the New Leaf Gallery.  opening and closing credit background music:  “Roadrunner” by The Modern Lovers, from their self-titled album, The Modern Lovers, 1976. © Popular Wheat Productions 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 :) if you find any issue with something in the show notes please let me know. The opinions expressed in The Unfinished Print podcast are not necessarily those of Andre Zadorozny and of Popular Wheat Productions.    

Erin Duncan O'Neill (Assistant Professor, University of Oklahoma) speaks with Elizabeth Emery (Professor, Montclair State University) about Emery's recent book, Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France, 1853-1914 (Bloomsbury, 2020). Women figured prominently among the leading collectors and purveyors of Asian art in mid-nineteenth-century France, but scholars no longer recognize their influence. In her latest book, Reframing Japonisme,Elizabeth Emery asks us to consider their disappearance in light of the gendered dynamics at play in practices of artistic production and circulation of that period.  She presents a trove of materials--art objects, literary accounts, and fragmentary records scattered among diverse archives—to bring renewed attention to women's contributions to the French discover of Japanese art and its celebration in museums, social settings, and the global art market. In this conversation, Emery and Duncan O'Neill discuss two women at the heart of her story: an avid collector, Clémence d'Ennery, and the premier importer of Asian art with a shop on the rue de Rivoli, Louse Desoye. Emery documents their art education, commercial exchanges, and intellectual legacies alongside cogent analysis of the legal, economic, and literary forces that have conspired to obscure their contributions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Erin Duncan O'Neill (Assistant Professor, University of Oklahoma) speaks with Elizabeth Emery (Professor, Montclair State University) about Emery's recent book, Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France, 1853-1914 (Bloomsbury, 2020). Women figured prominently among the leading collectors and purveyors of Asian art in mid-nineteenth-century France, but scholars no longer recognize their influence. In her latest book, Reframing Japonisme,Elizabeth Emery asks us to consider their disappearance in light of the gendered dynamics at play in practices of artistic production and circulation of that period.  She presents a trove of materials--art objects, literary accounts, and fragmentary records scattered among diverse archives—to bring renewed attention to women's contributions to the French discover of Japanese art and its celebration in museums, social settings, and the global art market. In this conversation, Emery and Duncan O'Neill discuss two women at the heart of her story: an avid collector, Clémence d'Ennery, and the premier importer of Asian art with a shop on the rue de Rivoli, Louse Desoye. Emery documents their art education, commercial exchanges, and intellectual legacies alongside cogent analysis of the legal, economic, and literary forces that have conspired to obscure their contributions. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Erin Duncan O'Neill (Assistant Professor, University of Oklahoma) speaks with Elizabeth Emery (Professor, Montclair State University) about Emery's recent book, Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France, 1853-1914 (Bloomsbury, 2020). Women figured prominently among the leading collectors and purveyors of Asian art in mid-nineteenth-century France, but scholars no longer recognize their influence. In her latest book, Reframing Japonisme,Elizabeth Emery asks us to consider their disappearance in light of the gendered dynamics at play in practices of artistic production and circulation of that period.  She presents a trove of materials--art objects, literary accounts, and fragmentary records scattered among diverse archives—to bring renewed attention to women's contributions to the French discover of Japanese art and its celebration in museums, social settings, and the global art market. In this conversation, Emery and Duncan O'Neill discuss two women at the heart of her story: an avid collector, Clémence d'Ennery, and the premier importer of Asian art with a shop on the rue de Rivoli, Louse Desoye. Emery documents their art education, commercial exchanges, and intellectual legacies alongside cogent analysis of the legal, economic, and literary forces that have conspired to obscure their contributions. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies

Erin Duncan O'Neill (Assistant Professor, University of Oklahoma) speaks with Elizabeth Emery (Professor, Montclair State University) about Emery's recent book, Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France, 1853-1914 (Bloomsbury, 2020). Women figured prominently among the leading collectors and purveyors of Asian art in mid-nineteenth-century France, but scholars no longer recognize their influence. In her latest book, Reframing Japonisme,Elizabeth Emery asks us to consider their disappearance in light of the gendered dynamics at play in practices of artistic production and circulation of that period.  She presents a trove of materials--art objects, literary accounts, and fragmentary records scattered among diverse archives—to bring renewed attention to women's contributions to the French discover of Japanese art and its celebration in museums, social settings, and the global art market. In this conversation, Emery and Duncan O'Neill discuss two women at the heart of her story: an avid collector, Clémence d'Ennery, and the premier importer of Asian art with a shop on the rue de Rivoli, Louse Desoye. Emery documents their art education, commercial exchanges, and intellectual legacies alongside cogent analysis of the legal, economic, and literary forces that have conspired to obscure their contributions. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Erin Duncan O'Neill (Assistant Professor, University of Oklahoma) speaks with Elizabeth Emery (Professor, Montclair State University) about Emery's recent book, Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France, 1853-1914 (Bloomsbury, 2020). Women figured prominently among the leading collectors and purveyors of Asian art in mid-nineteenth-century France, but scholars no longer recognize their influence. In her latest book, Reframing Japonisme,Elizabeth Emery asks us to consider their disappearance in light of the gendered dynamics at play in practices of artistic production and circulation of that period.  She presents a trove of materials--art objects, literary accounts, and fragmentary records scattered among diverse archives—to bring renewed attention to women's contributions to the French discover of Japanese art and its celebration in museums, social settings, and the global art market. In this conversation, Emery and Duncan O'Neill discuss two women at the heart of her story: an avid collector, Clémence d'Ennery, and the premier importer of Asian art with a shop on the rue de Rivoli, Louse Desoye. Emery documents their art education, commercial exchanges, and intellectual legacies alongside cogent analysis of the legal, economic, and literary forces that have conspired to obscure their contributions. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Erin Duncan O'Neill (Assistant Professor, University of Oklahoma) speaks with Elizabeth Emery (Professor, Montclair State University) about Emery's recent book, Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France, 1853-1914 (Bloomsbury, 2020). Women figured prominently among the leading collectors and purveyors of Asian art in mid-nineteenth-century France, but scholars no longer recognize their influence. In her latest book, Reframing Japonisme,Elizabeth Emery asks us to consider their disappearance in light of the gendered dynamics at play in practices of artistic production and circulation of that period.  She presents a trove of materials--art objects, literary accounts, and fragmentary records scattered among diverse archives—to bring renewed attention to women's contributions to the French discover of Japanese art and its celebration in museums, social settings, and the global art market. In this conversation, Emery and Duncan O'Neill discuss two women at the heart of her story: an avid collector, Clémence d'Ennery, and the premier importer of Asian art with a shop on the rue de Rivoli, Louse Desoye. Emery documents their art education, commercial exchanges, and intellectual legacies alongside cogent analysis of the legal, economic, and literary forces that have conspired to obscure their contributions. Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/japanese-studies

