Podcasts about John William Waterhouse

Have you ever felt drawn to someone who later revealed a manipulative or destructive side? This episode is dedicated to understanding and avoiding narcissistic individuals in your life. Join us as we speak with Dr. Sarah Schewitz, a Licensed Psychologist and Founder of Couples Learn, who specializes in helping people build healthy relationships. We'll explore the subtle qualities that attract narcissistic individuals and, more importantly, learn how to identify red flags early on. Dr. Sarah will equip you with actionable strategies to recognize these traits and protect yourself from emotional harm. This episode cuts through the noise of pop psychology, offering research-backed insights to help you discern fact from fiction. You'll gain valuable tools to establish healthy boundaries and prioritize your well-being. Dr. Sarah Schewitz is particularly skilled at helping high-achieving founders, CEOs, and creatives maintain fulfilling relationships alongside their demanding careers. Her expertise has been featured in Forbes, CNN, The Washington Post, and more, making this an essential listen for anyone seeking to protect themselves from narcissistic relationships.   Topics covered: narcissism, narcissistic abuse, avoiding narcissists, relationship red flags, relationship boundaries, Dr. Sarah Schewitz, Couples Learn, healthy relationships, relationship advice, emotional manipulation, high-achievers, CEOs, founders, creatives, relationship patterns, relationship success, relationship therapy, emotional intelligence, communication skills   Painting: © Echo and Narcissus, John William Waterhouse, 1903. Connect with Dr. Sarah Schewitz at https://coupleslearn.com to learn more   Video link: https://youtu.be/rL4QHwxe44Q     Did you enjoy this episode and would like to share some love?  

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Echo und Narziss“ von John William Waterhouse aus dem Jahr 1903, in dem zwei junge Menschen nur von einem Bach getrennt werden – und doch nichts miteinander anfangen können.

EI's Paul Lay and Alastair Benn discuss an attention dilemma that has haunted western thought for centuries. READING LIST Our attention dilemma is age-old | Alastair Benn Epistulae Morales ad Lucilium | Seneca The Essays of Michel de Montaigne Don Quixote | Miguel de Cervantes Engelsberg Ideas is funded by the Axel and Margaret Ax:son Johnson Foundation for Public Benefit. EI Talks... is hosted by Paul Lay and Alastair Benn. The sound engineer is Gareth Jones. Image: Detail from Echo and Narcissus by John William Waterhouse, 1903. Credit: SuperStock / Alamy Stock Photo

Kako lahko povežemo posameznikovo in družbeno samozagledanost, arhaične in bolj sodobne mitološke ter umetniške različice, v katerih je naslovni lik Narcis, ter avtofikcijsko literaturo?  Živimo v času, ki je poln narcisov, polno je naracij o samem sebi. Mnogi sebe, predvsem s pojavom socialnih omrežij, razkazujejo in razstavljajo, kot bi bili v nekakšnih vitrinah. Zato nas zanima, ali so mitološke podobe antike, ki hranijo izrazoslovje za zelo sodobne pojave razgaljanja in samoljubja, sploh ustrezne za razumevanje narcistične družbe? Kaj je sploh skupno mitologiji in psihološkim fenomenom sedanjosti, ali je je mitološki narcis sploh narcističen, je v družbi narcisov ljubezen sploh mogoča?V oddaji Kulturni fokus bomo na temelju knjige Massima Guastelle: Narcis. Ljubezen brez distance brodolomi, ki jo je prevedel prav dr. Mirt Komel, ki je gost oddaje, poskušali dojeti bolj globoke razsežnosti, v katerih so morda skriti odgovori na aktualne vidike razumevanja mita o Narcisu.Komel razmišlja tudi o tesnih okovih svobode in omejenosti sreče, ki sta lahko produkt prevelike zazrtosti vase. Tudi na literarnem področju se je razmahnil žanr avtofikcije, kar kaže na zelo narcistično razumevanje literature. Foto: WikipediaEcho And Narcissus, John William Waterhouse

In this episode, the Muses have decreed that we'll be looking at stories of heroes who were exiled from their homes and had to fight to regain what they had lost. There are a lot of epic tales that feature this theme, and it provides a great opportunity to send the hero on some sort of journey, where they can encounter monsters and challenges and all the exciting conflicts that make a story! We'll start with Sundiata Keita, a hero of the Mandinka people, and then explore a few other heroes from around the world. All stories told on Myths & Muses are original family-friendly adaptations of ancient myths and legends. Stories from ancient mythology can also sometimes deal with complicated topics for young listeners — to the mortal parents and caretakers reading this, we encourage listening along with your young demigods to help them navigate those topics as they explore these epic tales. Transcript for Comeback Kids Episode 2 If you'd like to share your Comeback Kids story with us, get a Mortal Guardian to help you record it here! If you'd like to submit something creative you've done inspired by the stories in Myths & Muses, use this form (with a Mortal Guardian's permission!). ----more---- Stuff to Read:  Sundiata:  "The true story behind The Lion King" from the Washington Post Sundiata Keita at World History Encyclopedia and National Geographic Education Some information on Sundiata's descendant, Mansa Musa: National Geographic Education and the BBC Robin Hood:  The Robin Hood Project - A compendium of many, many original sources, but also has short summaries for each character The Merry Adventures of Robin Hood by Howard Pyle - The Victorian text that is the source for most modern interpretations of the character. The Mahabharata:  A summary from Owlcation An in-depth look at its history and context from World History Encyclopedia Jason and Medea:  Jason and Medea from Mythopedia The quest for the Golden Fleece at Greek Mythology and World History Encyclopedia Stuff to Watch:   Learn more about the stories in this episode with our curated YouTube playlist! Cool Images:  Sundiata Keita by Carlos Varejão on ArtStation Sundiata Keita as he appears in the video game Civilization VI Some Victorian-era images of Robin Hood:  Reynard the Fox:  Disney's Robin Hood:  A Statue of Arjuna in Bali:  Karna and Arjuna (1899) Arjuna and a heavenly maiden (1900) Athena helping to build the Argo (1st century CE, Roman) Jason arriving in Pelias's palace (1st century AD, Roman) Medea by William Wetmore Story (1868) Jason and Medea by John William Waterhouse (1907) Poster for the 1963 film Jason and the Argonauts Jason battling skeletons in 1963's Jason and the Argonauts

