Podcasts about John Everett Millais

In this episode of Words That Burn, I take a closer look at Ophelia's Head Is Finished by the brilliant poet Olga Dermott-Bond—a haunting and layered ekphrastic response to John Everett Millais' iconic painting Ophelia. Inspired by a chilling epigraph from one of Millais' 1852 letters, the poem invites us to reconsider what lies beneath the surface of this romanticised artwork, and to centre the overlooked woman at its heart: Elizabeth Siddal.As I explore the poem stanza by stanza, I reflect on its gothic tone, its critique of the Pre-Raphaelite obsession with beauty, and the physical toll of artistic creation on real women. The lines between Siddal and Shakespeare's Ophelia, between art history and lived experience, begin to blur—and what emerges is a powerful meditation on agency, endurance, and the quiet violence of expectation.Throughout the episode, I talk about the tradition of ekphrasis—poetry inspired by visual art—and how Dermott-Bond uses it not just to interpret but to reclaim. If you're curious about the intersections between poetry, painting, feminism, and forgotten voices, I think you'll get a lot out of this one.00:00 The Poem01:26 Welcome to Words That Burn01:41 Context and Epigraph Analysis02:34 Exploring the Poem's Themes03:06 Historical Context of Ophelia12:20 The Pre-Raphaelite Movement13:49 Elizabeth Siddal's Story15:01 Analysing the Poem's Stanzas25:33 The Final Stanza and ConclusionResources & Links: Millais' OpheliaThe Story Behind Ophelia by Kelly Richman-AbdouAlluviaFollow the Podcast:Read the Script on SubstackFollow the Podcast On InstagramFollow the Podcast on X/TwitterFollow the Podcast on TiktokFollow the podcast on BlueskyThe Music In This Week's Episode:‘Meanwhile' by Scott Buckley – released under CC-BY 4.0. www.scottbuckley.com.au Hosted on Acast. See acast.com/privacy for more information.

Episode Summary: Christina Ricucci, a dynamic artist who blends singing, songwriting, acting, dancing, and choreography. Christina shares her journey from starting dance at age two to competing and training rigorously, achieving national titles, and landing performances featured in Disney projects. She reflects on how Lyme disease, diagnosed in her teenage years, drastically shifted her career, leading her to explore music and acting. This illness ultimately led to the release of her first self-written single, Ophelia, marking a creative milestone. Now teaching dance, choreographing, and producing music, Christina offers valuable advice for aspiring artists, highlighting the importance of adaptability, passion, and creative exploration. This episode is filled with insights for anyone navigating creative careers and personal transformation. Show Notes: (00:00) - Introduction to the podcast and guest, Christina Ricucci (02:00) - Christina's early start in dance and first performances (05:00) - Transition from dance to music and songwriting (08:30) - How Lyme disease impacted Christina's career and forced a pivot (12:00) - Embracing other creative outlets: music, acting, and songwriting (15:30) - The current role of dance in Christina's life: teaching and choreography (18:00) - Advice for young dancers exploring multiple creative avenues (22:00) - Q&A with Business of Dance mentees (40:00) - Christina recommends summer programs and intensives for dancers (44:00) - Reflecting on competitive dance and ballet training (49:00) - Christina shares memories from Showstoppers and other dance competitions (51:00) - Final thoughts from Christina on following your passion and embracing creativity (53:00) - Closing remarks and sign-off Biography: Christina Ricucci is an alternative singer-songwriter, actress, and dancer/choreographer based in Los Angeles, CA. She draws inspiration from life experiences, pain, love, happiness, poetry, and, of course, art, in her creative endeavors. As a dancer and choreographer, Christina has trained extensively in ballet, contemporary, jazz, lyrical, tap, hip hop, and musical theater. She has furthered her training at intensives with prestigious institutions such as The Juilliard School, Nederlands Dans Theater, Cedar Lake Contemporary Ballet, American Ballet Theater, Hubbard Street Dance, Complexions Contemporary Ballet, Martha Graham, Limon, and Batsheva/Gaga. Christina has choreographed award-winning pieces and has taught dance workshops and choreography across the country. Christina is an 8-time National Champion soloist and has toured the U.S. and Canada as a demonstrator with both the JUMP and NUVO Dance Conventions. She was awarded the prestigious National Title of “Best Dancer” from the Dance Awards, the Hope Award from YAGP, and was a Gold Medalist at the World Ballet Competition. She has also appeared on the covers of Dance Spirit magazine as their Cover Model Winner and Inside Dance magazine. Christina's dance career led to her first acting job at age 12, when she was cast as a ballerina in a Disney project. After enduring several years of Lyme Disease treatment, she expanded her creative pursuits to include acting and music. She has won “Best Actress” awards at multiple film festivals. In 2019, Christina was the featured vocalist on Nowhere Near, an international award-winning soundtrack. Her music weaves dark pop with contemporary production, and her upcoming project includes the release of her first single, Ophelia, inspired by John Everett Millais' painting based on Shakespeare's Ophelia. The debut EP is expected to be released in late 2024. Connect on Social Media: https://www.instagram.com/christinaricucci https://www.facebook.com/christina.ricucci

Es ist eines der großen Rätsel der deutschen Geschichte: Im Jahr 1362 rissen Sturmfluten weite Teile der Nordseeküste ins Meer. Darunter auch das sagenumwobene Rungholt. Ein mittelalterlicher Ort, um dessen Reichtum und Größe sich seit 700 Jahren Legenden ranken. Nicht umsonst wird es von vielen das "Atlantis der Nordsee" genannt. Noch heute finden sich bei Ebbe immer wieder Spuren von Höfen, Brunnen, Kirchen und Skeletten aus Rungholt. Überreste einer versunkenen Welt. Viel Spaß mit der heutigen Folge!Werbung: Hier könnt ihr einen Blick auf Ann-Kathrins Buch werfen https://amzn.eu/d/5iVnbXgWerde Mitglied und sichere dir den Zugriff auf einzigartige Bonus-Inhalte: https://steadyhq.com/de/zeitfuerhistory/aboutIllustrationen zu allen Folgen auf: https://www.instagram.com/zeit.fuer.history/Meine Website: https://geschichte-podcast.de/Du willst das dein Buch, dein Produkt oder Projekt in meinem Podcast vorgestellt wird? Dann melde dich gerne bei mir. Alle Kooperations- und Werbeanfragen bitte an: historymakingof@gmail.comLiteratur: Duerr: Rungholt - Die Suche nach einer versunkenen StadtBahnsen, Brauer, Kost: Im Meer versunkenNewig, Haupenthal: Rungholt: Rätselhaft und widersprüchlichTuchman: Der ferne Spiegel - das dramatische 14. JahrhundertDas Folgenbild zeigt die Prinzen im Tower, romantisierendes Gemälde von John Everett Millais (1878). Quelle: https://commons.wikimedia.org/wiki/File:The_Princes_in_the_Tower_by_John_Everett_Millais_(1878).pngCOPYRIGHT:The following music was used for this media project:Music: The Longbeards Beneath The Mountains by Justin Allan ArnoldFree download: ⁠⁠⁠⁠⁠⁠⁠https://filmmusic.io/song/11178-the-longbeards-beneath-the-mountains⁠⁠⁠⁠⁠⁠⁠License (CC BY 4.0): ⁠⁠⁠⁠⁠⁠⁠https://filmmusic.io/standard-license⁠⁠⁠ Hosted on Acast. See acast.com/privacy for more information.

Am Ende des Mittelalters ringen in England zwei Adelshäuser erbittert um die Krone. Die Rosenkriege dauerten mehrere Jahrzehnte, veränderten die europäische Geschichte und führten zu zahlreichen Gräueltaten. Eine davon ist bis heute nicht aufgeklärt: Im Jahr 1483 verschwinden die Prinzen plötzlich von der Bildfläche und werden von der Londoner Bevölkerung für tot erklärt. Die Geschichten, die man sich auf der Straße erzählt, lassen daran keinen Zweifel mehr. Der 12-jährige Thronfolger Eduard soll täglich seine Sünden gebeichtet haben, wie man es in Erwartung des Todes tut. Und sein 9-jähriger Bruder: Nun - der Herzogstitel, den der kleine bisher trug, wurde neu vergeben. Das passiert nur, wenn der bisherige Titelträger stirbt. Wer steckt dahinter, wer würde über die Leichen der Prinzen gehen? Der Verdacht fällt auf keinen Geringeren als ihren Onkel. Richard, Herzog von Gloucester. Oder besser gesagt, nach dem Tod der beiden Kinder: Richard, der dritte König von England. Viel Spaß mit der heutigen Folge!Werde Mitglied und sichere dir den Zugriff auf einzigartige Bonus-Inhalte: https://steadyhq.com/de/zeitfuerhistory/aboutIllustrationen zu allen Folgen auf: https://www.instagram.com/zeit.fuer.history/Meine Website: https://geschichte-podcast.de/Du willst das dein Buch, dein Produkt oder Projekt in meinem Podcast vorgestellt wird? Dann melde dich gerne bei mir. Alle Kooperations- und Werbeanfragen bitte an: historymakingof@gmail.comLiteratur: Paul M. Kendall: Richard III. König von England - Mythos und WirklichkeitGeoepoche: Die Rosenkriege - Kampf um Englands KroneDas Folgenbild zeigt die Prinzen im Tower, romantisierendes Gemälde von John Everett Millais (1878). Quelle: https://commons.wikimedia.org/wiki/File:The_Princes_in_the_Tower_by_John_Everett_Millais_(1878).pngCOPYRIGHT:The following music was used for this media project:Music: The Longbeards Beneath The Mountains by Justin Allan ArnoldFree download: ⁠⁠⁠⁠⁠⁠⁠https://filmmusic.io/song/11178-the-longbeards-beneath-the-mountains⁠⁠⁠⁠⁠⁠⁠License (CC BY 4.0): ⁠⁠⁠⁠⁠⁠⁠https://filmmusic.io/standard-license⁠⁠⁠ Hosted on Acast. See acast.com/privacy for more information.