Erin Duncan O'Neill (Assistant Professor, University of Oklahoma) speaks with Elizabeth Emery (Professor, Montclair State University) about Emery's recent book, Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France, 1853-1914 (Bloomsbury, 2020). Women figured prominently among the leading collectors and purveyors of Asian art in mid-nineteenth-century France, but scholars no longer recognize their influence. In her latest book, Reframing Japonisme,Elizabeth Emery asks us to consider their disappearance in light of the gendered dynamics at play in practices of artistic production and circulation of that period.  She presents a trove of materials--art objects, literary accounts, and fragmentary records scattered among diverse archives—to bring renewed attention to women's contributions to the French discover of Japanese art and its celebration in museums, social settings, and the global art market. In this conversation, Emery and Duncan O'Neill discuss two women at the heart of her story: an avid collector, Clémence d'Ennery, and the premier importer of Asian art with a shop on the rue de Rivoli, Louse Desoye. Emery documents their art education, commercial exchanges, and intellectual legacies alongside cogent analysis of the legal, economic, and literary forces that have conspired to obscure their contributions. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Today I have a delightful chat with British-Japanese author, Erin Niimi Longhurst, who shares her insights into aspects of Japanese culture that bring contentment and good health.Erin is the author of two books I greatly admire. The first, “Japonisme”* explores the Japanese traditions and practices such as wabi-sabi, appreciating the transient nature of life, that contribute to living well. Erin's second book, “Omoiyari, the Japanese art of compassion”, is about finding joy in your own life by brining about happiness in the lives of others. The books are not only beautifully presented with gorgeous illustrations but are really practical too.*Japonisme is a French term to describe the influence of Japanese art, culture and design on European art, especially on impressionism. In relation to Erin’s book, the term Japonisme is used more broadly to refer to an admiration and appreciation of Japanese culture, style and traditions.Enjoy this episode with a cup of green tea!LINKS MENTIONED IN THE EPISODEErin’s website: https://www.erinniimilonghurst.comErin’s social media handle @erinniimiErin’s books: https://www.erinniimilonghurst.comMuji: https://www.muji.com/au/HOW YOU CAN SUPPORT THE PODCASTPlease tell your friends about the podcast and share it with them.Follow me on Instagram @vibrant_lives_podcastFollow my Facebook page: @vibrantlivespodcastIf you could rate and review the podcast on iTunes, that would be super helpful.Purchasing a book from my website is an easy way to support the podcast too. Here is a link to the books page: https://amandaswellbeingpodcast.com/books/Link to the Donate page on my website: https://amandaswellbeingpodcast.com/contribute/

In today's episode, we travel to the Art Institute of Chicago for a long look at this iconic print by Japanese artist, Hokusai. You might remember from the Van Gogh episode that when French artists discovered colorful Japanese woodblock prints like this, it started the enormously popular Japonisme trend and eventually led to Impressionism.  But influence went both ways. In today's episode, we'll find out how a lab accident in Berlin led to Hokusai showcasing this vivid Prussian blue 130 years later. Please visit https://alonglookpodcast.com SHOW NOTES “A Long Look” theme is “Ascension” by Ron Gelinas https://youtu.be/jGEdNSNkZoo Episode theme is “La Mer - 3 - Dialogue du vent et de la mer” composed by Claude Debussy. Performed by the US Air Force Band https://musopen.org/music/14381-la-mer/#recordings Courtesy of musopen.org Artwork information https://www.artic.edu/articles/743/seeing-triple-the-great-wave-by-hokusai Hokusai bio https://www.artic.edu/artists/31492/katsushika-hokusai Ukiyo-e printing info https://www.youtube.com/watch?v=263hot9G8NA https://risingsunprints.com/blogs/introduction-to-ukiyo-e/explained-the-traditional-process-of-japanese-woodblock-printing Prussian blue story https://www.abc.net.au/news/2017-07-21/prussian-blue-hokusai-great-wave-how-a-pigment-changed-the-world/8731732 Post comments or questions at alonglookpodcast.com

Stephanie Dueñas and Russell Shoemaker discuss the Collab of the 80s - the 1880s that is, Van Gogh’s master studies of Japanese printmaker master Utagawa Hiroshige. We try to unpack the difference between influence, appropriation, and just good ol’ fashion theft. We discuss the subtle ways Van Gogh was forever changed into the artist he is known for by the wholly new-to-the-west Japanese Ukiyo-e prints. But do VG’s studies belong in the Art Slice Museum??? Hopefully by the end you’ll agree that Pablo Picasso was a dipshit, and great artists do not, in fact, steal. They instead give credit where credit is due, stay open to the world around them, and process their influences into something unique to them. Our Art Pantry of the week is Negative Space. In this episode, we discuss Hiroshige’s lasting influence on Van Gogh. Topics include: Japonisme, World’s Fairs, Ukiyo-e prints, Kano School of Painting, Japanese Woodblocks, and English Basel’s polymer clay Sailor Moon figurines. If you’re enjoying the show please leave us a positive written review on Apple Podcasts - it’s the best way for our show to reach a larger audience. Sharing the show is great too! Follow us on twitter, tiktok, youtube, and instagram. linktr.ee/artslicepod