Kathleen Parlow was one of the most outstanding violinists at the beginning of the 20th century. In 1912, she was signed by the Columbia Record Company in New York, and her first records for the U.S. label were brought out alongside those of the legendary Eugene Ysaÿe. Listen to her fascinating story and how she took the world by storm. From her devastating looks to the intrigue her priceless instrument created. You will hear rare recordings of this prodigious player as we retell her life and try to understand why such an incredible talent has been so forgotten today. Brought to you by Biddulph recordings   TRANSCRIPT   Kathleen Parlow Part 1  Welcome to this very first episode of the Historical Strings Recording Podcast.  A show that gives you a chance to hear rare and early recordings of great masters and their stories.  Hello, my name is Linda Lespets. I'm a violin maker and restorer in Sydney, Australia, and I'm also the host of another podcast called ‘The Violin Chronicles',  a show about the lives of historically important violin makers and their instruments. But today we have a different podcast and telling this incredible story with me is my co-host Eric Wen. Hello, my name is Eric Wen, and I'm the producer at Biddulph Recordings, which is a label that focuses upon reissuing historic recordings, particularly those by famous string players of the past.  I also teach at the Curtis Institute of Music in Philadelphia, where I've been for the past 24 years. In this first episode, we will be looking at an incredibly talented violinist called Kathleen Parlow, who, in her time, took Europe and the world by storm, giving even Fritz Kreisler a run for his money in the popularity department. She was described in the media as being ‘One of the phenomena of the musical world' on par with Mischa Elman, or the ‘greatest lady violinist in the world', and ‘the girl with the golden bow'.  She was treated with superstar status wherever she went, which begs the question as to why she is so little known today? Well, join us to discover her incredible story, the events of her career and her violin. A violin which would eventually financially ruin one man and divide his family. We will take a closer look at high hat kicking breakdancers, militant fascists, scandalous theatre directors, impossible love, a score ripping composer, and all this revolving around one of the world's most expensive violins and the incredible means one man went to get it into his hot little hands and then give it away. This is the story of Kathleen Parlow.  And all of the pieces you will be hearing in this podcast are of Kathleen Parlow playing her violin. Kathleen Parlow was born into a modest family in Calgary on the Canadian prairies in 1890.  Her mother, Minnie, was a violinist. So, at a young age at four, she gave her daughter a violin and started teaching her. When she was six years old, the family, Kathleen, Minnie, and her father, Charlie, they moved to San Francisco where her talent was immediately recognized. And well, this is probably because of the, the mom. And she was having lessons with her cousin called Conrad Coward in San Francisco.  Very soon, still aged six, she gave her first recital in San Francisco.  So is six, is six a reasonable age for a child to give a recital? What do you think? It's extremely young. In fact, that is truly prodigious. I mean, people don't even begin the violin till six and that's an early beginning of an instrument. Most people start around seven or eight, but to begin much earlier and to even be playing a concert at the age of six. That's really quite phenomenal. So with her burgeoning talent, she now started having lessons with Henry Holmes, who was a pupil of Louis Spohr, the well-known German composer and violinist. And he's a conductor and who he's the man who apparently invented the chin rest.  So where would we be without the chin rest, really? He's attributed with inventing it.  Well, Spohr was a fine violinist, German violinist. He was also a quite prominent composer. He was quite a conservative composer. So, I believe he wasn't that fond of the music of Beethoven. In other words, there were people like Spohr, Von Weber, and they represented a much more conservative branch of the sort of German composition.  of the German composers. And basically, they looked upon Beethoven as such a wild revolutionary in his music, so daring that I think they were almost a little offended by it. So Spohr, if you could say, is primarily a kind of conservative, very well-schooled, excellent composer. He wrote many, many violin concertos, the most famous of which is No. 8 in A minor, which is written in the form of an operatic scene. Full of violin solo recitatives and arias for the violin. Oh, wow. Yeah, that's interesting. So they were, there was like very shocked by Beethoven. They were, apparently. Was he a contemporary of Beethoven? Because I, because sometimes you go back pretty quickly, don't you? Like the teacher of the teacher of and all of a sudden you're in like the Well, Spohr was born 14, he's 14 years younger than Beethoven. Oh, okay. So, he was born in 1784, but he lived a lot longer. He lived over 20 years longer than Beethoven. Oh, wow. And that's fascinating. So, Henry Holmes, Kathleen Parlow's teacher, was taught by this guy who would have known Beethoven? Yes, absolutely. And objected to Beethoven.  Was shocked by his music. Well, I mean, I think sort of the, you might say the more mature Beethoven or the more daring Beethoven. But I think, you know, I'm sure maybe some of Beethoven's early works were much more acceptable. They were more normative, so to speak. Oh, okay.  So Kathleen's in San Francisco and her parents' marriage is breaking down. Her father, Charlie, moves back to Calgary where he dies of tuberculosis the year after. But Kathleen, she rockets on and is becoming more and more well known. Her new teacher sees real talent in the girl, and this teacher, Henry Holmes, he has contacts to make things happen. And he helps arrange a tour for her and playing engagements in England. So for this to happen, Kathleen's mum, she's, she's I'm getting stage mum vibes. Yes.  Because she's still very, still very young. Oh, yeah. I mean, I can't believe she wasn't playing with dolls.  And this would have been a conversation between Minnie, Kathleen's mum, and the teacher. It probably wouldn't have been a conversation with her as a child. No, probably not.  You don't really choose much when you're six, seven. No, that's true. So the problem they have is that they have no money. So, so what do you do, Eric? You have no money, you have a prodigy. You exploit the prodigy by having them play and make an income for you, which is something that happens unfortunately to many, many talented musicians coming from, you might say, less well-off families. They end up becoming the breadwinner. All their focus gets put upon these, these kids. And so not only do they have the added burden of playing and making sure they keep up They're playing well, but they also have the burden of making sure that they play well enough to make an income so that their families can survive. I mean, that's a very familiar story, and it's a story that has more failures than winners, I'm afraid, because you do hear about the winners. You do hear about the Misha Elmans or the Yasha. Well, Heifetz is a little different because he had a more middle-class family, but you do hear of Oskar Shumsky, for example, who I know I knew personally, he says, don't believe that these violence that you hear about having normal childhood behind every great violence, there's always a mama or a papa. And I think he himself endured that kind of pressure, the pressure to somehow become. The breadwinner, or let's say the some, the pressure to become a great violinist, primarily because he would serve as the breadwinner for the family. Well, if you think about it, you could say that.  Violin playing in the early 20th century was very dominated by Russians, particularly Russian Jews. And one of the reasons for that was that in Russia, all the Jews were confined to an area known as the Pale of Settlement.  In other words, a designated area that they could live in, but they could not leave that particular area. And basically, some very gifted young students could get into university or could go into a conservatory, and one of the big examples was Misha Elman, and Misha Elman, you might say left the Pale of Settlement to go study with Leopold Auer in St Petersburg. And they had to get all sorts of permission to do that. Well, the success of Misha Elman, the global success, the international success, I think resonated so well. with the people in the ghetto that they sort of saw, wow, this is one of our boys and look what he's done. He's now playing for the crowned heads of Europe. So I think for them, they felt this was a way out. And if you think about it, the film, Fiddler on the Roof,  which is a famous musical and it was adapted as a famous film. And basically, that film, just the very title, talks about the Fiddler on the Roof. And the setting is in the Pale of Settlement, the Jewish ghetto in Russia. They're often subjected to random attacks by the Cossacks and all sorts of difficulties. But here, despite all that, you know they manage to survive. And of course the image of the Fiddler on the Roof. The violinist is exemplified, you might say, by Misha Elman, who literally grew up in the Russian ghetto. Yeah, and Misha Elman, he'll, he'll become, he He'll become important in our story, yeah. The money. This is not a problem. There is a wealthy admirer called Harriet Pullman, Carolan, in San Francisco. And she pays for Kathleen and her mother to take the trip to England. And in 1904, at the age of 14, Kathleen plays for King Edward VII at Buckingham Palace. And then in the next year in 1905, she and her mother, they come back to England. This tour marks the beginning of a life that she would lead for years to come of performing and playing. And so by the time she was 15, she was touring and playing with the London Symphony. And it was in a concert at the Wigmore Hall in London that she really shoots to fame.  So is the Wigmore Hall, is that, is that still today an important place to play? Oh, extremely so. It's funny because the Wigmore Hall was originally called the Bechstein Hall, and obviously during the wars, it became a much more the name was more neutralized to become less dramatic, and it became named after the street it's on, which is Wigmore Street. It was always a very important venue, but around the sort of 60s In the 70s it had declined a bit in its status because the South Bank had been built and so the Wigmore Hall was a little bit relegated to a sort of a little second class status. But in the past 20 years or so the Wigmore Hall has catapulted to  fame again and it's today one of the most distinguished halls. In London. All right. Okay. And this is, this is pre war. So it's, it would have been called? Bechstein. Okay. So it would have been called the Bechstein Hall when she played? Probably. Oh yeah, definitely. So the Bechstein Hall was, I think first opened in 1901 and it was built by the piano manufacturers, the German manufacturers Bechstein, hence the name. And after the First World War, I believe it was changed to a more neutral sounding, less Germanic name, and it adopted the name of the street that it's currently on, which is Wigmore Street. Incidentally, the first concert at Wigmore Hall was actually performed, was a violin and piano recital, performed by Eugene Ysaye and Federico Busoni.  And then one night in London, Kathleen and her mother went to another concert of another child prodigy called Mischa Elman. And he was, so he's the fiddler on the roof guy, and he was almost exactly the same age as Kathleen. He was just a few months there's just a few months difference between them. And she, she hears him playing this concert and she's, she's just blown away. Blown away, and after the concert, she and her mother decide that Kathleen, she just has to go and have lessons from the same teacher as this, as this, as Mischa. So the only thing, only little thing about Mischa Elman's teacher is that he is in Russia. And as far as anyone knows, no foreigners study in the St. Petersburg Conservatorium, but that is about to change. Definitely no ladies. So, Kathleen and her mother had arrived in England with 300 raised by their church in San Francisco and this was, it just wasn't enough to get them to Russia and to the conservatorium where the famed Leopold Auer was a professor, but get there they would because Kathleen's mum, Minnie, still had a few tricks up her sleeve. She went and petitioned the Canadian High Commissioner.  So she must have been, I feel like Minnie, she must have been very persuasive. Like there was nothing was getting in between, you know, her daughter and this career. Forceful, a task to be reckoned with, certainly. Yeah. She's like we'll get to England, we have no money. Not a problem. We're gonna, we're gonna get this teacher. He's in Russia. Not a problem. No foreigners. It, you know, it doesn't, it doesn't seem to be a problem for her, no girls. Not a problem. No foreigner has ever studied in this St. Petersburg conservatorium. Not daunted. They're off. They go. So to pay the cost travel, Minnie managed to get a loan from Lord Strathconia, the Canadian high commissioner.  