Das 16-jährige Bauernmädchen Jeanne hat Visionen und Stimmen im Kopf, die sie auffordern, Frankreich von den Engländern zu befreien. Kurze Zeit später steht sie tatsächlich an der Spitze der französischen Armee, besiegt ihre Feinde und führt den Thronfolger zur Königssalbung. Doch all das ändert nichts daran, dass sie mit nur 19 Jahren auf dem Scheiterhaufen landet. Wie es dazu kam und warum Jeanne d'Arc von vielen als Frau des Jahrtausends bezeichnet wird, das schauen wir uns heute an. Viel Spaß mit der Folge!Illustrationen zu allen Folgen auf: https://www.instagram.com/zeit.fuer.history/Literatur: Gerd Krumeich: Jeanne d´ArcDas Folgenbild zeigt Jeanne d´Arc in ihrem berühmten roten Kleid. Das Gemälde ist von John Everett Millais und stammt aus dem Jahr 1865. Quelle: https://www.worldhistory.org/uploads/images/14751.jpg?v=1718105765COPYRIGHT:The following music was used for this media project:Music: The Longbeards Beneath The Mountains by Justin Allan ArnoldFree download: ⁠⁠⁠⁠⁠⁠⁠https://filmmusic.io/song/11178-the-longbeards-beneath-the-mountains⁠⁠⁠⁠⁠⁠⁠License (CC BY 4.0): ⁠⁠⁠⁠⁠⁠⁠https://filmmusic.io/standard-license⁠⁠⁠ Hosted on Acast. See acast.com/privacy for more information.

Do Not Stand At My Grave And Weep Do not stand at my grave and weep I am not there. I do not sleep. I am a thousand winds that blow. I am the diamond glints on snow. I am the sunlight on ripened grain. I am the gentle autumn rain. When you awaken in the morning's hush I am the swift uplifting rush Of quiet birds in circled flight. I am the soft stars that shine at night. Do not stand at my grave and cry; I am not there. I did not die. Background Music: Nocturne In F Major, Op. 15, No. 1 by Cecile Licad Digital art inspired by John Everett Millais

Welcome to part 1 of the Life and Times of Jeanne D'Arc, or as we in the States know her, Joan of Arc!  This is one of the legendary ones, and for good reasons.  In this episode we tackle a looong and inappropriately named war (in 3 distinct segments), bodies bodies everywhere, and one simple girl hearing voices in the fields. Joan was a 15 or 16 year old girl who had visions of her destiny, delivered by angels from God, and she was to fight for and restore the rightful King of France.  But first, she has to get there, needs people to believe that she isn't insane, and needs an army.  What's a girl to do?   Image Credits:  "Joan of Arc" by John Everett Millais (1865)  

Described by some as a, “charming rogue,” Charles Augustus Howell was a dodgy figure in Victorian art circles, in particular London's Pre-Raphaelite Brotherhood movement. There was extortion. There was forgery. And just a whole lot of unsavory bits. Howell was an art dealer by trade who was also known to manipulate those around him so he could acquire works that would establish and increase his reputation – and his financial security. When that didn't work, in the words of biographer Humphrey Hare, "Howell did not hesitate to blackmail." So let's get to know this charming-yet-unsavory character.See omnystudio.com/listener for privacy information.

O, muze, verleen ons de inspiratie voor deze podcast!Een veelgehoord feministische kritiek op de weergave van vrouwen in verhalen is dat ze altijd ruwweg in stereotypische categoriën vervallen, bijvoorbeeld de tweedeling van onschuldige schoonheid tegenover de zondige verleidster, de klassieke drierollenverdeling van de jonge vrouw, de moeder en de oude vrouw of de meer moderne variant van figuur dat bestaat voor seksuele verheerlijking van de man of juist helemaal seksloos is. Het concept van de vrouw als muze is vervlochten met deze stereotypen. Vrouwen zijn in de westerse geschiedenis niet de kunstenaar, maar het kunstobject, de inspiratie voor mannelijke schepping. Hun creatieve vermogen ligt besloten in het ontsluiten van de mannelijke creativiteit.De oorsprong van de muzen ligt in Griekse mythologie, maar er zijn verschillende versies met verschillende hoeveelheden muzen. De meest bekende zijn de negen muzen, dochters van Zeus en Mnemosyne (geheugen) die als inspiratiebron gelden voor alle kunstdisciplines van de Grieken. Deze muzen bleven invloedrijk in heel Europa en werden bijvoorbeeld in de Renaissance en Romantiek nog steeds gesmeekt om inspiratie. In dit smeken ligt de bijzondere tegenstelling van de muze besloten: ze heeft de goddelijke macht om inspiratie te verlenen, maar wordt altijd tot object gereduceerd. Ze kan beslissen, maar kunstenaars willen iets van hen hebben dat ze na smeken, overmeestering of listen weggeven aan de man.De muze in moderne tijd kan net zo goed een godin als een geliefde zijn, welwillend of inspirator tegen wil en dank. De kunstgeschiedenis bevat veel verhalen van muzes die werden gebruikt en afgedankt, maar er zijn ook steeds meer verhalen waarbij de vrouwen die als inspiratie dienden voor kunstenaars een veel actievere rol blijken te hebben, zoals bijvoorbeeld Elizabeth Siddal die poseerde als Ophelia voor John Everett Millais. Vandaag onderzoeken wij de rol en positie van de vrouw als muze, waarbij we proberen voorbij de paradox van verering en objectificatie te komen. Te gast is Lieke, mediëvist, net als in aflevering 4, 11 en 16. Verwijzingen Intro• Guerrilla Girls. “ Guerilla Girl Records, 1979-2003.” https://www.getty.edu/research/special_collections/notable/guerrilla_girls.html• Sarah Durn. The Real Women Behind Art's Masterpieces. 29 April 2022. https://www.atlasobscura.com/articles/art-history-muses-real-women• Ruth Willington. Muse: Uncovering the Hidden Figures Behind Art History's Msterpieces. Square Peg, 2022.• Ruth Willington. “Eight muses who inspired art history's masterpieces.” 22 April 2022. https://artuk.org/discover/stories/eight-muses-who-inspired-art-historys-masterpieces. Lieke• The French Dispatch. Regie: Wes Anderson. 2021. “Concrete Masterpiece.”• Zomergasten: Ilja Leonard Pfeiffer. 2020. Merel• “The Woman.”• Sherlock. 2010. Regie: Mark Ganiss & Steven Moffat. BBC.• Arthur Conan Doyle. “ The Adventures of Sherlock Holmes: A Scandal in Bohemia.” Strand Magzine, 1891. Wessel• Neil Gaiman, Kelley Jones en Malcolm Jones III. “Calliope”. In The Sandman, Volume 3: Dream Country. DC Comics, 2010.• Carol All Duffy. “The World's Wife.” Picador, 1999.• Carol Ann Duffy. “Medusa.” The World's Wife. Picador. 1999.• Carol Ann Duffy. “Standing Female Nude.” Standing Female Nude. Anvil, 1985. Overige Verwijzingen• Barbie. Regie: Great Gerwig. 2023.• Blacks Sails. Gemaakt door Jonathan E. Steinberg en Robert Levine. 2014-2017.• The Canvas. “How This Artist Fell In Love With His Own Art.” 1-10-2023. https://youtu.be/vaHqx87KYNo?si=sPocrAGNYa6YRj2Q• Chris Kraus. I Love Dick. Semiotext(e), 1997.• Lost in Translation. Regie: Sofia Coppola. 2003.• Thomas Mann. “De dood in Venetië.” 1912.• Sara Polak. “Posting the Presidency: Cartoon Politics in a Social Media Landscape.” Media and Arts Law Review 22(4): 403-419.• Pygmalion en Galatea. https://nl.wikipedia.org/wiki/Pygmalion_(beeldhouwer).

How did the Pre-Raphaelite Brotherhood become so famous? Did Elizabeth Siddal really almost die in a bathtub when she modelled for John Everett Millais' Ophelia? And which Rosetti painting shocked the art establishment the most? Speaking to Elinor Evans, Suzanne Fagence Cooper answers your questions on the Pre-Raphaelite Brotherhood: a group of artists founded in 1848 who pushed the boundaries of artistic realism and courted scandal in Victorian Britain through their lifestyles and art. The HistoryExtra podcast is produced by the team behind BBC History Magazine. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Beauty is the harvest of presence - the evanescent moment of seeing or hearing on the outside what already lives far inside us. Beauty is an achieved state of both deep attention and self-forgetting. - David Whyte Beauty requires three qualities: Integrity, Harmony and Radiance and the language of beauty according to Aristotle is Aesthetics In the video I narrate one of my favourite writer David Whyte's contemplation on Beauty and showcase some of my digital artwork inspired by photography of the late Rodney Smith, and painters like Andrew Wyeth (I created my own version of Christina's World - an evocative painting that fills me with longing and nostalgia) and John Everett Millais' Ophelia. Check out the full video at: https://youtu.be/P6c-SUoaBUk?si=eRbQ0_6TazEb9VTT

Son nom est moins connu que ceux de Christophe Colomb ou Hernan Cortes. Pourtant, l'espagnol Francisco Pizarro marquera lui aussi tristement l'histoire, pour avoir participé à la conquête du "Nouveau Monde". Francisco Pizarro et son armée mettront à genoux l'empire Inca et s'empareront de ses fabuleuses richesses. Au micro de Noémie Guignard, Bernard Lavallé, professeur de civilisation hispano-américaine coloniale à l'Université de la Sorbonne Nouvelle – Paris III, évoque cette conquête et les affrontements sanglants qu'elle va engendrer. Illustration: "Pizarro Seizing the Inca of Peru" (détail). Tableau de John Everett Millais (1829 – 1896) peint en 1845 et représentant Pizarro en train de capturer Atahualpa, roi des Incas, le 16 novembre 1532. Celui-ci livre alors six tonnes d'or (valeur actuelle: CHF 285 millions) au conquistador pour acheter sa liberté mais, contrairement à la promesse qui lui a été faite, il ne la retrouve pas. Après un procès expéditif, Pizarro le fait exécuter et proclame nouvel Inca Topa Hualpa, frère cadet d'Atahualpa.