Il est rare de pouvoir s'initier à l'art, à la culture et à l'histoire japonaise à Québec. C'est pourtant ce que permet la nouvelle exposition « Inspiration Japon : des impressionnistes aux modernes » présentée du 11 juin 2015 au 27 septembre 2015 au Musée national des Beaux-Arts du Québec (MNBAQ). Mise en place autour de quatre thèmes – Les Femmes, Vie urbaine, Nature et arts décoratifs et Paysages – cette exposition propose un voyage au cœur de plus d'une centaine d'œuvres qui mettent en valeur des grands artistes japonais, américains et européens, témoignant de la naissance d'un courant artistique majeur et d'une ouverture aux échanges internationaux. Ce soir, nous aurons le plaisir de nous entretenir avec Mme Anne Eschapasse, directrice des expositions et de la médiation au MNBAQ, pour en apprendre davantage sur cette rencontre fascinante entre l'Orient et l'Occident entre la fin du XIXe siècle et la fin de la Belle Époque. Première diffusion le 15 juillet 2015

Without the use of paper there would be no mokuhanga. Washi has played an indelible position in the world of the Japanese print. Many artists in mokuhanga use washi for their prints and as The Unfinished Print is a podcast dedicated to the workings of mokuhanga I felt it was necessary to interview an expert in all things washi. Nancy Jacobi has worked tirelessly in promoting the use of washi in her life through her company and store The Japanese Paper Place, here in Toronto. She has lectured on the subject, as well as educated many about the possibilities of washi. In this episode of The Unfinished Print Nancy helps me understand how important washi is to many artists, its history, and how it needs to be saved.  follow The Unfinished Print and my work on Instagram @popular_wheatprints, Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Show Notes: all links are hyperlinked. Just click! The Japanese Paper Place  Echizen washi  Iwami UNESCO paper   Ogawa Hosokawa UNESCO  kozo paper - this video  I found on YouTube is a great mini doc of the intensive paper making process.  Rembrandt (1606-1669) - washiarts.com have written on Rembrandt's use of Japanese paper.  Inuit printmaking - The Inuit are an Arctic group of indigenous peoples located in Canada, Greenland, and the US state of Alaska.  They have a tradition of printmaking beginning in the 1950's, as introduced by administrator John A. Houston (1921-2005),who according to The Canadian Encyclopedia, studied in Japan for a few months under print artist Un'ichi Hiratsuka (1895-1997) Today, there is a rich history of printmaking from the Inuit people.  Mitsumata paper  Timothy Barrett is a printmaker and paper maker from the US who was interviewed on the Paper Talk Podcast   Dutch trade with Japan as found on a multi part website dedicated to the Netherlands/Japan exchange  Japonisme - a great essay found in the MET website   The Ontario College of Art is located in downtown Toronto near the Art Gallery of Ontario. With a long history of artists and art OCAD continues to teach art in Toronto.  The Bookbinders Guild of Toronto  chiyogami paper is a patterned paper for decoration and art   CERB - the Canadian Emergency Response Benefit plan was a monetary response to the current COVID-19 pandemic   Queen St. West is a street in the central part of Toronto, running West to East, with a rich history. In the 1980's when Nancy was first setting up The JPP it was a seedier part of Toronto with a lot of prostitution, drugs, and poverty.   CAMH - The Centre for Addiction and Mental Health is an institution in Toronto for the care of individuals afflicted with various psychiatric issues. It is still located on Queen St. West and has always been a fixture in the area.  With a rich varied history of research and awareness CAMH continues its efforts today.  Toronto artist co-ops have been important to the preservation and cooperation between artists for a long time. Artscape, the Art Gallery of Ontario, and others have been working with artists in Toronto for years.  The Paper Place  Trinity Bellwoods Park is a 16 hectare park located in and around Queen Street and Dundas Streets in Toronto.  It's an important park for many students, artists, hipsters, and bohemians. Once used by the University Of Toronto with the building of Trinity College in the mid 19th century, the college had been demolished in the 1950's much like many architecturally important buildings in Toronto at that time, and currently.  Etobicoke (Ētowbicoe) is a part of the city of Toronto which stretches west towards the city of Mississauga. It was a suburb until Toronto amalgamation in January of 1998. Au Papier Japonais (Montréal) -  I would encourage my American printmaker listeners to seek out Canadian paper shops like the JPP and APJ, as well as Washi Arts in the US, for their paper needs. With shipping being complicated with COVID-19 it may be a better option. The Ontario Arts Council is a grant based organization in the province of Ontario which grants subsidies for artists in visual and theatrical art.  The Japan Foundation is an organization based in Japan but found with art spaces and offices all over the world which spreads the culture of Japan.  Creative World  Brian Kelley - printmaker  Harbourfront is a portion of the lake shore in Toronto from Bathurst St. to Queens Quay. It has become a center for art, sports, theatre and outdoor activities. The arts have predominantly been exhibited at The Harbourfront Centre.  ARTiculations -  a shop in Toronto which conducts many workshops in many art forms.  opening credit background music: Return 0f The Crooklyn Dodgers feat. Chubb Rock, O.C., Jeru The Damaja (1995) © Popular Wheat Productions 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 :)              