And from there, mother and daughter travelled to Russia. And in October of 1906, Kathleen becomes the first foreigner to attend the St. Petersburg Conservatorium. And in her class are 45 Students and she's the only girl. And we have to remember this is pre-revolutionary Russia. So there's still the Tsar Nicholas the second at this point. Yeah. She's mixing in, in that set. So it's an interesting place to be as a musician. Cause you're frequenting the sort of the upper classes but you can come from, from nothing and arrive there. Her professor was the famed teacher, Leopold Auer, who had a knack of discovering talent. Leopold Auer was actually a Hungarian violinist, and he was trained in Vienna, and he also studied with Joachim.  And what happened was Russia has always had a sort of love for the violin, and they employed many people to teach at the conservatory, because they really embraced Western culture. They had A number of important French violinists come, but their big, you might say, catch was to get Vieuxtemps, Henri Vieuxtemps,  to teach for a number of years at, in St. Petersburg. And after Henry Vieuxtemps, they actually got Henry Wieniawski to teach at the conservatory. And when Wieniawski decided to go back to Europe, they employed Leopold Auer to take his place at St Petersburg. Right. So he's up there with the big names. Well, they were a little bit let down. I mean, that's what they were, I think, a little bit disappointed to replace Wieniawski with Leopold Auer because Wieniawski was such a major violinist. So he had initially a little rough time, but he was adored by Tchaikovsky and Tchaikovsky loved Auer's playing, dedicated a number of works for him, including the famous serenade melancholic, and wrote a lot number of ballet scores, which Leopold Auer played the solos for. But of course, they had a big rift when Tchaikovsky wrote his violin concerto for Auer, because Auer said it was unplayable.  And that really hurt Tchaikovsky's feelings. And it laid dormant for several years before another Russian violinist. Brodsky took it up, learned it, and. Premiered it in Europe first, and only after its success in Europe did he bring it back to Russia, where it became a big success, and Auer felt very bad about that, and in fact, just before Tchaikovsky died, a few months before Tchaikovsky died, story has it that Auer went to Tchaikovsky and apologized to Tchaikovsky for his initial mistrust of the concerto. In fact, by that time, Auer himself had actually performed the concerto, championed it, and taught it to many of his students.  Yeah, and we'll see in this story how sensitive composers are, and how easy it is to hurt their feelings and really create. Like a lot of emotional turmoil. That's coming up. So Auer, like he might not have been their first choice for replacing, but he did have a knack of finding star pupils. That is something that we see, that I see in the conservatorium. Every now and then you have a teacher who's very talented at finding talent. Absolutely. And I know in Australia you have one very distinguished teacher who I think now has been poached by the Menuhin School in, in England. Yes. And we're not going to talk about that. Yes, we won't.  Because it's Must be a sore point.  But we do see, we do see him every now and then when he comes back. So along with Elman and Efren Zimbalist, Parlow becomes one of Auer's star pupils and Auer was so taken with her playing that he often called her Elman in a skirt, which I think is supposed to be a compliment. And in Auer's biography, he writes, he says, “It was during this year that my first London pupil came to me, Kathleen Parlow, who has since become one of the first, if not the first, of women violinists”.  And that, he says that in his biography, My Long Life in Music.  So, Every year, Auer had a summer school in Kristiana, which is Oslo today. And Parlow spent her summers there and became a great favourite in Norway, which leads us to the next and perhaps one of the most marking events in her career and life. At 17, having spent a year at the conservatory in Russia, Kathleen begins to put on public performances she gives solo performances in both St. Petersburg and Helsinki. So these are two places she knows quite well by now. And these concerts were, they were very important as Kathleen's mother really had no money to support them. And so, with but you know, Minnie doesn't bother her, she just ploughs on. And so with the money from these concerts this would have to tide her over.  From letters that I've read, they were living in like this small apartment and then another friend writes, you know this other person, they've been saying you live in a tiny little place, but I'm not going to spread that rumor. And, and so it was a, it was a thing on the radar that they didn't have much money and they were scraping by and they were like frequenting people of much more wealthier than they were, so they were sort of on the fringes of society, but with her talent that was sort of pushing, people wanted to know her. So she makes her professional debut in Berlin and then began, she begins a tour of Germany and the Netherlands and Norway. And in Norway, she performs for the King Hakon and Queen Maud. Of whom she'll become a favorite. And, and her touring schedule was phenomenal. It was just like nonstop. So, yeah. For a 17-year-old that's, you know, she's going all over the world. And you were saying that Auer knew . Do Tchaikovsky do you think Auer, was he was giving her these pieces that did, that influenced him? Yes.  I mean, Tchaikovsky  wrote a number of violin, solo violin works before the concerto, the most famous of which is, of course, the Waltz Scherzo and the Serenade  Melancholique. One is a fast, virtuoso piece, the other is a slow, soulful piece. And I know that Auer was the dedicatee of certainly the Serenade Melancholique, which she did play. So, so Auer's giving her stuff from, you know, his friend Tchaikovsky to play. Now she's 17 and she's touring to support herself and her mother and she has an amazing teacher who probably understands her circumstances all too well because Auer growing up also found himself in her position, supporting his father in his youth with his playing. So she's studying in St. Petersburg, which is an incredible feat in itself. So she must have had quite a strong character and her mother, Minnie, also appears to be very ambitious for her daughter. We're talking about her mother being ambitious, but for Kathleen to, you know, she's her daughter, she, she must've had quite a strong wheel as well. Yes. Well, she certainly did.  I wish we knew more about her because maybe she was very subservient, you know, we have no idea. Maybe she didn't have, I mean, it's a speculation, of course. Yeah. We do have like hundreds of letters from Kathleen and there's a lot between her and Auer, and there's a real sort of paternal, he really sort of  cared for her like a daughter almost and she looked up to him like a father and he was always very correct about it, you know, he would always write the letter to her. To Minnie, her mother the correspondents, it was, and it was always very, everything was very above board, but a very, they were very close. Kathleen later says that after expenses, her Berlin debut netted her exactly 10 pounds.  She didn't know it at the time, but this was an indication of what her future would be like, and she would be sort of financially in a precarious state most of her life, and she would so her routine was she studies with Auer every summer in order to prepare, like they were preparing her repertoire for the next season of touring. So now she has a tour  in 1908, so she's still 17, almost 18. It's in Norway, and to understand just a little bit of the political climate in the country, We can see that Norway, only three years earlier, had become independent of Sweden and had basically become its own country. So there's this this great sense of nationalism and pride in being Norwegian. And they have a newly minted king, King Hakon, who she's played for, and his queen, who was, He was in fact a Danish prince. And then when Norway, the Norwegian parliament asked him if he would like to become the king of Norway when they had their independence. And he said, why not? As part of this great sense of nationalism Norwegian musicians, composers, writers, and poets, they were celebrated and became superstars. And, oh gosh, yes, We can sort of understand. Poets have sort of dropped off the list, but back then poets, they were a big deal.  So you add to this a young, fresh faced, talented Canadian girl who knows and understands their country. She arrives in Oslo to play in the National Theatre, where Norway's very own Johan Halvorsen who's conductor and composer and violinist, he's conducting the country's largest professional orchestra. And that night for Kathleen's concert, she plays Brahms and some of  Halvorsen's compositions and the two, Kathleen Parloe and Halvorsen, they would go on to become quite good friends and Halvorsen regarded her very highly in saying, he said that her playing was superior almost to all the other famous soloists who made guest appearances in the city. So, I mean, a lot of people went through Oslo, so that was, you know, high praise.  And Kathleen quickly Becomes a admirer of his and she would become a driving factor in him finishing his violin concerto that he'd been dithering over for a very long time.  And this is Kathleen playing one of Halvorsen's compositions. It's not his concerto, it's Mosaic No. 4. So back to the theatre. And it was a magical night with the romantic music of Brahms to make you fall in love. And everyone did, just some more than others. And to finish off, there's music from their very own Johan Halvorsen to celebrate you know, a Norwegian talent. So Kathleen plays her heart out and when the concert ended, the crowd goes wild and the 17 year old soaks up the thunderous applause. She's holding on tight to her violin as she bows to adoring fans. Tonight she is the darling of Oslo.  In the uproarious crowd stands a man unable to take his eyes off this young woman. Her playing has moved him and her talent is unbelievable.  This man makes a decision that will change both their lives forever. So, Einar Bjornsson had fallen head over heels for the 17 year old Canadian there and then. She would turn 18 in a few months. And in that moment, he decided to give her the most beautiful gift she would ever receive.  So, who is Einar Bjornsson?  So what we were saying, poets, poets are less of a, you know, a hot shot today, but Einar was the son of a very, very famous poet. A Norwegian businessman and son of one of the most prominent public figures of the day, Bjørnstan Bjørnsson. He was a poet, a dramatist, a novelist, a journalist, an editor, a public speaker, and a theatre director. Five years earlier, in 1903, he was awarded the Nobel Prize for Literature, and one of his poems, called ‘Yes, We Love This Land', was put to music and is the Norwegian national anthem up to this day. So, you could say he was kind of famous in these parts, and his personality alone would have easily filled. A concert hall, that one in Oslo.  Einar's father here, we're talking about Einar's father, he's the poet. Einar himself doesn't appear to have written any poetry. And this, so this situation could have been just fine the whole infatuation, love at first sight thing, except for a few things that put a spanner in the works. To begin with, Einar Björnsson is somewhat older than the youthful Kathleen he's 26 years older.  Then her, in fact, and for a 17 year old, that is a big age gap. So he's 45, but that aside, there is a problem that he's also married and has two children. His daughter is actually almost the same age as Kathleen she's 16, but he doesn't really seem to  see that. All he can see is this violinist and her talent. And he's been just, he's besotted and he's going to make a grand gesture. So obviously, one way to support the arts is to, what patrons do is they will buy, a lovely instrument and lend it to someone. So that's your normal affair. Obviously, one way to show his devotion to her is to find her a better violin. Hers is absolutely not good enough for someone of her talent. And he has to find her something amazing because she is amazing. He's determined to give her the most wonderful gift she has ever received.  So he goes out and he's a businessman. And so he goes to his businessman contacts. And Kathleen would have spoken to her entourage. I imagine, and I now finally finds a violin worthy of Kathleen's virtuosity, and it happens to be one of the most expensive violins on the market in 1908, and it's a 1735 Giuseppe Guarneri Del Gesu violin. It had previously belonged to great violinists  such as Giovanni Battista Viotti and Pierre Baillot. So just to clarify in the violin making world Antonio Stradivari and Guarneri del Gesù are the two top makers. If you're comparing two instruments, if one was owned by no one not anyone that you know. And then another one was owned by Viotti and Pierre Baillot . The one that's owned by Viotti and Pierre Baillot is probably going to be worth more. Yeah. So Viotti, he was just huge. He had a lot of instruments. I think he did a little bit of teaching and dealing on the side, Viotti. Like with the number of instruments named after him, or he just went through a lot of instruments. So she buys this violin, and it's not all smooth sailing to get the violin. Because she, there's this, there's a big correspondence between her and Auer, and we see that actually there's this letter where it says from Auer saying, I saw Hamming very cross.  