Join us for worship from Seal Church. A copy of the service sheet can be found on the church website. www.sealpeterandpaul.com Preacher: Revd Canon Anne Le Bas Image: The Pharisee and the Publican, John Everett Millais : https://victorianweb.org/art/illustration/millais/38.html Today's hymn sung by St Martins in the Fields is: King of Glory, King of Peace --- Send in a voice message: https://anchor.fm/anne-le-bas/message

Kain ist diesmal ordentlich aufgeregt, vergisst sein ganzes Wissen über den Präraffaelismus und verwechselt ikonisch mit ikonografisch, alles ganz schön peinlo. Pint schläft derweil und träumt von John Everett Millais' Ophelia oder von Nick Cave, denn in dieser Episode geht um genau diesen. Genauer um Nick Cave & the Bad Seeds mit ihrem 92er Album Henry's Dream. Folgt Pint und Kain, wie sie in eine surreal-melancholische Welt eintauchen, die bevölkert ist von Huren und Heiligen, Aussenseitern und Aussteigern, Trinkern und Träumern, Liebenden und Leidenden.

How powerful is the Word of God? In the parable of the Rich Man and Lazarus, we learn that if the rich man had but heeded what was in the Law and the Prophets, he would have been at Abraham's side with Lazarus. Instead, he was focused on himself and ignoring the Word of God.Image: The Rich Man and Lazarus, by Brothers Dalziel and John Everett Millais, CC0, via Wikimedia Commons.Location: https://commons.wikimedia.org/wiki/File:The_Rich_Man_and_Lazarus_(The_Parables_of_Our_Lord_and_Saviour_Jesus_Christ)_MET_DP835801.jpg

Tout ça pour une poignée de fleurs !Cliquez ici pour voir l'oeuvreAuteure des textes : Anne SchmauchDirection Editoriale: Pénélope BoeufVoix : Pénélope BoeufProduction : La Toile Sur Écoute Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

William Morris fue uno de los más importantes pensadores ingleses del siglo XIX. Hoy en día ha sido prácticamente olvidado, pero rescatarlo tiene grandes beneficios para nuestra sociedad.En el episodio se menciona una pintura de John Everett Millais. Aquí la pueden encontrar.No olviden seguirme en Twitter: @MuyBienPablo See acast.com/privacy for privacy and opt-out information.

For our 50th episode we will be revisiting the Pre-Raphaelite Sisters by exploring the fascinating life of Effie Gray (1828-1897) a famed beauty, with a charming and vivacious personality, she is an interesting character as her life can tell us so much about Victorian society and the way women were perceived.Here we will be focusing on Effie Gray's unhappy and loveless marriage to the Art critic and Pre-Raphaelite champion John Ruskin and their scandelous annulment, which allowed her to marry the dashing Pre-Raphaelite painter and founder John Everett Millais, who she had fallen in love with. This is a story about the role of a wife, repressed sexuality, a woman's right to love, pleasure and freedom and the power and control of a rigid social structure where every class and gender has to adhere to certain rules and expectations. SourcesEffie: the Passionate lives of Effie Gray, John Ruskin and John Everett Millais by Suzanne Fagence CooperPre-Raphaelite Sisters by Jan Marshhttps://www.npg.org.uk/collections/search/portrait/mw04406/Effie-Gray-Lady-Millais ImagesInstagram  @themuseumoffemininty 

This portrait of Victorian art critic John Ruskin was painted by Millais in 1853-4. Ruskin was an early advocate of the pre-Raphaelites and part of their success was down to his efforts. Phil is joined this week by Matthew Winterbottom, Curator of Sculpture & Decorative Arts at The Ashmolean where the painting hangs…For more information and to see the artwork being discussed please visit www.seventh-art.com/podcast

Full show notes at allthroughalens.com!   On this episode of Dev Party, we talk about our day in Lone Pine, California, the Museum of Western Film. We also talk about Museum of Western Film History, which we visited. There were some amazing clouds, some perfect skies, and some photos we're super stoked about. We also talked about the non-photographic mediums that have influenced our photography. How how safe it is to photograph lightening. There's a whole lot here, really. Vania developed Arista Edu Ultra 100 (aka, Fomapan 100) in FA-1027 (much more on this developer next Dev Party). Here they are:   Meanwhile, Eric developed a roll of Ilford Pan F+ that he shot at Lone Pine. He devved in Pyro PMK. Here are four:   Vania devved her Lone Pine shots a few weeks ago, and … well … check them out:   Concerning the non-photographic mediums, Eric talked about Andrew Wyeth, but also Albert Bierstadt. Here's the Bierstadt he talked about: Vania talked about John Everett Millais' “Ophelia” … and as Polonius said, “I shall be brief.”: END CREDITS www.allthroughalens.com Vania: IG, Flickr, Zines, Website Eric: IG, Flickr, Zines, ECN-2 Kits

Admit it, you've got a favourite thing. My favourite painting? Gotta be Ophelia by John Everett Millais. Favourite piece of music? Lark Ascending by Ralph Vaughan Williams Favourite Designer? Alexander McQueen Favourite Chef? Maangchi Favourite Actor? Does it matter? Read between the lines, please.

Damos inicio a la tercera temporada con una fascinante pintura prerrafaelita como protagonista, y te platicamos sobre su autor: John Everett Millais, quien fue uno de los fundadores de esta hermandad que pasó a ser un movimiento artístico que buscaba la sencillez de la verdad y provocaba en la mente de la gente una buena reflexión con pinturas de escenas medievales inspiradas en la biblia y en la literatura. ¡Ponle play!

He was a child prodigy who, at the age of eleven, became the youngest student to enter London's Royal Academy School of Art. Later he would become one of the founding members of the Pre-Raphaelite Brotherhood shocking the classical art establishment. But eventually he developed his own realistic style of art and became one of the wealthiest artists of his day. In this episode, we will learn about John Everett Millais.

Every time I look at The Blind Girl I forget the two girls are beggars. That may be due to the blind girl’s blissful expression. Also, John Everett Millais sets them in a picturesque field of lush, joyful color. Still, this lovely duo holds us gripped in their happy moment. The Blind Girl glows with golden serenity. Her companion gasps at the rainbow behind them. They each capture a sublime sensory experience. The younger girl keeps it simple with sight. Her tiny hand also clasps the elder girl’s. So, she’s got a connection with nature and humanity all at once. Learn more about this and more masterpieces with a click through to LadyKflo's website.   https://www.ladykflo.com/the-blind-girl-by-john-everett-millais/

Ophelia è amata da Amleto. Ophelia è morta. È scivolata via dalla vita, lì nel fiume, abbracciata da un'acqua letale. E mille fiori e piante ancora parlano e ci cantano la sua storia. John Everett Millais che dipinge Lizzie - Elizabeth Siddal - la musa Preraffaellita. --- Send in a voice message: https://anchor.fm/mayrastellam/message

A pesar de que nos parezca extraño, los antiguos griegos desarrollaron algunas creencias sobre la reencarnación, ideas que aunque no estaban extendidas de manera amplia en el cuerpo de los mitos griegos, fueron importantes en la visión que tenemos de esta idea en el mundo occidental, en este episodio abordamos el que quizá sea el mito más importante en relación con la reencarnación en la Antigua Grecia, el mito de Er, una historia que cierra La República de Platón, y en la que existen muchas ideas que serían tomadas por el cristianismo posteriormente.La web del podcast: https://www.mitosymas.com/ Síguenos en las redes sociales:Facebook: https://www.facebook.com/demitosymas/ Twitter: https://www.twitter.com/mitosYmas/ Instagram: https://www.instagram.com/mitosymas/ Pintura de la portada: Ofelia de John Everett Millais,