Join me for the final part of my two part interview with printmaker Will Francis. What started as a discussion about pigments, used historically and currently in the world of mokuhanga, quickly  morphed into a lively discussion about what it means to be a mokuhanga artist in modern times.  follow me on Instagram @popular_wheatprints, Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Show Notes: all links are hyperlinked. Just click! Will Francis: Patreon and website  cochineal pigment  Hokusai 36 Views of Mount Fuji  Prussian blue pigment    Natalie Stopka has a very good article written on her website regarding indigo pigment.  Shōzaburō Watanabe (1885-1945) - an entrepreneur and publisher who kicked off what would become one of the most significant chapters in mokuhanga history. It was his vision which brought together artists from the yōga and nihonga schools of Japanese art to help make woodblock prints in the ukiyo-e tradition. A fantastic book on the subject is Seven Masters: 20th Century Japanese Woodblock Prints from The Wells Collection. There is a detailed history of the shin-hanga movement and those involved. sepia pigment  ochre pigment - great article of earth pigments from ThoughtCo. Harunobu Suzuki (1725- 1770) One of the original nishiki-e printmakers. His prints would pave the way for many who would make and design prints in design and subject matter.  overprinting - this is a term coined for printing the same spot on a print over and over again to get the desired colour, depth and richness.  Lucy Morrish is Will Francis' partner. She works on illuminated manuscripts and uses vellum for this work. Her work is spectacular. Her website will tell you everything you need to know regarding her process and her works.  shell gold pigment - article is from naturalpigments.com gouache pigment - great article on handprint.com Laura Boswell - printmaker based in the UK and is a teacher of Will Francis. You can find her work here, and her YouTube channel here.  sōsaku hanga - a style of mokuhanga which involves a more free approach to printmaking where one person does the design, carving, and printing in their own. Good article here from Ronin Gallery in NYC.  Hashiguchi Gōyō (1881-1921) - a yōga painter who transitioned to designing a single woodblock print for Watanabe and then designed on his own. His life was cut short at 40 by meningitis. He left a lasting legacy on the Japanese print through the design and construction of his work, especially with the design of images of women.  CMYK printing  Henri Matisse (1864-1954) - French artist who was arguably influenced by Japanese woodblock prints.  While although not officially connected to the Japonisme movement of the later 19th Century because of his age, Matisse did make the occasional woodcut as well as used the flat colouring of ukiyo-e for some of his work especially in his Paris period and his later years with his decoupage.  Shikō Munakata (1903-1975) - eccentric folk woodblock artist who in an almost free-hand manner created some of most fascinating mokuhanga of the 20th century. He also painted oils and in watercolour.  Toyohara Kunichika (1835-1900) - is the greatest artist associated with the woodblock print. His designs, for me, forever altered the way prints have been seen. His use of movement and his use of the five elements, especially for his triptychs, are powerful and electric. The decadence of his work only enhances the visual power of what can be done with the art form.  Tsukioka Yoshitoshi (1839-1892) - one of the most famous woodblock artists Yoshitoshi's powerful, grotesque, and bloody images have inspired tattoo culture in Japan and around the world. While Kunichika stayed within the boundaries of ukiyo-e, Yoshitoshi bent the rules and used a more “modern” perspective in his work which mirrored the chaos of Japan historically at that time.  Hiroshi Yoshida (1876-1950) - an all encompassing artist Hiroshi Yoshida was the person who really personifies the Japanese print of the 20th century. Trained in Western oil painting, he developed an affinity for the woodblock print before meeting with Watanabe in the 1920's. Yoshida would take what Watanabe was doing and would continue it throughout his life, albeit with a different philosophy.  This influence on woodblock printing has been felt well into the 21st century. Yoshida hired carvers and printers for his works, as well as carved on his own. At the time of his death he had produced 250 woodblock prints. His books on the subject are some of the most important books an aspiring or seasoned woodblock artist can own. Mokuhankan published his work on their website for those who are interested.  kuroko - are the shadow men who help kabuki actors and bunraku puppets with their garments and stage direction.  opening credit background music: Born Under A Bad Sign by Albert King (1967) © Popular Wheat Productions 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 :)      

Erin Niimi Longhurst is a British/Japanese author of hugely popular lifestyle book Japonisme. We talk about forest bathing, making broken things whole (kintsugi), and why Nigel's like a sea urchin (uni). Buy Japonisme (https://www.amazon.co.uk/dp/0008286043/?ref=exp_mrnigelng_dp_vv_d) or pre-order her new book, Omoiyari (https://www.amazon.co.uk/dp/0008407622/?ref=exp_mrnigelng_dp_vv_d) (comes out July 9th). Follow Erin on instagram (https://www.instagram.com/erinniimi/) and twitter (https://twitter.com/ErinNiimi) !

Amateur de saké , éclairé ou néophyte total suivez nos guides à l'occasion d'une semaine sous le signe du Japon à Ground Control (dans le cadre de Japonisme 2018). Ryoko Sekiguchi sera avec nous...auteure, poétesse et gourmande elle co-signe « Le Guide du Saké en France » aux éditions Keribus, Barnabé ou Nabé pour ses amis japonais, nous initiera à la dégustation et nous recevons enfin l’une des rares femmes à produire son propre Saké...en France. Elle s'appelle Mariko Leveillé. See acast.com/privacy for privacy and opt-out information.

Amateur de saké , éclairé ou néophyte total suivez nos guides à l'occasion d'une semaine sous le signe du Japon à Ground Control (dans le cadre de Japonisme 2018). Ryoko Sekiguchi sera avec nous...auteure, poétesse et gourmande elle co-signe « Le Guide du Saké en France » aux éditions Keribus, Barnabé ou Nabé pour ses amis japonais, nous initiera à la dégustation et nous recevons enfin l’une des rares femmes à produire son propre Saké...en France. Elle s'appelle Mariko Leveillé.