He says that the violin is compromised if he takes it back. So at one point, I think she may have changed her mind about this violin, but Hamming the dealer was not okay with this. All the I'm just trying to read his writing, it's not that easy. All the papers brought the news That Kathleen bought it so the newspapers have already, so the, you've got Hamming, that's annoyed, the papers have already said they've bought this violin and he could not, it says he could not sell it soon and repeat the sale, waiting till he finds something equal to the Guarneri. He showed me a Strad, indeed wonderful, asking 60, 000 livres, which must be pounds, right?  A nice fellow, isn't he?  And now, goodbye, write to me.  Love, Auer.  They do end up getting the violin. They, they don't get the 60, 000 Strad that Hamming Gets all upset about and offers, which I think he might have been exaggerating the price just to make him calm down about and to keep the del Gesu. Then Einar gives this to Kathleen. So this is a very kind of strange situation because normally you don't, you don't actually give, the patrons don't actually give their instrument to the No, absolutely. That's a remarkable gift. Just in terms of, I mean, the gesture is very magnanimous, but in terms of financial, there's just a financial cost or value of the gift is quite enormous. And  so really after only knowing her for a month, Einar transfers this money into her account and she travels, Kathleen travels to Germany to the Hamming workshop and purchases her del Gesu violin for two thousand pounds  and in today's money  according to an inflation calculator, that is three hundred thousand pounds. Almost four hundred thousand US dollars. More than half a million Australian dollars, which at the time was a lot for a violin as well. So we're not I mean, I, today you'd be kind of happy to buy a Del Gesu for half a million, but then it was, it'd be a bargain. So, it's interesting this, like, he buys this, this young violinist this very expensive present and it's a, and it's a grey area and it's fraught with debate ethically, really. And I feel like today musicians find themselves sometimes in this position where they're sort of indebted to the, to a benefactor. It's almost feudal. I I feel cause at the same time you're very happy that they're lending it to you, but got to keep an eye on if it's a healthy relationship to. To get the money he had to get, you know, half a million pounds pretty quickly. If you remember, Ina's father was a very famous poet who'd won a Nobel Prize in literature and part of the prize is that you win a large sum of money. And so, what does Einar do? He goes and asks Dad. So he asks, he borrows, he borrows most of the money actually. Goodness knows how he convinced him, but you know, he's a businessman. And also for the remaining, he's married, remember, and he's married to, actually, to an heiress, and he takes a bunch of her, her dowry money and transfers this to essentially a teenager he met a month ago. The purchase of this incredibly expensive violin attracted, it attracted the attention of the press internationally, but journalists It's never really questioned the fact that this, this gift was given to a young woman by a, by an established family man. So everyone was just like, Oh, isn't it amazing? Because normally in this circumstance, people don't often give the instrument. You buy it as an investment and you'll lend it to someone. I think I've heard of like very few, very few cases of things being gifted, but actually normally your standard practice is to, to lend it to people. And most people playing on strads, that's, that's what it is, someone's lent it to them. How would you feel about someone giving a 300, 000 instrument to your daughter, who's a teenager? Well, I'd be, I mean, I'd just hate the sort of obligation that would involve, because On one hand, it is a very wonderful gift if it is a gift, but you almost expect that  there is some expectation in return, don't you? Yeah. It's like he's bought her almost.  Kind of.  So, Einar, as, as I mentioned, he's, he's from a well known Norwegian family. They're very patriotic. His father's writings really established a sense of pride and meaning to what it was to be Norwegian. And he was. Like his father was this beloved figure in the country and he was quite frankly a hard act to follow. But his children gave it a good shot.  You have Einar was one of five children. His father Bjornstein Bjornsson was the poet and public figure. He worked in a theatre. His mother was an actress when he'd met her. Which is a little bit risque also for the time. So they're a bit more of sort of an acting bohemian theatre family. His older brother Bjorn Bjornsson, just to be complicated here, his brother's called Bjorn Bjornsson.  And not to be confused with Bjornstein Bjornsson, his father. So he was a stage actor and a theatre director.  Like his dad. He was a playwright and he was the first theatre director of the National Theatre. And that was the big theatre in Oslo where Kathleen played. He was also quite busy in his personal life, because his first wife was Jenny Bjornsson. I mean, another Bjornsson. Boarding house owner. So he married her for four years. So this is Einars older brother. He married her for four years, then he divorced her, then he married an opera singer. Called Gina Oselio for 16 years, but then he, they, they got divorced, and then he married in 1909 Aileen Bendix, who was actually Jewish, and that's an important point, that she was Jewish, because at this time, things are kind of soon things will start heating up in Europe. And then he was, then there was Einar's younger brother called Erling Bjørnson, and he was a farmer and a politician for the Norwegian Far Right Party. So he was extreme right. Bit of a fascist. The other brother. So he was elected to the parliament of Norway and he was very active during World War II. So his two brothers have very, like, polarized opinions. Einar himself, he was a passive member of the far right party, but during the war years at that time that was the only party that people were allowed to be part of, so you can't, it's hard to tell his political leanings from that. Then he has a younger sister.  Bergliot Bjornson, and she was a singer and a mezzo soprano, and she was married to a left wing politician Sigurd Ibsen, who was, he was the son of a playwright, and he becomes the Norwegian Prime Minister, so he plays a central role in Norway getting its independence. He met Einar's sister because he's a big patriot. Einar's father is a big patriot and that's how they were kind of family friends. It's not bad, you know, having your husband as the prime minister. Then he has another little sister called Dagny Bjornson and she was 19 when she marries a German publisher called Albert Langdon and so they're sort of like leftish as well. So Einar, he marries the sister of Albert Langdon. So they have this joint brother sister wedding. On the same day, the Bjornson brothers sisters marry the Langdon brothers sisters. But, the important thing to know is that the Langdons are very, very wealthy. They're orphans and they, they've inherited a lot of money. And so, but then Dagny, she ends up leaving her husband. Goes to Paris and works at another newspaper. And this is all in the, you know, the early 1900s.  So she had this amazing life and then and then she marries another man, a French literate called Georges Sartreau well he comes also from a very wealthy family. Then you have Einar, who's a businessman, and he marries Elizabeth and they have two children, and his life is like not that remarkable. I think the most exciting thing he does is fall in love with Kathleen, I suppose, and sort of runs after her and her violin. From Kathleen's diaries, we can see the day after this concert in Oslo on the 10th of January, it's written 10th January, Mr Bjornson, 11;30am She meets with him the day after skiing and tobogganing with the Bjornsons. She has a concert the next day, but the day after that it's dinner with the Bjornsons, then another concert. And then she plays for the King. Then she goes to dinner with the Bjornsons. So this is just an excerpt from her diary for those weeks. And the next day, it's just Mr. Bjornson. That's just her meeting him not with the family. And maybe this is where he says, you know, I'll get you a violin. Maybe that was that meeting. And then on the 28th of February, she's in Germany and, and he's there. Einar is there. He goes to see her. Then on the 6th of March, she's in Amsterdam and in her diaries, you know, Mr Bjornson, he's there. He's kind of like, I don't know if this is creepy. He's following her around and then, and it's around about this time that he buys the violin for her. So she finishes her tour and she goes back to England and a month later in her diary, who rocks up?  I know, he's there.  In England, and she's still only 17 there. It's like he's kind of shadowing her a bit. Yes, it's that next level patronage.  And then there's the, the aesthetic at the time, the, the pre-Raphaelite willowy type woman, which she fits perfectly into. And Kathleen, if you, if you see Kathleen, it's kind of like. John William Waterhouse, his paintings. There's women in these long flowy robes with flowers in their hair and long willowy postures and, they're often like, you know, they're flopping about on something like a chair or there's this one holding this pot of basil. And there's that famous painting, The Lady of Shalott, where you've got this woman float, is she, is she dead? She's floating in the water with her hair and, and all this fabric and flowers and.  In a promotional article, there was this quote from a review in the Evening Sun. “Kathleen Parlow, tall, straight, slim, and swaying as the white birch sapling of her native Canada, but a spring vision, but a spring vision all in pink from her French heels to her fiddle chin rest and crowned with parted chestnut hair of a deeper auburn than any Stradivarius violin made an astonishing impression of masterful ease”. I don't know if men were described like this, but they loved her. She's like a white birch.  Well she's very slender, she had beautiful long hair she was very thin, very fragile, and I think she sort of exemplified this pre Raphaelite beauty basically and that was so enchanting to have someone who  was almost from another world playing the violin divinely. I think she must have cut an incredibly attractive image  for the day. Absolutely. Yeah. And then she would have been like playing these like incredible romantic pieces. It would be juxtaposed with her playing. Yeah. And yeah. Yes. So she was this real William Waterhouse figure with her violin.  So she's lithe and willowy, and she has her touring schedule, which was phenomenal. She, so she tours England, Finland, Belgium, Germany, Poland, Denmark, Sweden, Norway. Just to name a few. It just kind of stopped after that. It was just never ending. And you have to remember it's the beginning of the 20th century,  and traveling, it's not like it is today. It was much more. Uncomfortable. I mean, it's incredible. You see one day she's in one country, the next day in another country. So this must have been quite fatiguing. And she's just playing night after night. Her mother, Minnie, she's her, she's, they're quite close. She's, and often like with these, with prodigies, often their parents. They're best friends, like they're the only constant in their life. So in the summers, she returns to Oslo every year for the summer school hour that's helping her for the next concerts. She spends quite a lot of time with Halverson, going to lunches and teas and rehearsals with him. You can see this in her diaries.  But is this, is this kind of the life of a musician as well? Like you have to, you have to go to a lot of teas and lunches with people to please patrons and so on. Yes, I think you do because musicians don't normally have much money and so to ingratiate themselves to patrons and sponsors they really had to coax them into help Yeah, because she's living this life sort of beyond her means, going to the theater, going to concerts and things, and sort of a balancing act. Back in Norway, and a week after she turns 18, there's an entry in her diary, play for Mr. Bjornson, and the next month her entries, they change slightly, and she'll now just call him E. B. For Einar Bjornson and the entries will say things like E. B. arriving and then often like a week later It's E. B. leaving and in her diaries, it's intermittently always though he'll be there for a week wherever she is often in England or and every few months He'll just pop up, you know in London in Germany in the Netherlands And he just always happens to be happens to be there and what's interesting is she has these hundreds of letters archived Of her writing to friends, to family, to her pianist. And it's really interesting that there's zero letters to Einar. There's no correspondence between them, which I think is maybe on purpose, they may be, they have to have been removed because she just writes letters to everyone, but we don't have these, any letters from them, so it just leaves things up to speculation. This brings us to the end of part one in the story of Kathleen Parlow. I would encourage you to keep listening to the music of Kathleen. To do this, Biddulph Recordings have released two CDs that you can listen to on Apple Music, Spotify, or any other major streaming service. You can also buy the double CD of her recordings if you prefer the uncompressed version. I hope you have enjoyed her story so far, but stick around for part two to find out what will happen with her career, the violin, the man who gave it to her, and the mystery behind a missing concerto that Kathleen would, in part, help solve after her death.  Goodbye for now.   ​ 