Is it realistic? In this podcast: Charles and Amanda Shepard teach us about the Pre-Raphaelite era and an image called “Christ in the House of His Parents” which depicts a day in the life of young Jesus, and also a portrait of "John Henry Newman"  Christ in the House of His Parents: https://en.wikipedia.org/wiki/Christ_in_the_House_of_His_Parents John Henry Newman: https://en.wikipedia.org/wiki/John_Everett_Millais#/media/File:John_Henry_Newman_by_Sir_John_Everett_Millais,_1st_Bt.jpg https://www.fwmoa.org Previously: https://www.kyleheimann.com/show822 Check this out on YouTube Hear more interviews on Youtube: kyleheimann.com/youtube Subscribe to the (highlights) Podcast: Apple Podcasts | Android Podcast | Other Android Apps | SoundCloud | Stitcher | RSS | Spotify Podcast: www.kyleheimann.com Live: www.redeemerradio.com Email: show@redeemerradio.com follow us on social media: Facebook, Twitter, Instagram, YouTube @KyleHeimannShow Call/Text: Holy Cross College Textline: 260-436-9598 Theme Song: -Custom music written by Shawn Williams (www.musicbyshawnwilliams.com) for The Kyle Heimann Show -Licensed via The Sound Cabin Inc. (www.thesoundcabin.com)

https://www.kyleheimann.com/show842/ ()Is it realistic? In this podcast: Charles and Amanda Shepard teach us about the Pre-Raphaelite era and an image called “Christ in the House of His Parents” which depicts a day in the life of young Jesus, and also a portrait of “John Henry Newman”  Christ in the House of His Parents: https://en.wikipedia.org/wiki/Christ_in_the_House_of_His_Parents (https://en.wikipedia.org/wiki/Christ_in_the_House_of_His_Parents) John Henry Newman: https://en.wikipedia.org/wiki/John_Everett_Millais#/media/File:John_Henry_Newman_by_Sir_John_Everett_Millais,_1st_Bt.jpg (https://en.wikipedia.org/wiki/John_Everett_Millais#/media/File:John_Henry_Newman_by_Sir_John_Everett_Millais,_1st_Bt.jpg) https://www.fwmoa.org (https://www.fwmoa.org) Previously: https://www.kyleheimann.com/show822 (https://www.kyleheimann.com/show822) Check this out on https://youtu.be/Pwudqiz0CeI (YouTube) Hear more interviews on Youtube: http://www.kyleheimann.com/youtube (kyleheimann.com/youtube) Subscribe to the (highlights) Podcast: http://bit.ly/khsitunes (Apple Podcasts) | http://bit.ly/khsgoogle (Android Podcast) | http://bit.ly/khsandr (Other Android Apps) | http://bit.ly/khssc (SoundCloud) | http://bit.ly/khsstitch (Stitcher) | http://bit.ly/khsrss (RSS) | http://bit.ly/khsspot (Spotify) Podcast: http://www.kyleheimann.com (www.kyleheimann.com) Live: http://www.redeemerradio.com (www.redeemerradio.com) Email: show@redeemerradio.com follow us on social media: https://www.facebook.com/KyleHeimannShow/ (Facebook), https://twitter.com/kyleheimannshow (Twitter), https://www.instagram.com/kyleheimannshow/ (Instagram), http://www.kyleheimann.com/youtube (YouTube) @KyleHeimannShow Call/Text: Holy Cross College Textline: 260-436-9598 Theme Song: -Custom music written by Shawn Williams (http://www.musicbyshawnwilliams.com (www.musicbyshawnwilliams.com)) for The Kyle Heimann Show -Licensed via The Sound Cabin Inc. (http://www.thesoundcabin.com (www.thesoundcabin.com))

Is it realistic? In this podcast: Charles and Amanda Shepard teach us about the Pre-Raphaelite era and an image called “Christ in the House of His Parents” which depicts a day in the life of young Jesus, and also a portrait of "John Henry Newman"  Christ in the House of His Parents: https://en.wikipedia.org/wiki/Christ_in_the_House_of_His_Parents John Henry Newman: https://en.wikipedia.org/wiki/John_Everett_Millais#/media/File:John_Henry_Newman_by_Sir_John_Everett_Millais,_1st_Bt.jpg https://www.fwmoa.org Previously: https://www.kyleheimann.com/show822 Check this out on YouTube Hear more interviews on Youtube: kyleheimann.com/youtube Subscribe to the (highlights) Podcast: Apple Podcasts | Android Podcast | Other Android Apps | SoundCloud | Stitcher | RSS | Spotify Podcast: www.kyleheimann.com Live: www.redeemerradio.com Email: show@redeemerradio.com follow us on social media: Facebook, Twitter, Instagram, YouTube @KyleHeimannShow Call/Text: Holy Cross College Textline: 260-436-9598 Theme Song: -Custom music written by Shawn Williams (www.musicbyshawnwilliams.com) for The Kyle Heimann Show -Licensed via The Sound Cabin Inc. (www.thesoundcabin.com)

22 December 2019 The Fourth Sunday of Advent Matthew 1:18-24 + Homily 14 Minutes 59 Seconds Link to the Readings: http://www.usccb.org/bible/readings/122219.cfm (New American Bible, Revised Edition) From the parish bulletin:   I have long been of the opinion that preachers should avoid allusions to the painting “The Light of the World” by William Holman Hunt. This is not because it is inferior in any way. It is a tour de force of an artist’s craft and a prime example of the Pre-Raphaelite school that he began around 1848 with John Everett Millais and Dante Gabriel Rossetti, trying to revive the mystical aura they thought had become somewhat lost in the cold rationalism of the Renaissance. They were  a lively and amusing coterie. Father Neville of the Oratory was offended when Millais smoked a pipe in the presence of John Henry Newman as he painted his great portrait of the saint. But His Eminence did not mind at all and was eminently amused.    My hesitation about Hunt’s painting of Christ knocking on a door is that it has become a cliché. It has been copied countless times, and like Leonardo’s Last Supper, it is seen so much that it is robbed of its force and even suffers the degradation of reproduction on coffee mugs and tea towels. Hunt’s painting has further been badly caricatured, as in the modern version by Warner Sallman, in a descent from cliché to kitsch. But clichés become clichés because of their innate truth, even if they are responsible for dreary platitudes from the pulpit.    Hence, the Advent days make reference to Hunt’s painting unavoidable, for its symbolism puts on the painter’s canvas, with color and linseed oil, what the scribe’s ink wrote on parchment: “Behold, I stand at the door and knock. If anyone hears my voice and opens the door, I will come in and dine with him, and he with me” (Revelation 3:20).    At the risk of being tiresome, it needs to be pointed out that there is no exterior handle on the door, for it is the door of the human soul, which has to be opened from the inside. The door is covered with the thistles of sin. This is the moment when free will decides to open or shut. Free imagination assumes that the light Christ carries is seeping through cracks in the door’s rough wood, just as prophetic voices in Advent hint at a great Light about to shine  on the world.    Over three centuries before the Incarnation, the Cynic philosopher Diogenes supposedly carried a  lamp through the streets, “looking for an honest man.” Since Christ is Wisdom itself, the lamp he carries in portraiture is not a searchlight. It is a reflection of the light of divinity that surrounds his divine head, for he is “the radiance of God’s glory” (Hebrews 1:3).    On Christmas, the Church chants the words first uttered at Nicaea in Turkey by bishops who in many instances had been battered by darkened intellects: “Light from Light.” That is not a cliché.

Part 1 in our Pre Raphaelite Sisters series where we delve into the lives of the muses, lovers, wives and artists who navigated this male dominated artistic movement which was ruled by romantic chivalry. These women were often object of beauty fulfilling a certain male fantasy, but who were they really?In this episode I look into the life of Lizzie Siddal, whose history is dominated by mythic stories, in the hope of revealing who she really was as a passionate artist, wife of Dante Gabriel Rossetti and a woman of her time. SourcesPre Raphaelite Sisterhood by Jan Marshlizziesiddal.comTate Britain Pre Raphaelite Sister exhibition, National Portrait Gallery London

You think you know what art is? Oh, you sweet summer child. What you need is to see the revolutionary Pre-Raphaelites with a style of painting that will blow your mind out of the water with its innovation and middle finger to the hoighty-toighty upper class. They will...paint models in natural light?SOPHIE - DID YOU GIVE ME THE WRONG INFORMATION TO WRITE?Come and listen to us talk about becoming the establishment you rebel against, whether or not you can have both authenticity and success and the podcast coins a new measure of quality.Follow You Know What I Like...? on Twitter (@YKWILPodcast)Like You Know What I Like...? on FacebookMusic: http://www.purple-planet.comCover Art: Andrew Losq

In a new three-part series on longevity, we look at how we can shape our health and vitality in old age. Today we focus on the role of our social lives. We all know that meeting up with friends can feel good, but does it actually make any difference to our health? Jenni speaks to psychologist Julianne Holt-Lundstad about how a good social life can be as important to living longer as giving up smoking. Fibres, a new play, explores the legacy of asbestos in the Glasgow shipyards and the women and families affected by the exposure. Jenni is joined by the playwright Frances Poet, and Phyllis Craig from the charity Action on Asbestos. The future of women's cricket is looking rosy. Last week the Women’s and Girls' Cricket Plan announced a £20m boost in funding, and the ICC will award the winners of the Women’s T20 World Cup in Australia in 2020 a million dollar prize. We look at the state of the women’s game with Clare Connor, Managing Director of Women’s Cricket at the ECB. What’s being done to make it more attractive for women and girls to play and watch it, and to work within the game too? We hear the untold stories of five women of Pre-Raphaelite art whose contribution has been overlooked. Today, we hear about Effie Millais whose personal life has always distracted from her achievements as a manager, muse and creative partner to her husband John Everett Millais. Presenter: Jenni Murray Interviewed guest: Frances Poet Interviewed guest: Phyllis Craig Interviewed guest: Clare Connor Interviewed guest: Alison Smith Interviewed guest: Jan Marsh Interviewed guest: Julianne Holt-Lundstad Producer: Anna Lacey