We get to dip our toes into the Japanese culture today! Our guest, Erin Niimi Longhurst is an author, food blogger, and social media strategist for charities. She's also half-Japanese and half-English, and she was steeped in both cultures as a child. Her new book, Japonisme, explains some of the timeless treasures of the Japanese culture and explains step-by-step how we can incorporate traditional practices into our every day lives. These practices reduce stress and increase overall happiness daily. Her book is sprinkled with Japanese words and their definitions. If you're a word nerd like I am, you'll love to hear some of these concepts explained. We talk about some of them in the podcast. Oh, and if you're a tea lover like I am, you'll definitely want to hear our conversation about traditional Japanese tea ceremony. Special thanks to Erin Niimi Longhurst for taking the time to chat with me despite feeling under the weather. She's definitely a pro

Cette semaine, Alimentaire Mon Cher Watson met le cap sur le pays du soleil levant ! On vous plonge dans les marmites japonaises pour en savoir plus sur ce petit aliment présent depuis des millénaires dans la cuisine nippone : le miso. Historiquement, le miso ne vient pas du Japon, mais de Chine, où il est apparu il y a plus de 2500 ans ! Le mot Miso ( 味噌 ), en revanche est japonais  (en Chine, il se nomme chiang). Au Japon, les premières traces de cet aliment date du 7ème siècle, où il a été introduit par les moines Bouddhistes. Il devint par la suite l'un des aliments principaux des Samurai et sera industrialisé dès le 17ème siècle, devenant un pilier de cette cuisine. Le miso (味噌?) (prononcé « misso » en japonais), comprend en réalité une multitude de variétés. Il s'agit d'une pâte fermentée, à haute teneur en protéines, ayant un goût plus ou moins prononcé, selon la fermentation et relativement salé. Sa couleur varie de chocolat foncé à jaune pâle et sa texture d'une crème fluide à une pâte épaisse. Il est composé de : Une base de graines de légumineuses (fèves de soja, haricots, lentilles ...) Le double de leur poids en riz, orge, épeautre, avoine, ou même soja Du sel marin De l'eau Un ferment : le kōji, La durée de fermentation peut aller de quelques semaines à plusieurs années, selon la variété. L'expert du Jour : Félicie Toczé Notre experte du jour est consultante, auteur et cuisinière qui cuisine le végétale avec gourmandise et créativité, en s'inspirant de ses nombreux voyages. Elle enseigne son savoir-faire au sein de cours collectifs ou individuels, partage sa cuisine dans ses livres, mais également en tant que chef et traiteur à domicile. *Elle est notamment l'auteur du magnifique livre Japonisme. Son parcours singulier a commencé par une sortie d'hypokhâgne et des études de kinésiologie. Mais elle se rend compte que son intérêt se porte principalement sur les notions d'équilibre et d'harmonie et s'oriente alors vers des formations de macrobiotique, shiatsu et yoga. Elle suit notamment une formation au Grand Appétit, au Japon à l'école Lima, en Angleterre à la Macroschool, en Australie dans les Blue Mountains, en Bretagne avec Brigitte Mercier-Fichaux.  

Cette semaine, Alimentaire Mon Cher Watson met le cap sur le pays du soleil levant ! On vous plonge dans les marmites japonaises pour en savoir plus sur ce petit aliment présent depuis des millénaires dans la cuisine nippone : le miso. Historiquement, le miso ne vient pas du Japon, mais de Chine, où il est apparu il y a plus de 2500 ans ! Le mot Miso ( 味噌 ), en revanche est japonais  (en Chine, il se nomme chiang). Au Japon, les premières traces de cet aliment date du 7ème siècle, où il a été introduit par les moines Bouddhistes. Il devint par la suite l'un des aliments principaux des Samurai et sera industrialisé dès le 17ème siècle, devenant un pilier de cette cuisine. Le miso (味噌?) (prononcé « misso » en japonais), comprend en réalité une multitude de variétés. Il s'agit d'une pâte fermentée, à haute teneur en protéines, ayant un goût plus ou moins prononcé, selon la fermentation et relativement salé. Sa couleur varie de chocolat foncé à jaune pâle et sa texture d'une crème fluide à une pâte épaisse. Il est composé de : Une base de graines de légumineuses (fèves de soja, haricots, lentilles ...) Le double de leur poids en riz, orge, épeautre, avoine, ou même soja Du sel marin De l'eau Un ferment : le kōji, La durée de fermentation peut aller de quelques semaines à plusieurs années, selon la variété. L'expert du Jour : Félicie Toczé Notre experte du jour est consultante, auteur et cuisinière qui cuisine le végétale avec gourmandise et créativité, en s'inspirant de ses nombreux voyages. Elle enseigne son savoir-faire au sein de cours collectifs ou individuels, partage sa cuisine dans ses livres, mais également en tant que chef et traiteur à domicile. *Elle est notamment l'auteur du magnifique livre Japonisme. Son parcours singulier a commencé par une sortie d'hypokhâgne et des études de kinésiologie. Mais elle se rend compte que son intérêt se porte principalement sur les notions d'équilibre et d'harmonie et s'oriente alors vers des formations de macrobiotique, shiatsu et yoga. Elle suit notamment une formation au Grand Appétit, au Japon à l'école Lima, en Angleterre à la Macroschool, en Australie dans les Blue Mountains, en Bretagne avec Brigitte Mercier-Fichaux.  