A whirlwind tour through the epigrams and interludes of Beyond Good & Evil. A relatively free spirited and brief segment of our analysis before we dive into some of the denser divisions of the work - albeit with a bit easier time in terms of the intellectual labor, given that the major premises of Nietzsche's project have already been outlined in the first half of the work. This part is placed as a 'bridge' between BGE's first and second half, and serves as an example of how one applies Nietzsche's approach to psychology, and his anti-metaphysics. Episode art: Miranda by John William Waterhouse

I veckans avsnitt av Hem och Härd pratar Sofia med en gäst om romantikens kraft. Vi söker svaren i svensk poesi och delar våra tankar runt den traditionella romantikens betydelse för både män och kvinnor inom den nationella rörelsen. Intro: Hymn by Scott Buckley https://soundcloud.com/scottbuckley Creative Commons — Attribution 3.0 Unported — CC BY 3.0 Free Download / Stream: https://bit.ly/hymn-scott-buckley Music promoted by Audio Library https://youtu.be/7Y_V17M_IqQ Outro: Prelude No 1 in C Major, BWV 846 (Johann Sebastian Bach) Lamia and the Soldier by John William Waterhouse (1849-1917) https://commons.wikimedia.org/wiki/File:Lamia_and_the_Soldier.jpg?fbclid=IwAR3-ParfrNZoLC-51Q0o8ByzEsWegIPDbB9LO7HbmfpGnyA5D7ApV8M21wY Här finns våra avsnitt: https://www.spreaker.com/show/3073254/episodes/feed https://open.spotify.com/show/0c6o1YIGdSnKkymQ5YHlkw https://podcasts.apple.com/us/podcast/hem-och-h%C3%A4rd/id1474066187?uo=4 https://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvMzA3MzI1NC9lcGlzb2Rlcy9mZWVk https://castbox.fm/channel/id1597279 https://www.youtube.com/channel/UCuvBS1kdb3kvfcXAybCksRQ