Picture: Ophelia by John Everett Millais, 1865-66. Private Collection The Scottish National Party brings the autumn political conference season to a close this week. The leader of the SNP has made her party’s position clear – she wants the Conservative government out, a Brexit extension secured and a General Election as soon as possible. Last week the First Minister told the Scottish Parliament: "We need to get powers out of the hands of Boris Johnson and his ilk and into the hands of this Parliament so that we don't have to put up with Tory welfare cuts anymore because we can take the right decisions here in the first place to lift people out of poverty." Jane is joined by Shirley Anne Somerville, MSP for Dunfermline and West Fife and Scottish Government Cabinet Secretary for Social Security and Older People to discuss the SNP’s offer to women voters on Brexit, Scottish Independence and other pressing policy issues ahead of a much anticipated General Election. The “Pre-Raphaelite Sisters” exhibition opens at the National Portrait Gallery this week to show just how engaged and central women were to the production of the art. Over the next few days Woman's Hour features some of these overlooked models, artists, makers, partners and poets. Dr. Jan Marsh curated the exhibition and wrote The Pre-Raphaelite Sisterhood in 1985 and Dr. Alison Smith curated Tate's major Burne-Jones exhibition last year. Today Elizabeth Siddal. Faecal Incontinence: "It’s like a dirty secret,” one listener told us. Why is faecal incontinence after childbirth so hard to talk about, even to your GP? While conversations around many of the effects of childbirth – from postnatal depression to pelvic floor problems – have become more common in recent years, bowel problems, less so. It’s thought that sphincter injuries can affect 1 in 10 mothers who’ve had vaginal births - with a higher risk to those having their first baby. So why don’t we talk about it more? Jane speaks to two Woman's Hour listeners living with faecal incontinence and to Dr Sara Webb, Research Midwife at the Institute of Applied Health Research, Birmingham University. Sarah Phelps, award-winning British screenwriter, joins Jane to talk about her latest TV crime thriller Dublin Murders which starts tonight on BBC1. It's drawn from Tana French’s internationally bestselling Dublin Murder Squad books and stars Killian Scott and Sarah Greene as the two ambitious detectives investigating two murders in Ireland around the turn of the millennium. Presenter: Jane Garvey Producer: Caroline Donne Interviewed guest: Shirley Anne Somerville MSP Interviewed guest: Jan Marsh Interviewed guest: Alison Smith Interviewed guest: Dr. Sara Webb Interviewed guest: Sarah Phelps

Hey, hey, hey! This time we've got Wassily Kandinsky's "Yellow-Red-Blue" and John Everett Millais's "Ophelia." Instagram scream outs to @amyjpeg and @noamrosenberg.art