日本主义（Japonisme）是十九世纪晚期的西洋美术风潮，但在昭和晚期和平成初期（1970–2000），日本对西洋泛文化领域有了新一波影响。 《灭茶苦茶》网址：https://miechakucha.com 相关链接 《灭茶苦茶》在 Castro 的链接 日本主义（Japonisme） 王尔德的话的截图 萨义德：《东方主义》 Vice 日本对浅井カヨ的视频采访 RE/Search 块魂 DIW 唱片 软件公司 Panic 创始人 Cabel Sasser 在 XOXO 2013 的演讲 不鳥萬 Live: 日式爵士乐初探 《灭茶苦茶》啁啾会馆 《灭茶苦茶》刹那图鉴 《灭茶苦茶》新浪微博 登场人物 不鳥萬如一：《一天世界》作者，IPN 创始人

Listen, sometimes you just have to miss a week, get sick, record an episode, and get it out. It ain't always pretty, but it's functional! Check out this news! 0:08:43 World Health Organization on gaming addiction 0:23:00 Sailor Moon stage show in Paris celebrating Japonisme - 160 years of French and Japanese friendship 0:27:27 Obsidian's new title: Will Take Two force it to offer microtransactions? 0:33:33 The Legend of Bumbo by the creators of Super Meat Boy and The Binding of Isaac: Game delayed until later this year. 0:35:35 Game Developer Choice Awards 0:41:16 Tabby's star doesn't have alien megastructures. Spoilers! 0:42:47 Gillian Anderson's last season of the X-Files! 0:44:02 Batman #38 0:48:55 Black Panther has sold more advance tickets than any other MCU property! 0:50:33 The Tick "season two" Feb. 23! Not Jan. like Rem says a couple times. Remember, he's sick. Also, that's his sister's birthday! https://youtu.be/PkBNBxQZbY4 1:04:40 Stephen Hines' "The Punk-Metal E.P."  SPOOOOOOOOOOOOOOOON! Interested in writing geek-centric articles? Got a fever to let your inner writer out? Email us with an article to be published for thousands of readers to see! CHECK OUT OUR AWESOME TEES! http://www.duelingogres.com/bazaar-dueling-ogres-store/ SMASH ALL THOSE LIKES AND SHARES AND SUBSCRIBES FOREVER! They help us stay alive one more day! Literally, there are larger ogres over us. They're ruthless and terrifying. We cry tears of blood! CALL or TEXT us so we can play/read your question on air @ !! (Intro uses the "" track by Kevin Macleod (). Licensed under . Outtro: , licensed under .) [widget id="custom_html-3"]

In this episode, Dr. Ignacio Adriasola (UBC) paints a picture of how “modern Japanese art” was first defined during the Meiji Period.  We discuss the relationship between artists and the Meiji state, the popularity of Japonisme in Western Europe, and the impacts of Japanese art and artists on Western artists and artistic practices.