In this episode, we talk with the multi-talented Jenny Rohn about her journey zig-zagging from academia to a biotech-startup, to science publishing and then back into academia.She tells us about her unconventional path and how she decided to go to a start-up and then come back to academic researchShe made long, agonizing lists about pros and cons of leaving or staying in academiaThis period of indecision led her to start writing novelsJenny admits that it was not easy to get back on to an academic pathShe warns people against giving negative advise and she always tries to be honest, but positive feedbackJenny says that In the ‘old days' there used to be a myth that there was only one way to do science. She says that somewhere in the ‘90s there was a shift but it took a while for the old-guard to notice.“Do not ever turn away from an opportunity to network. You need to get out and talk to people”She tells us how she came up with the idea of ‘lab-lit' and recommends some of her favourites“If you want to be a writer… you need to write a lot and read a lot”Jenny shares her thoughts about the place of narrative in scientific writing She mentioned these labs, resources and lab-lit authorsUniversity College London (UCL) : https://www.ucl.ac.uk/The Lab Lit website : http://lablit.com/Science is Vital : https://scienceisvital.org.uk/Jenny's blog ‘Mind The Gap' : https://occamstypewriter.org/mindthegap/White Coats At Dawn on the Cosmic Shambles network : https://cosmicshambles.com/words/blogs/jennyrohnHer first novel ‘Experimental Heart' : https://jennyrohn.com/exheartHer second novel ‘The Honest Look' : https://jennyrohn.com/honestlookHer third novel ‘Cat Zero' : https://jennyrohn.com/catzeroBarbara Kingsolver : http://barbarakingsolver.net/books/Carl Djerassi : https://en.wikipedia.org/wiki/Carl_DjerassiAllegra Goodman : https://allegragoodman.com/John William Waterhouse : https://en.wikipedia.org/wiki/John_William_WaterhouseTo find out more about Jenny visit her website or follow her on Twitterhttps://jennyrohn.com/https://twitter.com/jennyrohnOrcid : https://orcid.org/0000-0001-8766-6056https://www.instagram.com/jennifer.rohn.3/To find out more about Renaud : Twitter : https://twitter.com/LePourpre LinkedIn : https://www.linkedin.com/in/renaudpourpre/ To find out more about Jonathan : Twitter : https://twitter.com/Epigenetique LinkedIn : https://www.linkedin.com/in/jonathanweitzman/%20 To learn more about the soundtrack :Music by Amaria - Lovely Swindlerhttps://soundcloud.com/amariamusique/https://twitter.com/amariamusique