Peter Rabbit Welcome to 2018! This is the start of the second year for the podcast! As a recap from last year we put out 44 episodes. Almost an episode a week. We had two interviews. One with a Japanese exchange student (Yudai Tanabe), and one with Susie at Laughing Orange Studios. We covered about 23 different rabbit breeds, and three hares, so it looks like every other episode is about a breed. My favorite three episodes from last year were the Space rabbit episode, the Jack-a-lope, and Halloween Rabbits. What was your favorite episode? Post in the comments for the show! I would like to thank those that purchased through Amazon to support the show. It looks like Amazon is not seeing enough activity, and is threatening to shut down the account.  "We are reaching out to you because we have not seen qualified sales activity on your account." Remember it does not cost anything extra to use the link on the hareoftherabbit.com website.  I appreciate the support! Today we are going to check out Peter Rabbit! Peter Rabbit is a fictional animal character in various children's stories by Beatrix Potter. He first appeared in The Tale of Peter Rabbit in 1902 and subsequently in five more books between 1904 and 1912. Spinoff merchandise includes dishes, wallpaper, and dolls. He appears as a character in a number of adaptations. This weeks item is A Peter Rabbit Book! The rabbits in Potter's stories are anthropomorphic and wear human clothes: Peter wears a jacket and shoes. Peter, his widowed mother, Mrs. Josephine Rabbit, as well as his sisters, Flopsy, Mopsy, and Cotton-tail live in a rabbit hole that has a human kitchen, human furniture, as well as a shop where Josephine sells various items. Peter's relatives are Cousin Benjamin Bunny and Benjamin's father Mr. Bouncer Bunny. Helen Beatrix Potter, known as Beatrix, was born on 28 July 1866 to Rupert and Helen Potter in Kensington, London, and she is one of the most beloved children's authors of all time. She was the daughter of Rupert and Helen Potter, both of whom had artistic interests. Her father trained as a lawyer, but he never actually practiced. Instead he devoted himself to photography and art. Her mother Helen was skilled at embroidery and watercolors. Beatrix got to know several influential artists and writers through her parents, including painter John Everett Millais. Her younger brother Walter Bertram was born six years after her birth. Both Beatrix and Bertram loved to draw and paint, and often made sketches of their many pets, including rabbits, mice, frogs, lizards, snakes and a bat. Beatrix was always encouraged to draw, and she spent many hours making intricate sketches of animals and plants, revealing an early fascination for the natural world that would continue throughout her life. Although she never went to school, Beatrix was an intelligent and industrious student, and her parents employed an art teacher, Miss Cameron, and a number of governesses, including Annie Moore, to whom she remained close throughout her life. Two of Beatrix’s earliest artist models were her pet rabbits. Her first rabbit was Benjamin Bouncer, who enjoyed buttered toast and joined the Potter family on holiday in Scotland where he went for walks on a lead. Benjamin was followed by Peter Piper, who had a talent for performing tricks, and he accompanied Beatrix everywhere. The most exciting time of the year for Beatrix was the summer, when the family traveled north to spend three months in Scotland. The children had the freedom to explore the countryside, and Beatrix learned to observe plants and insects with an artist’s eye for detail. When Beatrix was sixteen, the family stayed instead at Wray Castle, overlooking Lake Windermere, where Beatrix began a lifelong love of the countryside and of the Lake District. Botanist, Artist and Storyteller Beatrix was invited to study fungi at the Royal Botanical Gardens in Kew, and she produced hundreds of detailed botanical drawings and investigated their cultivation and growth. Encouraged by Charles McIntosh, a revered Scottish naturalist, to make her fungi drawings more technically accurate, Beatrix not only produced beautiful watercolors but also became an adept scientific illustrator. By 1896, she had developed her own theory of how fungi spores reproduced and wrote a paper, ‘On the Germination of the Spores of Agaricineae’, which was initially rejected by William Thiselton-Dyer, director of the Royal Botanical Gardens. Undeterred, Beatrix continued her research, and after a year George Massee, a fungi expert who worked at the Kew gardens, agreed to present her paper to the Linnean Society of London, as women at that time were not permitted to do so. Although the paper was never published, scientists still recognize her contribution to mycological research today. Long before she was a published author, Beatrix Potter drew illustrations for some of her favorite stories, including Alice’s Adventures in Wonderland and Cinderella, as well as her sketches from nature. Her imaginative art led to the publication of her earliest works – greeting-card designs and illustrations for the publisher Hildesheimer & Faulkner. There followed more publications, including a series of frog illustrations and verses for Changing Pictures, a popular annual offered by the art publisher Ernest Nister, which cemented Beatrix’s desire to publish her own illustrated stories. Potter first tasted success as an illustrator, selling some of her work to be used for greeting cards. The story was inspired by a pet rabbit Potter had as a child, which she named Peter Piper. Yes, there was a real Peter Rabbit. He was a Belgian buck rabbit named Peter Piper. He was actually the second rabbit that Potter kept as a pet—the first was Benjamin Bouncer, who was the inspiration for Benjamin Bunny. They were part of a menagerie of animals that Potter and her brother adopted as children, which also included birds, lizards, mice, snakes, snails, guinea pigs, bats, dogs, cats, and even hedgehogs. Potter was especially fond of Peter Piper, and would take him on walks on a leash. She later described in a letter how he liked to lie in front of the fire “like a cat. He was clever at learning tricks, he used to jump through a hoop, and ring a bell, and play the tambourine.” In one of her personal editions of Peter Rabbit, Potter wrote an inscription dedicated to “poor old Peter Rabbit, who died on the 26th of January 1901. … An affectionate companion and a quiet friend.” Through the 1890s, Potter sent illustrated story letters to the children of her former governess, Annie Moore. The first Peter Rabbit story, The Tale of Peter Rabbit, was originally created in 1893, when Potter was 26 years of age, sent a letter to Noel Moore, the five-year-old son of Potter's former governess, Annie Moore. The boy was ill and Potter wrote him a picture and story letter to help him pass the time and to cheer him up. The letter included sketches illustrating the narrative. Transcript Eastwood Dunkeld Sep 4th 93 My dear Noel, I don't know what to write to you, so I shall tell you a story about four little rabbits whose names were – Flopsy, Mopsy, Cottontail and Peter. They lived with their mother in a sand bank under the root of a big fir tree. "Now my dears," said old Mrs Bunny "you may go into the field or down the lane, but don't go into Mr McGregor's garden." Flopsy, Mopsy & Cottontail, who were good little rabbits went down the lane to gather blackberries, but Peter, who was very naughty ran straight away to Mr McGregor's garden and squeezed underneath the gate. First he ate some lettuce, and some broad beans, then some radishes, and then, feeling rather sick, he went to look for some parsley; but round the end of a cucumber frame whom should he meet but Mr McGregor! Mr McGregor was planting out young cabbages but he jumped up & ran after Peter waving a rake & calling out "Stop thief"! Peter was most dreadfully frightened & rushed all over the garden, for he had forgotten the way back to the gate. He lost one of his shoes among the cabbages and the other shoe amongst the potatoes. After losing them he ran on four legs & went faster, so that I think he would have got away altogether, if he had not unfortunately run into a gooseberry net and got caught fast by the large buttons on his jacket. It was a blue jacket with brass buttons, quite new. Mr McGregor came up with a basket which he intended to pop on the top of Peter, but Peter wriggled out just in time, leaving his jacket behind, and this time he found the gate, slipped underneath and ran home safely. Mr McGregor hung up the little jacket & shoes for a scarecrow, to frighten the blackbirds. Peter was ill during the evening, in consequence of overeating himself. His mother put him to bed and gave him a dose of camomile tea, but Flopsy, Mopsy, and Cottontail had bread and milk and blackberries for supper. I am coming back to London next Thursday, so I hope I shall see you soon, and the new baby. I remain, dear Noel, yours affectionately Beatrix Potter After Potter sent the Moore children (including Noel's siblings Norah and Eric) two more illustrated letters, one about a squirrel named Nutkin and another about a frog named Jeremy Fisher, the children's mother, Annie, suggested she turn them into children’s books. In 1900, Moore, realizing the commercial potential of Potter's stories, suggested they be made into books. Potter embraced the suggestion, and, borrowing her complete correspondence (which had been carefully preserved by the Moore children), selected a letter written on 4 September 1893 to five-year-old Noel that featured a tale about a rabbit named Peter. Potter biographer Linda Lear explains: "The original letter was too short to make a proper book so [Potter] added some text and made new black-and-white illustrations...and made it more suspenseful. These changes slowed the narrative down, added intrigue, and gave a greater sense of the passage of time. Then she copied it out into a stiff-covered exercise book, and painted a colored frontispiece showing Mrs Rabbit dosing Peter with camomile tea". Potter’s beautiful illustrations came from her interest in the natural world. As a child, she would draw and sketch animals around her with a sharp, observing eye. She could be quite ruthless about it, in fact. When a pet died, she would skin and boil its body so she could use the skeleton for anatomical sketches. She studied the plant world as well, producing over 300 paintings of mushrooms by 1901. (Her study of mushrooms led Potter to submit a paper on spore reproduction to the Linnean Society of London. But it had to be read by botanist George Massee because women weren't allowed at the meetings.) All this practice and close observation led to her elegant style, where animals look real even though they’re wearing top hats and petticoats. As Lear explains, Potter titled The Tale of Peter Rabbit and Mr. McGregor's Garden and sent it to publishers, but "her manuscript was returned ... including Frederick Warne & Co. ... who nearly a decade earlier had shown some interest in her artwork. Some publishers wanted a shorter book, others a longer one. But most wanted colored illustrations which by 1900 were both popular and affordable". The several rejections were frustrating to Potter, who knew exactly how her book should look (she had adopted the format and style of Helen Bannerman's Little Black Sambo) "and how much it should cost". She decided to publish the book herself, and on 16 December 1901 the first 250 copies of her privately printed The Tale of Peter Rabbit were "ready for distribution to family and friends". So Potter reworked Peter Rabbit, doubling its length and adding 25 new illustrations. Six publishers rejected the story, in part because they didn’t agree with Potter’s vision for the work. She wanted the book to be small for children’s hands, and the publishers wanted it to be bigger, and therefore more expensive. Potter refused, explaining that she would rather make two or three books costing 1 shilling each than one big book because “little rabbits cannot afford to spend 6 shillings on one book, and would never buy it.” In December 1901, she self-published Peter Rabbit. The 200 copies sold out in a few months and she ordered a reprint. Meanwhile, Potter continued to distribute her privately printed edition to family and friends, with the celebrated creator of Sherlock Holmes, Arthur Conan Doyle, acquiring a copy for his children. When the first private printing of 250 copies was sold out, another 200 were prepared. She noted in an inscription in one copy that her beloved pet rabbit Peter had died. To help Peter Rabbit get published, a friend rewrote it as a poem. While Potter was self-publishing, Canon Rawnsley, a family friend, rewrote the story in rhyming couplets in an attempt to get publishers interested again. His version began: “There were four little bunnies/ no bunnies were sweeter/ Mopsy and Cotton-tail,/ Flopsy and Peter.'' Rawnsley submitted his text with Potter’s illustrations to the publishers Frederick Warne & Co. They agreed to publish the book, but with one stipulation—they wanted to use Potter’s simpler language. In 1901, as Lear explains, a Potter family friend and sometime poet, Canon Hardwicke Rawnsley, set Potter's tale into "rather dreadful didactic verse and submitted it, along with Potter's illustrations and half her revised manuscript, to Frederick Warne & Co.," who had been among the original rejecters. Warne editors declined Rawnsley's version "but asked to see the complete Potter manuscript" – Warne wanted color illustrations throughout the "bunny book" (as the firm referred to the tale) and suggested cutting the illustrations "from forty-two to thirty-two ... and marked which ones might best be eliminated". Potter initially resisted the idea of color illustrations, but then realized her stubborn stance was a mistake. She sent Warne "several color illustrations, along with a copy of her privately printed edition" which Warne then handed to their eminent children's book illustrator L. Leslie Brooke for his professional opinion. Brooke was impressed with Potter's work. Fortuitously, his recommendation coincided with a sudden surge in the small picture-book market. Their interest stimulated by the opportunity The Tale of Peter Rabbit offered the publisher to compete with the success of Helen Bannerman's wildly popular Little Black Sambo and other small-format children's books then on the market. When Warne inquired about the lack of colour illustrations in the book, Potter replied that rabbit-brown and green were not good subjects for coloration. Potter arrived at an agreement with Warne for an initial commercial publication of 5,000 copies. Negotiations dragged on into the following year, but a contract was finally signed in June 1902. Potter was closely involved in the publication of the commercial edition – redrawing where necessary, making minor adjustments to the prose and correcting punctuation. The blocks for the illustrations and text were sent to printer Edmund Evans for engraving, and she made adjustments to the proofs when she received them. Lear writes that "Even before the publication of the tale in early October 1902, the first 8,000 copies were sold out. By the year's end there were 28,000 copies of The Tale of Peter Rabbit in print. By the middle of 1903 there was a fifth edition sporting colored end-papers ... a sixth printing was produced within the month"; and a year after the first commercial publication there were 56,470 copies in print. Over the years, The Tale of Peter Rabbit has sold more than 40 million copies worldwide and as of 2008, the Peter Rabbit series has sold more than 151 million copies in 35 languages. Peter Rabbit made his first appearance in 1902 in The Tale of Peter Rabbit. The story focuses on a family of anthropomorphic rabbits. The widowed mother rabbit cautions her young against entering the vegetable garden of a man named Mr. McGregor, telling them: "your Father had an accident there; he was put in a pie by Mrs. McGregor". Her three daughters obediently refrain from entering the garden, going down the lane to pick blackberries, but her rebellious son Peter enters the garden to snack on some vegetables. Peter ends up eating more than is good for him and goes looking for parsley to cure his stomach ache. Peter is spotted by Mr. McGregor and loses his jacket and shoes while trying to escape. He hides in a watering can in a shed, but then has to run away again when Mr. McGregor finds him, and ends up completely lost. After sneaking past a cat, Peter sees the gate where he entered the garden from a distance and heads for it, despite being spotted and chased by Mr. McGregor again. With difficulty he wriggles under the gate, and escapes from the garden, but he spots his abandoned clothing being used to dress Mr. McGregor's scarecrow. After returning home, a sick Peter is sent to bed by his mother, while his well-behaved sisters receive a sumptuous dinner of milk and berries as opposed to Peter's supper of chamomile tea. In The Tale of Benjamin Bunny, first published in 1904, Peter's cousin Benjamin Bunny brings him back to Mr. McGregor's garden and they retrieve the clothes Peter lost in The Tale of Peter Rabbit. But after they gather onions to give to Josephine, they are captured by Mr. McGregor's cat. Bouncer arrives and rescues them, but also reprimands Peter and Benjamin for going into the garden by whipping them with a switch. In this tale, Peter displays some trepidation about returning to the garden. In The Tale of The Flopsy Bunnies, first published in 1909, Peter has a small role and appears only briefly. He is grown up and his sister Flopsy is now married to their cousin Benjamin. The two are the parents of six little Flopsy Bunnies. Peter and Josephine keep a nursery garden[a] and the bunnies come by asking him for spare cabbage. In The Tale of Mr. Tod, first published in 1912, Benjamin and Flopsy's children are kidnapped by notorious badger Tommy Brock. Peter helps Benjamin chase after Brock, who hides out in the house of the fox, Mr. Tod. Mr. Tod finds Brock sleeping in his bed and as the two get into a scuffle, Peter and Benjamin rescue the children. Peter makes cameo appearances in two other tales. In The Tale of Mrs. Tiggy-Winkle, first published in 1905, Peter and Benjamin are customers of Mrs. Tiggy-Winkle, a hedgehog washerwoman. The two rabbits are depicted in one illustration peeping from the forest foliage. In The Tale of Ginger and Pickles, first published in 1909, Peter and other characters from Potter's previous stories make cameo appearances in the artwork, patronising the shop of Ginger and Pickles. To mark the 110th anniversary of the publication of The Tale of Peter Rabbit, Frederick Warne & Co. commissioned British actress Emma Thompson to write The Further Tale of Peter