Do you have a bad memory? Well, so does the memory champion of the US Memory Championships. How's that possible you may ask? But that's exactly the point. We have misconceptions about learning and memory that need to be wiped out and replaced with accurate representations of how our brain works. In this first episode we look at two of the mental blocks that cause us to stutter, if not fail. And we transform them from failure to success. Let's find out how. Read online: Business Mental Myths --------- As late as the 1970s, women's brains were considered to be inferior to that of men, and especially so in the game of chess. Chess is a game that demands a high level of spatial awareness, among other skills, and it was erroneously believed that women could never equal men at the grandmaster level. In fact, not one woman had made it to grandmaster level until Susan Polgár came along. Susan's father, László Polgár, didn't believe in inborn talent. He wrote a book about genius, and in it emphasised the fact that “Geniuses are made, not born”. To prove the point, he and his wife Klara educated their three daughters at home, and while geography and history lessons were important, chess was considered to be the most valuable of all. At 4, Susan Polgár won her first chess tournament in the Budapest Girls' Under-11 Championship, with a 10–0 score. In 1982, at the age of 12, she won the World Under 16 (Girls) Championship. In a series shot by National Geographic, called “My Brilliant Brain”, Susan Polgár talks about her first visit to the premier chess club in Budapest. She was still just a little girl. “The room was filled with smoke and there were elderly men who thought my father was there for a game and brought his daughter along. But the reality is that my father wanted to see how I would against the members of the club”. The club members thought László Polgár was mad. But they went along with the crazy plan and soon found the “pretty little girl” was beating them hands down. Susan Polgár continued her meteoric rise She was the first woman in history to break the gender barrier by qualifying for the 1986 “Men's” World Championship. In January 1991, Polgar became the first woman to earn the Grandmaster title in the conventional way of achieving three GM norms and a rating over 2500. No longer could men claim that a woman couldn't attain the role of a grandmaster in chess. In time, Susan's sister, Judit also became a grandmaster. The third sister, Sofia earned a norm in a grandmaster-level tournament in 1989 when she was only 14. The mental myth was shattered once and for all. In business too, the we have to deal with mental myths that hold us back. As we weave our way through videos online or articles that rarely have any solid research, these myths take a hold of us and create a factor of intimidation. It feels sometimes, like everyone else is moving ahead while we lag behind. In business, as in life, it's not enough to just get and keep the business going. We have to make sure we don't get bogged down in myths have have no basis in reality. Three persistent mental myths that prevail are: Mental Myth 1: Copying is not a good idea. We need to be original. Mental Myth 2: You Need To Remember What You Learn Mental Myth 3: You need to speed up your learning (and there are systems to go faster) Let's find out why these myths need to be banished, once and for all. We will look at the first two myths in this episode. Mental Myth 1: Copying is not a good idea. We need to be original. When you look at the Taj Mahal, you don't think of Humayun, do you? Humayun, who? For over 200 years, the Mughals ruled over parts of what is modern day India, Pakistan and Bangladesh. In what is surely one of the greatest empires the world has ever known, they were rulers of between 110-150 million people—a fourth of the world's population at that time. The family tree of the Mughal emperors started with Babur, went down to Humayun, Akbar the Great, Jahangir, but it's Shah Jahan who gets most of the spotlight. And let's geek out a bit on history a bit here because we're talking about the Taj Mahal, built by Shah Jahan. Emperor Shah Jahan was utterly besotted with his wife, Mumtaz Begum. In an age where marriages were simply ties between one ruling family and the next, Shah Jahan and Mumtaz fell in love with each other. However, Shah Jahan was so in love with Mumtaz that he showed little interest in exercising his polygamous rights with his two other wives, other than having a child with each. Mumtaz, on the other hand, bore him thirteen children, which, if you're rolling your eyes, was a family size quite common back in those times. Anyway, on 17 June 1631, at the age of 38, Mumtaz Begum died while giving birth to what would have been the fourteenth child. The Taj Mahal is a memorial to the intense grief that followed It took 21 years, from 1632-1653 to build the Taj Mahal. And today, if you're around Delhi, you're likely to make a trip to Agra to look at this remarkable monument. The Taj Mahal had more than its share of inspiration from another structure built almost a hundred years earlier—Humayun's tomb. If you look at Humayun's tomb and then look at the Taj Mahal, there's more than a striking resemblance. It almost looks like a copy. Copying is given a bad name because it's often mashed with plagiarism Before the advent of computers, the best way for an artist to learn to draw was to copy. If you head to Amsterdam and look at Van Gogh's start, you'll notice he copies a lot. In a museum dedicated to Van Gogh, the curators have taken great pains to show how Van Gogh's early work was an almost identical copy of the Japanese art of the time. As it says on the museum's website: Japanese printmaking was one of Vincent's primary sources of inspiration, and he became an enthusiastic collector. The prints acted as a catalyst: they taught him a new way of looking at the world But did his own work change as a result? There was tremendous admiration for all things Japanese in the second half of the nineteenth century. Vincent did not pay much attention to this Japonisme at first. Very few artists in the Netherlands studied Japanese art. In Paris, by contrast, it was all the rage. So it was there that Vincent discovered the impact Oriental art was having in the West when he decided to modernise his own art.” In a letter to his brother Theo, Vincent Van Gogh says the following: My studio's quite tolerable, mainly because I've pinned a set of Japanese prints on the walls that I find very diverting. You know, those little female figures in gardens or on the shore, horsemen, flowers, gnarled thorn branches.” He and his brother then proceeded to buy stacks of Japanese woodcuts because they recognised the Japanese art as highly as any Western masterpiece. Van Gogh then went about copying the structure and composition of Japanese art in great detail. In a letter to his brother, he wrote: “All my work is based to some extent on Japanese art.” Whether you're a writer, singer, golfer or musician—you have to copy In the Da Vinci cartooning course, we have whole weeks where the participants have to trace—yes, with regular butter paper or tracing paper—just like you did when you were a child. To be able to copy allows you to see what the other person has done. And how you, in turn, can do the same. As a cartoonist, I had whole books of work. I started out copying Superman, Batman and other superheroes, moving on to comic strips like Hagar the Horrible, and for a good while, even Dennis the Menace. Years later I was copying Mort Drucker and Jack Davis from Mad Magazine. And Ajit Ninan who was a caricaturist for India Today, one of India's largest magazines at the time. The copying didn't stop there When I started out in advertising as a cub copywriter, I knew almost nothing about copywriting. I'd leaf through books; advertising books called the “One Show” that were so thick they could be used as doorstops. I learned a ton of how ads were made from those books alone. When I moved to marketing, I bought endless material from marketer Jay Abraham, learning how he promoted his courses, workshops and home study versions. I'd get his 15-20 page sales letters in the mail, and I'd go through them with a yellow marker, trying to figure out why I was so excited to buy his material. When you copy, you learn When you copy from many sources, you start to merge one style into another until you soon have a style of your own. If you keep copying, your fixed style changes. When I look at some of the cartoons I did between 2000-2010, I cringe a lot. I don't like the colours, I don't like the line work, and I want to change it all. Not entirely erase the work, I'm not that daft, but I've been copying all my life. Which, as we know, is different from plagiarism. Plagiarism is a rip-off. A photocopy of someone else's work is plagiarism. Work that's not yours and is signed by you, that's plagiarism. Without copying, you quickly plateau Copying is what pushes you outside your comfort zone a lot. When Van Gogh started to copy Japanese artists, he had to relearn a whole different way of painting and composition. As it says yet again on the Van Gogh website: “Japanese artists often left the middle ground of their compositions empty, while objects in the foreground were