In this episode, we discuss different types of respect in our relationship.Episode Art: "The Favorites of the Emperor Honorius" (Detail), John William Waterhouse, 1883Support the show

Monologhi al Telefono di Donatella Giordano è una rubrica che raccoglie interviste informali agli artisti. Il confronto iniziale con l'intervistatore avviene dietro le quinte ma il dialogo prende forma quando l'artista risponde al telefono simulando una conversazione con l'utente, che diventa così il suo interlocutore. Un sistema che vuole superare il concetto dell'intervista classica - precedentemente pianificata - a favore di un approccio che azzera la distanze e contamina due formati: il podcast e la telefonata. Nell'intervista con Donatella Giordano, Leo Ortolani parla di “Muse”, il suo primo art book che celebra oltre vent'anni di carriera. Il suo esordio, infatti, avviene nel 1989, quando per Comic Art pubblica la prima storia di quello che diventerà il suo personaggio più celebre: Rat-Man. Il prezioso volume presentato in occasione del Lucca Comics & Games 2022 si compone di una galleria di illustrazioni realizzate da Ortolani e completate da Sarah D'Imporzano che ne ha dipinto i dettagli. Le parole dell'autore accompagnano le immagini e riportano tutte le influenze che hanno segnato il suo lavoro nel tempo: Frank Frazetta, John William Waterhouse, Alfons Mucha.L'appuntamento da segnare sul calendario è in data sabato 29 ottobre alle 10:30 presso l'Auditorium San Giovanni.

This week's show is Lian's All The Everything where she jams on an eclectic mix of topics, including questions from listeners. This is where you can get up close and personal with Lian, get inside her head and see what's she's up to and thinking about. The making of this show airs live in our Facebook group, usually on the first Thursday at 5pm (UK time) every month.  In this episode, Sara from Team Waking The Wild interviewed me and we dived deep into the topic: A practical guide to a day in the life of the Feminine. We explored: What is the Feminine and what does the definition suggest about there being an inner Masculine? How I was called into devotion to the Feminine How we can hear the Feminine Examples of how I begin my day   Resources and stuff that I spoke about: Here are links to a few podcast episodes on shadow: How women can help men grow and heal How to navigate the shadow of the Masculine & Feminine polarity world What it means to embody the Feminine. And why it's so powerful. Men & Women, Black & White, Spirit & Science… Why the future is Union The power of the Feminine in leadership Depiction of Elen of the Ways, called Sovereignty by Peter Yankowski, and Soul of the rose by John William Waterhouse. The Primal Happiness fb group Subscribe to the Moonly News Go deeper Thank you for listening! There's fresh episode each week, if you subscribe then you'll get each new episode delivered to your phone every Thursday (that way you'll never miss an episode): Thank you! Lian & Jonathan

Welcome, Dear Guest! Please find your favorite spot in The Reading Room as we gather to gaze upon what some have considered to be forbidden subjects for artists and the human eye: WITCHES IN ART! See for yourself what several artists have dared cast onto their canvases as your host describes for you the rich, enchanting, and other-worldly life of witches captured in these magical paintings! If you would like to look the paintings up in advance, which is highly recommended, the paintings discussed will be: "The Magic Circle" by John William Waterhouse, "Witches Sabbath" by Francisco Goya, "Witches Going to Their Sabbath" by Luis Falero, and "The Garden of Earthly Delights" by Hieronymus Bosch. We promise you will be delighted by all of these unusual paintings that are the subject of tonight's unusual reading. Special Thanks to Sounds Like an Earful Music Supply for the amazing music AND sound design during this episode.

8THE READER COULD BE SURE, at the beginning of any Larry Peters book, that Larry would soon be up to something interesting, for Larry shared his father's ingenuity for creating amusing diversions, devising interesting endeavors. Often, these were obviously derivative: after his father suggested building a raft to chart the Gulf Stream, Larry suggested casting adrift bottles containing questionnaires about the weather conditions and curious local customs of the areas in which they would eventually wash ashore; inspired by his father's car-rocking idea, Larry developed the “dry land sailboat,” a dinghy on a platform decorated with a cardboard sea, which would fit within one half of a two-car garage and could be rocked by a near relative of the mechanism his father had designed to rock automobiles.     (The “dry land sailboat” was the basis for the subplot in The Thief of Time. In that book, Larry entertained hopes that he and Rocky might go into business for themselves with this device, but, sadly, their hopes were shattered when Harrison Whitehead, one of the world's most distinguished brummagem designers, a mainstay of the Peters outfit, was killed during the testing of the prototype when the mock-up two-car garage filled with real exhaust fumes from the real car that Larry and Rocky and Lucinda had brought over from the mainland to drive the mechanism. The incident was reported in the Murky Bay Daily News under the headline, “Boating Accident Leaves One Dead.”)     Others of Larry's projects were more original: his planting most of the island in bamboo and hacking out intricate pathways through it (in Bamboozled) remains my favorite, and I remember with fond admiration his success in persuading Lucinda and several of her pubescent friends to dye their hair auburn and participate in a tableau vivant based on John William Waterhouse's Hylas and the Nymphs (in That Crazy Redhead).     In each of the Larry Peters adventures, the plot of the adventure itself turned somehow on the latest of Mr. Peters's or Larry's inventions, preoccupations, or avocations. For a reader who was familiar with the series and its conventions, one of the pleasures of reading any new volume came from trying to anticipate the way in which Larry's current interest would figure in the resolution of the mystery, the capture of the crooks, the unmasking of the spies, the rescue of the hostages, or whatever other satisfactory resolution would conclude the story. Take, as an example, The Phantom Island, the eleventh novel in the series. In the first chapter, Larry assembles his family in the living room for the unveiling of a painting that he has executed on one of the living-room windows.     “Well, let's have a look at it,” said Edgar Peters, with furrowed brow. He threw a protective arm across the shoulders of his wife, Antonia.     Larry arranged his family in a semicircle facing the draped window. Hector, an old mustard-colored dog, followed feebly after them, made his way to a spot just in front of the drapes, groaned, and fell to the floor.     Mrs. Peters spotted some spatters of paint on the rug. She gave a weary sigh. “Oh, Larry, why must these projects always make messes of one sort or another?” she asked.     “Don't worry, Mom,” Larry said impatiently. “I'll clean it up. I promise. Lucy, will you do the honors? Just pull the cord over there, and the drapes will part.”    Lucinda fumbled around behind the drapes until she found the cord. She struck a pose of some dignity and tugged gently; the drapes began to open but stopped after an inch or two. She gave a less gentle tug.     “Something's jammed,” she muttered.     She wrapped the cord around her hand and gave a vigorous yank, and the entire assembly tore loose from the wall and fell to the floor at her feet, along with some plaster.     “Darn it!” she cried, leaping out of the way.     When she stepped on his tail, Hector, the old mustard-colored dog, howled and began to struggle to his feet, whimpering.    “Oh, Heck,” wailed Lucy. “Did I step on you? I'm sorry.”     She reached down to comfort the old fellow, her tiny shorts riding up to expose an eye-catching crescent of the smoothly rounded underside of her tight pubescent buttocks as she did so.     Larry indicated the painted window with a flip of his hand. “Voila!” he said.In Topical Guide 192, Mark Dorset considers Art: Hylas and the Nymphs and Literature: Adolescent: The Phantom Island from this episode.Have you missed an episode or two or several?You can begin reading at the beginning or you can catch up by visiting the archive or consulting the index to the Topical Guide.You can listen to the episodes on the Personal History podcast. Begin at the beginning or scroll through the episodes to find what you've missed.You can ensure that you never miss a future issue by getting a free subscription. (You can help support the work by choosing a paid subscription instead.)At Apple Books you can download free eBooks of “My Mother Takes a Tumble,” “Do Clams Bite?,” “Life on the Bolotomy,” “The Static of the Spheres,” “The Fox and the Clam,” “The Girl with the White Fur Muff,” “Take the Long Way Home,” “Call Me Larry,” and “The Young Tars,” the nine novellas in Little Follies, and Little Follies itself, which will give you all the novellas in one handy package.You'll find an overview of the entire work in  An Introduction to The Personal History, Adventures, Experiences & Observations of Peter Leroy. It's a pdf document. Get full access to The Personal History, Adventures, Experiences & Observations of Peter Leroy at peterleroy.substack.com/subscribe