Rabbit, in which Peter ends up in Scotland after accidentally hitching a ride on Mr. and Mrs. McGregor's wagon. The book was released on 18 September 2012. In autumn 2012, it was reported that Thompson would write more Peter Rabbit books. Her next tale, The Christmas Tale Of Peter Rabbit, was released in 2013, followed by The Spectacular Tale Of Peter Rabbit in 2014. “Once upon a time there was a serious, well-behaved young black cat, it belonged to a kind old lady who assured me that no other cat could compare with Kitty.” Thus begins the newly discovered children’s story by renowned British author Beatrix Potter. In 2016, Beatrix Potter fans received welcome news. A previously unpublished story, The Tale of Kitty-in-Boots, would be making its way to bookstore shelves that fall. An unedited manuscript for the work had been discovered by children's book editor Jo Hanks. Potter had only done one illustration for the book so Quentin Blake created the images to accompany this tale. Peter is said to be in the newly rediscovered book, The Tale of Kitty-in-Boots. According to the publisher, Peter is now older, “full-of-himself” and has “transformed into a rather portly buck rabbit." Now, Penguin Random House has announced the story, which was written over a century ago, will be published in September, 2016, in conjunction with celebrations being planned to celebrate the 150-year anniversary of Potter’s birth. ‘The Tale of Kitty-In-Boots’ tells the story of a cat who’s leading a double life. Jo Hanks, a publisher with Penguin Random House, discovered the 1914 manuscript two years ago after he came across a mention of it in an obscure literary history of Potter which sent him to London’s Victoria and Albert Museum and knee-deep into the Potter archives. It appears the author was intending to publish the story; she had written and revised it twice, and after rewriting it for a third time she had it typeset. The author had even begun the process of laying out a proof dummy. The only thing left were the illustrations. Then life interrupted her; World War I started, a new marriage and a new farming business among her distractions. Whatever the reason, she never completed the manuscript, which has been described as possibly her best work – filled with humor, rebellious characters and even a couple of intriguing villains. Some old favorites also make an appearance; Peter Rabbit of course, although older, and everyone’s favorite hedgehog: Mrs Tiggywinkle. The author had completed just one drawing to accompany the story, so Quentin Blake, who provided the illustrations for Roald Dahl’s books, has been selected to complete the illustrations for The Tale of Kitty-In-Boots. Merchandising Peter Rabbit was the first character to be fully merchandised, and it was Beatrix Potter’s idea. In 1903, seeing the popularity of Peter Rabbit, she began to sew a doll version for Warne’s niece, writing, “'I am cutting out calico patterns of Peter, I have not got it right yet, but the expression is going to be lovely; especially the whiskers—(pulled out of a brush!)” She patented the doll, making Peter Rabbit the oldest licensed character. Potter was one of the first to be responsible for such merchandise when she patented a Peter Rabbit doll in 1903 and followed it almost immediately with a Peter Rabbit board game. She also invented a Peter Rabbit board game for two players in 1904, a complex version of which was redesigned by Mary Warne and came to market thirteen years later. In addition to toys and games, Beatrix published books, including Peter Rabbit’s Almanac and painting books for Peter Rabbit and Jemima Puddle-duck. She felt passionately that all merchandise should remain faithful to her original book illustrations and be of the highest quality. The merchandising helped make Peter Rabbit into a popular icon and turned The World of Beatrix Potter into one of the biggest literature-based licensing organizations of its day. The character has been depicted in a multitude of spinoff merchandise such as porcelain figurines and dishes. Peter Rabbit had also appeared on the packaging of the infant formula Enfamil. Frederick Warne & Co owns the trademark rights of the Beatrix Potter characters. However, most of the stories are in the US public domain, as they were published before 1923. American copyright Warne's New York office "failed to register the copyright for The Tale of Peter Rabbit in the United States", and unlicensed copies of the book "(from which Potter would receive no royalties) began to appear in the spring of 1903. There was nothing anyone could do to stop them". To her dismay, the firm failed to register copyright in the United States, leading to piracies and loss of revenue. Although she helped save the company in 1917, after embezzlement by another Warne brother nearly bankrupted it, she scolded them on quality, condemning a copy of Peter Rabbit’s Almanac for 1929 as “wretched.” She wrote sharply, “It is impossible to explain balance & style to people, if they don’t see it themselves.” While she enthusiastically crafted her own unique merchandise prototypes — including an extraordinarily soulful Peter Rabbit doll — she could have had no idea of the extent of commodification to come. The enormous financial loss ... [to Potter] only became evident over time", but the necessity of protecting her intellectual property hit home after the successful 1903 publication of The Tale of Squirrel Nutkin when her father returned from Burlington Arcade in Mayfair at Christmas 1903 with a toy squirrel labelled "Nutkin". Potter asserted that her tales would one day be nursery classics, and part of the "longevity of her books comes from strategy", writes Potter biographer Ruth MacDonald. She was the first to exploit the commercial possibilities of her characters and tales; between 1903 and 1905 these included a Peter Rabbit stuffed toy, an unpublished board game, and nursery wallpaper. Considerable variations to the original format and version of The Tale of Peter Rabbit, as well as spin-off merchandise, have been made available over the decades. Variant versions include "pop-ups, toy theaters, and lift-the-flap books". By 1998, modern technology had made available "videos, audio cassette, a CD-ROMs, a computer program, and Internet sites", as described by Margaret Mackey writing in The case of Peter Rabbit: changing conditions of literature for children. She continues: "Warne and their collaborators and competitors have produced a large collection of activity books and a monthly educational magazine". A plethora of other Peter Rabbit related merchandise exists, and "toy shops in the United States and Britain have whole sections of [the] store specially signposted and earmarked exclusively for Potter-related toys and merchandise". Unauthorized copying of The Tale of Peter Rabbit has flourished over the decades, including products only loosely associated with the original. In 1916, American Louise A. Field cashed in on the popularity by writing books such as Peter Rabbit Goes to School and Peter Rabbit and His Ma, the illustrations of which showed him in his distinctive blue jacket. In an animated movie by Golden Films, The New Adventures of Peter Rabbit, "Peter is given buck teeth, an American accent and a fourth sister Hopsy." Another video "retelling of the tale casts Peter as a Christian preacher singing songs about God and Jesus." The Peter Rabbit (rather than other Beatrix Potter characters) stories and merchandise are very popular in Japan: many Japanese visit the Lake District after becoming familiar with Potter's work at an early age at school. There is an accurate replica of Potter's house and a theme park in Japan, and a series of Mr McGregor's gardens in one of the largest banks. Merchandisers in Japan estimate that 80% of the population have heard of Peter Rabbit. In 2016, Peter Rabbit and other Potter characters appeared on a small number of collectors' 50p UK coins. Movie Adaptations In 1938, shortly after the success of Snow White and the Seven Dwarfs, Walt Disney became interested in making an animated film based on The Tale of Peter Rabbit. Potter refused. Some accounts say this was because she wanted to remain in control of the rights to her work. Others suggest that she didn’t think her drawings were good enough for large-scale animation, which she thought would reveal all their imperfections. However, most likely Beatrix Potter refused to give the rights to Disney because of marketing issues. In 1935, the story was loosely adapted in the Merrie Melodies short film, Country Boy. It shows some modifications in relation to Beatrix Potter's original story, most notably the Rabbit family surname is changed to "Cottontail" and Peter having two brothers and a sister rather than 3 sisters. In 1971, Peter Rabbit appeared as a character in the ballet film The Tales of Beatrix Potter. In late 1991, HBO aired an animated musical adaptation of The Tale of Peter Rabbit, narrated by Carol Burnett, as part of the network's Storybook Musicals series, which was later released to VHS by Family Home Entertainment under HBO license. Several of the stories featuring Peter Rabbit were also animated for the 1992 BBC anthology series, The World of Peter Rabbit and Friends and two edutainment titles published by Mindscape The Adventures of Peter Rabbit & Benjamin Bunny in 1995 and Beatrix Potter: Peter Rabbit's Math Garden in 1996. Both of which have since been released on VHS and DVD. In 2006, Peter Rabbit was heavily referenced in a biopic about Beatrix Potter entitled Miss Potter. In December 2012, a new CGI-animated children's TV series titled Peter Rabbit premiered on Nickelodeon, with a full series run beginning in February 2013. Peter was voiced by Colin DePaula throughout Season 1 and recanted by L. Parker Lucas for Season 2 in the US version. In the U.K. version he is voiced by Connor Fitzgerald. Also in 2012, Quantum Theater produced a new stage adaptation of the tales of Peter Rabbit and Benjamin Bunny. Written by Michael Whitmore the play toured the UK until 2015. More recently, John Patrick is adapting a number of Beatrix Potter's tales into an upcoming live-action/animated musical feature film for his brand-new film studio, called Storybook Studio. The film will be titled Beatrix Potter's The Tales of Peter Rabbit and Friends. One of the stories adapted for the film is The Tale of Peter Rabbit. Peter will be voiced by child actress Sienna Adams. John Patrick has released a preview clip of the film to YouTube. An animated/live-action adaptation, Peter Rabbit, produced by Sony Pictures Animation, is scheduled to be released on 9 February 2018. James Corden will voice Peter Rabbit and Rose Byrne will star in the live-action role of the lead female named Bea. Other cast members include Margot Robbie, Daisy Ridley and Elizabeth Debicki. Will Gluck is directing and producing the film and Zareh Nalbandian is also producing, while Lauren Abrahams is overseeing the project for Sony Pictures Animation. Peter Rabbit's feud with Mr. McGregor reaches new heights as both compete for the affections of a kind animal lover who lives next door. Cast Domhnall Gleeson as Mr. Thomas McGregor, a farmer and exterminator who seeks to be rid of Peter Rabbit and his mischievous acts. Rose Byrne as Bea, a kind animal lover who Thomas meets next door. Sam Neill as Old Farmer McGregor. The film is scheduled to be released on February 9, 2018. The Lake District When Peter Rabbit came out, Potter was 36 years old. She worked closely with her editor, Norman Warne, on it and several other books. The two became very close and in July 1905, Warne proposed marriage, even though Potter’s parents objected to his social position. They didn’t want their upper-class daughter to marry a man who worked in a “trade.” Still, Potter accepted his proposal. One month later, Warne fell sick and died of a blood disorder that was probably un-diagnosed leukemia. She bought Hill Top Farm in the Lake District that same year and there she wrote such books as The Tale of Tom Kitten (1907) and The Tale of Samuel Whiskers (1908). Beatrix loved the Lake District, and it became her solace after the death of her beloved Norman. Afterward, Potter remained unmarried for many years. Finally, in 1913, she married William Heelis, a lawyer. Her family objected to him, too. Income from her books enabled her to invest in farmland, including Hill Top Farm, which would become a feature in many of her tales. As she invested in the Lake District, she developed a relationship with William Heelis, a local solicitor who assisted her property dealings. William proposed to Beatrix in 1912, and they were married in London the following year. In 1913, Potter married local lawyer William Heelis. She only produced a few more books after tying the knot. Potter published The Fairy Caravan in 1926, but only in the United States. She thought the book was too autobiographical to be released in England. The Tale of Little Pig Robinson (1930) proved to be her final children's book. They lived together at Castle Cottage in their beloved Lake District until her death in 1943. Beatrix was a staunch supporter of the National Trust, having been impressed on meeting its founder Hardwicke Rawnsley from her first visit to the Lake District at sixteen. She followed its principles in preserving her buildings and farms in keeping with the rural culture of the area, and she saved many farms from developers. Instead of writing, Potter focused much of her attention on her farms and land preservation in the Lake District. She was a successful breeder of sheep and well regarded for her work to protect the beautiful countryside she adored. During her lifetime, Beatrix bought fifteen farms and took a very active part in caring for them. Dressed in clogs, shawl and an old tweed skirt, she helped with the hay-making, waded through mud to unblock drains, and searched the fells for lost sheep. Beatrix bred Herdwick sheep on her farms in the Lake District, and said she was at her happiest when she was with her farm animals. She won a number of prizes for her sheep at local shows, and became the first elected female President of the Herdwick Sheep Breeders’ Association in 1943. Legacy Beatrix died in 1943 Potter died on December 22, 1943, in Sawrey, England. In her will, she left much of her land holdings to the National Trust to protect it from development and to preserve it for future generations. leaving fifteen farms and over four thousand acres of land to the National Trust. In accordance with her wishes, Hill Top Farm was kept exactly as it had been when she lived in it, and receives thousands of visitors every year. Potter also left behind a mystery—she had written a journal in code. The code was finally cracked and the work published in 1966 as The Journal of Beatrix Potter. To this day, generation after generation are won over by her charming tales and illustrations. After Potter died in 1943 at the age of seventy-seven, Warne cast itself as the guardian of her legacy. But eventually the guardian began behaving badly, seeking to wring profits from its most famous long-eared property. In 1983, Warne was acquired by Penguin, itself owned by the international conglomerate Pearson, the largest book publisher in the world. Then, as scholar Margaret Mackey chronicles in The Case of Peter Rabbit: Changing Conditions of Literature for Children, Warne embarked on the expensive process of remaking printing plates for Potter’s books. While the new reproductions were a welcome improvement, Warne festooned them with what Mackey terms “aggressive” assertions of copyright, although Peter was already in the public domain. (In the UK, copyright protection lapsed but was then extended until 2013 when the European Union “harmonized” copyright law.) Warne seized on its “re-originated” illustrations to declare itself “owner of all rights, copyrights and trademarks in the Beatrix Potter character names and illustrations,” going so far as to attach a “tm” to the scampering Peter on the cover. Back in 1979, the publisher had sued a competitor, claiming trademark rights to eight images from Potter’s books that, it argued, were identified in the public mind with Warne alone. The case was settled out of court, but Viva R. Moffat, a legal scholar who teaches at the University of Denver, has called Warne’s claims (in a paper on “Mutant Copyrights”) a “stretch.” Warne has applied for trademarks in the US, and in the EU for every imaginable Peter Rabbit–related item that might feasibly be sold, from “books and texts in all media” to “toilet seat covers” and “meat extracts.” Moffat assails the practice of forcing trademarks to pinch-hit for lapsed copyright, while another legal expert, Jason Mazzone (who teaches intellectual property law at Brooklyn Law School), defines the placement of misleading warnings on public domain works as “copyfraud” in his book by the same name. Warne’s zealous pursuit of its rights has not deterred it from crass acts of its own. In 1987, the same year it published its painstakingly remade edition, the firm allowed Ladybird Books, a purveyor of cheap paperbacks owned by the parent company, Pearson, to market The Tale of Peter Rabbit with bowdlerized text, eliminating Potter’s dry wit, dispensing with the pie made of Peter’s father (Mrs. Rabbit instead explains that Mr. McGregor just “doesn’t like rabbits”), and replacing Potter’s illustrations with photos of stuffed animals. Warne was excoriated in The Times of London, which condemned the new edition as “Hamlet without the ghost, Othello without the handkerchief.” Undaunted, a few years later Warne took out an advertisement in The Bookseller — “Peter Rabbit Packs a Powerful Punch” — threatening those who wandered into its garden with “expensive legal action” One last question: why do so many Japanese tourists visit Potter's Lakeland cottage? According to the man from the Cumbrian tourist board interviewed on Radio 5 earlier this week, it is because Japanese children use her books to learn English. I love the idea of a nation mislearning another through such a distorting lens. To the people of Japan, I say this: your delightfully outré Edwardian syntax will do you no good in modern Britain, nor will your bizarre Potterian ideas about our dress codes and ethical views http://mentalfloss.com/article/75173/9-facts-about-peter-rabbit https://www.peterrabbit.com/about-beatrix-potter/ http://www.hbook.com/2013/05/choosing-books/horn-book-magazine/peter-rabbit-and-the-tale-of-a-fierce-bad-publisher/ http://www.lettersofnote.com/2012/04/tale-of-peter-rabbit.html https://www.biography.com/people/beatrix-potter-9445208 https://www.theguardian.com/books/2006/dec/07/booksforchildrenandteenagers http://www.newhistorian.com/peter-rabbit-returns-for-potters-150th-birthday/5869/ https://en.wikipedia.org/wiki/Peter_Rabbit_(film)   © Copyrighted