sometimes enlarged. They regularly excluded the horizon too, or abruptly cropped the elements of the picture at the edge.” However, not all copying should be done blindly It's one thing to copy a style, but quite another thing to blindly copy what others are doing. For instance, when we did our early workshops in Auckland and Los Angeles, catering was included in the cost of the workshop. All the workshops we'd been to, before hosting our own, had always served food. However, we found that just copying someone's else's actions doesn't necessarily work well. When we'd ask about feedback for the workshop, people would complain about the food. Someone always wanted proteins; some one else wants carbs. And these were in the days before the wave of crazy diets came along. I got good advice from speaker/author, Brian Tracy. “You're not in catering, Sean”, he said to me. And so we gave up serving food at workshops. In the same manner, it's probably a good idea to find out the strategy behind why people do certain things. It's better to know the story behind the plan, before making some horrible mistake and finding out later. Despite the downsides, copying is what makes the world go round. The Taj Mahal, Van Gogh's works of art, even Disneyland got a large dose of inspiration from the Tivoli Gardens in Copenhagen. When you're next thinking of creating your website, painting, writing or doing just about any activity, first consider copying. Consider tracing. Originality is slightly overrated P.S. Even while this article series was being completed, I found a clear case of plagiarism. The author had taken the six questions from The Brain Audit and palmed it off as his own. What made it weird was the fact that it was on the Intuit site, the company that sells Quickbooks. Through Facebook, they got in touch with me, because someone tagged Intuit. The article was taken down shortly after. Mental Myth 2: You Need To Remember What You Learn In 2006, a journalist called Joshua Foer won the U.S.A Memory Championship. He also set a new US record in the speed cards event by memorising a deck of 52 cards in barely 1 minute and 40 seconds. However, Joshua Foer doesn't consider himself to have a very good memory at all. He forgot where he put his car keys, often where he'd parked his car in the first place. He'd routinely leave food in the oven, forget his girlfriend's birthday, their anniversary. Despite the onslaught of advertising he'd miss Valentine's Day, and not remember most of the things that you and I seem to routinely forget. In 2005, he was a journalist who wanted to figure out what made memory champions so successful. In 2006, he was the U.S. Memory Champion. If there's one statement almost all of us have heard before it's this: I have a really bad memory. At first it's some relative; maybe a grandparent or someone much older that seems to complain about memory, but increasingly, even in your teens and twenties, you'll find yourself—and others making statements such as: I can't seem to remember names at all. I have a really bad memory. Which seems to make sense, because we find there are those who seemingly have memories like elephants and our memories seem to be like a sieve. Trying to remember what we've learned seems hard, and often impossible. Learning seems to go one way where we build up skills and knowledge. Forgetting seems to land all that hard earned information into the gutter. Forgetting seems to be the arch enemy of learning. Forgetting seems to be about failure, and it drives us crazy. And yet, forgetting is exactly the opposite. “The brain is nature's most sophisticated spam filter” says Benedict Carey in his book, “How We Learn” To be able to remember one thing, we often have to forget the other. In his book, he talks about how we're all amazingly impressed at the sight of a spelling bee, a competition where young kids seem to be able to spell incredulously complex words. As all contests go, there's a winner and there are losers. Yet how do we make every one of those seemingly smart kids lose? Instead of getting them to spell words, let's say we drag them back on stage and run a different type of memory test. The questions would go like this: •Name the last book you read •What did you have for lunch two days ago? •Which was the last movie you saw? •What's your sister's middle name? •What's the capital of Ouagadougou? (It's Burkina Faso) “In a hypothetical content, each of those highly concentrated minds would be drawing a lot of blanks”, says Carey. But why is this the case? And how does this related to what you're learning? Most of us automatically assume that we should remember what we learn. In many cases, we assume that we've understood what we've just read, seen or heard. In almost every instance, it might take three or four tries for a person to get all the facts right, even if they go back over the information. Take for instance, this article itself. You probably remember that there was a memory championship. But was it a world championship or based in a specific country? Who won it? Do you remember the year? You possibly remember that the winner was male and that he was a journalist, but there are constant gaps in your memory. Which is why people tend to write notes However, while notes might be a better-than-nothing option, they're still extremely poor at pulling up details. All information is dependent on your initial knowledge of the subject matter in the first place. Take for instance, the book called “Dartboard Pricing”. The book goes into a lot of detail about why one product or service can be priced higher than a similar product in an identical market. As you're reading through the book, or listening to the audio, there's a feeling that you're getting the idea. However, the moment clients put up a pricing grid, they get elements of the grid wrong. Logically this shouldn't be the case at all. You have the book in front of you. The information isn't flipping past you at high speed. Even so, clients will get the pricing grid wrong. To really get the information, you have to go back several times and no amount of arrows and boxes, or explanation will help. The brain is designed to pick up some information and drop all the rest. The best way to retain information is to follow the way the brain works best And that's to get to the first powerful idea and then turn off the audio. Close the book. Stop watching the video. If you have to, rewind, or go back. But going forward does little good. Your brain isn't necessarily picking up the details as you progress. Even when reading an article, I will get to a point where I run into something profound, different or difficult. At which point I stop any sort of progress. If it's on my phone, I freeze the idea by taking a screenshot. If it's on audio, I stop listening to the podcast and yes, you need to do the same, if you really want to remember what you've just read. The breakdown allows your brain to stop at that point. When you go back and review the point, it makes even more sense. Then, if you're ready to go ahead, please do. Does this method mean you'll progress an inch at a time? No it doesn't mean that at all. It depends on the information you're learning. I'll listen to some podcasts and it's pure storytelling or information that keeps my brain cells entertained. They may apply to my business or not, but at least at the time, I don't find I need to imprint it in my memory. However, if there's something that's important, I will make sure I stop and come back later. It's a way of highlighting that information and forcing your brain to remember. I do this at workshops and seminars as well. I will continue to sit and participate in a seminar, but I wait for the first big point to hit me. When that's done, I'm “technically” ready to go home. I notice others are scribbling tons of notes, but I know I will remember nothing when I get back. So I keep the idea down to one. If I'm feeling really generous, I may add a second or third, but that's easily the upper limit. You don't need to remember everything you learn It's a myth that your memory, or even the memory of the memory champions are any good. The brain is one of the nature's most powerful spam filters. It remembers what's important. And hence it's your job to help your brain. When you find something that's important, dig in your heels. Stop. Then go back and review it later. That's how you'll improve your memory and your knowledge over time. Next up: Is speed reading a bad idea? Well, not entirely, but you need to know when to use it and why. Find out how speed works for you and more importantly, when it fails—Mental Myth: You need to speed up your learning (and there are systems to go faster)

Japonisme in Modernist Architecture: A Critical Regionalist view

Bendicht Fivian, Kunstmaler Eindrücke von 6 Persönlichkeiten aus der Schweizer Kultur zur Ausstellung Édouard Vuillard im Kunstmuseum Winterthur. (24.8. – 23.11.2014

Jean-Claude Givel, Sammler Eindrücke von 6 Persönlichkeiten aus der Schweizer Kultur zur Ausstellung Édouard Vuillard im Kunstmuseum Winterthur. (24.8. – 23.11.2014)

1909 mietete Vallotton eine Villa in Honfleur an der Küste der Normandie als Sommerresidenz. Damit begann ein neues Kapitel seiner Malerei; die Landschaft wurde in den folgenden Jahren sein Hauptthema.