We take trips to Scotland and Venice and discover that there is a level of horror in being an outsider in a strange land.  Sergio's Patreon Pick launched us into a double feature of British films from 1973 - The Wicker Man and Don't Look Now! Sources for this episode: The Wicker Man (1973) "The Wicker Man (1973) - Defining of the Folk Horror" by Adam Scovell, Celluloid Wicker Man "Schlock & Awe: The Wicker Man Makes Hippies Seem Real Scary" by Kyle Anderson, Nerdist The Wicker Image Don't Look Now (1973) Director commentary, Criterion Collection "Don't Look Now: Looking Back", Criterion Collection featurette "Something Interesting", Criterion Collection featurette "Nicolas Roeg: The Enigma of Film", Criterion Collection featurette "Ophelia" by John Everett Millais      

Hipparchus (ΙΠΠΑΡΧΟΣ) may not have been written by Plato. The dialogue discusses whether iniquitous gain is really gain at all. Translated by George Burges. Painting: The Ransom by John Everett Millais.

Effie Gray - (2014) A look at the scandalous love triangle between Victorian art critic John Ruskin, his teenage bride Effie Gray, and Pre-Raphaelite painter John Everett Millais.

Effie Gray - (2014) A look at the scandalous love triangle between Victorian art critic John Ruskin, his teenage bride Effie Gray, and Pre-Raphaelite painter John Everett Millais.

Scritpure: Exodus 3 Paintings: On to Liberty by Theodor Kaufmann The Way They Live by Thomas Anshutz The Blind Girl by John Everett Millais

With Mark Lawson In Meryl Streep's latest film, Hope Springs, she and Tommy Lee Jones play a middle-aged couple whose marriage has become stale, after more than three decades together. They attend a series of therapy sessions in an attempt to revive their relationship. Writer and critic Gaylene Gould reviews. The work of the Pre-Raphaelite Brotherhood has been brought together in a major exhibition, for the first time in nearly 30 years. The show at Tate Britain aims to display the breadth, influence and radical intentions of the group, and includes major works by Dante Gabriel Rossetti, John Everett Millais and William Holman Hunt. Rossetti biographer Dinah Roe reviews. Daniel Evans, Artistic Director of Sheffield Theatres, discusses his new production of Macbeth and why he has no fear of saying the play's name. As a new documentary, released today, charts how independent record shops are disappearing from our high streets, David Hepworth recalls the very specific pleasures of hours spent flicking through the racks of LPs and singles. Producer Claire Bartleet.

With John Wilson. Paul McCartney discusses the art of classic song writing as he releases his 15th solo LP, Kisses on the Bottom - an album made up of songs McCartney grew up listening to, plus two originals. Lizzie Siddal was a Pre-Raphaelite supermodel and phenomenon - most recognisable as Ophelia in the painting by John Everett Millais. Ahead of the 150th anniversary of her death, John talks to Lizzie's biographer Lucinda Hawksley about her short life, punctuated with illness, addiction and tragedy. Hot on the heels of the Danish political drama series Borgen comes Inspector Montalbano, a crime series based on the Sicilian detective created by Italian writer Andrea Camilleri. Boyd Hilton, TV editor of Heat Magazine, gives the verdict - and considers the success of these Saturday-night Euro-dramas on BBC Four. Producer Katie Langton.

The final and 'most indispensable' founding principle of the Pre-Raphaelites was: "to produce thoroughly good pictures and statues". Derided by the establishment (including Charles Dickens) for producing art which was ugly and backward, the work of John Everett Millais, Dante Gabriel Rossetti...

Tue, 1 Sep 2009 12:00:00 +0100 http://epub.ub.uni-muenchen.de/11298/ http://epub.ub.uni-muenchen.de/11298/1/Putz_Nele.pdf Putz, Nele Martina Putz, Nele Martina (01. September 2009): Demokratisierung des Luxus in der Malerei des späten 19. Jahrhunderts. Portrait und Genre bei John Everett Millais. Magisterarbeit, LMU München: Geschichts- und Kunstwissenschaften, 31 Geschichts- und kunstwissenschaftliche Beiträge, Kunstgeschichte, Geschichts- und Kunstwissenschaften

Jason Rosenfeld, Associate Professor at Marymount Manhattan College, New York and co-curator of Millais, reveals the curatorial thinking behind the exhibition as he explores John Everett Millais’s career, from his early academic paintings to his magnifice

Alan Morrison, Principal Lecturer at the Department of English, University of Westminster, examines the illustrations John Everett Millais made for a volume of Alfred Tennyson’s poems and his use of other literary subject matter, and relates these to the

Despite entering the Royal Academy as its youngest ever student and ending his career as its president, John Everett Millais’s attitude to the ‘establishment’ of British art was at times considered rebellious. Art historian Colin Cruise considers Millais’