Anne Ghesquière reçoit dans Métamorphose Jean-Phillippe de Tonnac, romancier, essayiste et éditeur.Il a décidé de s'attaquer à l'un des plus lourds tabous pesant sur les femmes : le sang menstruel et a cherché avec son livre “l'ensaignement” à savoir “ce qu'on avait réussi à faire disparaître des femmes en faisant disparaître le sang”. Un épisode riche et rare tout en sensibilité. Épisode #260Avec Jean-Phillippe de Tonnac, j'aborderai les thèmes suivants (extrait des questions) :Jean-Philippe, fais-nous le pitch de ton livre qui démarre de cette rencontre au Musée d'Orsay ? C'était important d'écrire un récit/roman plutôt que des entretiens de ces femmes comme dans ton précédent livre, le Cercle des guérisseuses ?L'Ensaignement quel mot incroyable, d'où vient-il ?Dans ce roman tu parles très librement du sang, des règles, des symptômes prémenstruels. Tu cherches avant tout à lever un tabou ? Tu dis que tu as écris ce roman il y a bien des années, d'après toi est-ce que les éditeurs, les lecteurs n'étaient pas prêts, à ce moment-là, à lire ce genre de roman ?Est-ce que tu te considères comme féministe ?Toi qui est si sensible à l'art, tu dis que tu as l'impression d'être face à un tableau de John William Waterhouse, à la lisière du rêve ? Que ressens-tu pendant cette cérémonie du sang des femmes ?Quelle est pour toi l'importance du Cercle, c'est aussi le titre de ton précédent livre ?Qui est mon invité de la semaine, Jean-Phillippe de Tonnac?Jean-Phillippe de Tonnac est romancier, essayiste et éditeur.Son dernier livre “L'ensaignement”, est paru aux éditions Guy Trédaniel. Pour suivre son travail de plus près ou s'inspirer de ses oeuvres, ça se passe sur son facebook et sur son instagram @jeanphilippedetonnac. Quelques citations du podcast avec Jean-Phillippe de Tonnac :"Si ce sang est tabou c'est qu'on va mettre la vie au ban de la communauté""Prenons nos peurs tendrement avec nous et marchons avec elles""Les larmes des hommes c'est un sang qui coule aussi"Soutenez notre podcast en rejoignant dès maintenant la Tribu Métamorphose : http://www.patreon.com/metamorphoseRetrouvez Métamorphose, le podcast qui éveille la conscience sur Apple Podcast / Google Podcasts /Spotify/ Deezer /YouTube / SoundCloud/ CastBox/ TuneIn.Suivez l'actualité des épisodes Métamorphose Podcast sur Instagram, découvrez l'invité de la semaine et gagnez des surprises ;-)Bonne écoutePhoto : © Ferrante Ferranti Voir Acast.com/privacy pour les informations sur la vie privée et l'opt-out.

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Victorian artist John William Waterhouse used many myths and legends to inspire his work. Greek goddess Circe, the Lady of Shalott, Pandora, and Odysseus all appear in his paintings, often more than once. Let's explore the link between folklore and art in his work in this week's episode of Fabulous Folklore! YouTube version: https://youtu.be/sWzul5nKuWE Find the images, videos and references on the blog post: https://www.icysedgwick.com/John-William-Waterhouse/ Get your free guide to home protection the folklore way here: https://www.icysedgwick.com/fab-folklore/ Drop your topic requests here: https://forms.gle/kNGir7TSGiJ54UjCA Become a Patron for bonus exclusive episodes at https://patreon.com/bePatron?u=2380595 Enjoyed this episode and want to show your appreciation? Support Fabulous Folklore at https://paypal.me/FabulousFolklore  Or buy Icy a coffee to say 'thanks' at: https://ko-fi.com/icysedgwick Tweet Icy at https://twitter.com/IcySedgwick Get extra snippets of folklore on Instagram at https://instagram.com/icysedgwick 'Like' Fabulous Folklore on Facebook: https://www.facebook.com/fabulousfolklore/

I veckans avsnitt av Hem och Härd pratar Sofia med en gäst om romantikens kraft. Vi söker svaren i svensk poesi och delar våra tankar runt den traditionella romantikens betydelse för både män och kvinnor inom den nationella rörelsen.Intro: Hymn by Scott Buckley https://soundcloud.com/scottbuckleyCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: https://bit.ly/hymn-scott-buckleyMusic promoted by Audio Library https://youtu.be/7Y_V17M_IqQOutro: Prelude No 1 in C Major, BWV 846 (Johann Sebastian Bach)Lamia and the Soldier by John William Waterhouse (1849-1917)https://commons.wikimedia.org/wiki/File:Lamia_and_the_Soldier.jpg?fbclid=IwAR3-ParfrNZoLC-51Q0o8ByzEsWegIPDbB9LO7HbmfpGnyA5D7ApV8M21wYHär finns våra avsnitt:https://www.spreaker.com/show/3073254/episodes/feedhttps://open.spotify.com/show/0c6o1YIGdSnKkymQ5YHlkwhttps://podcasts.apple.com/us/podcast/hem-och-h%C3%A4rd/id1474066187?uo=4https://www.google.com/podcasts?feed=aHR0cHM6Ly93d3cuc3ByZWFrZXIuY29tL3Nob3cvMzA3MzI1NC9lcGlzb2Rlcy9mZWVkhttps://castbox.fm/channel/id1597279https://www.youtube.com/channel/UCuvBS1kdb3kvfcXAybCksRQOch här finns vi:https://hemochhaerd.se/hemochhaerd@gmail.comhttps://www.facebook.com/hemochhaerdhttps://twitter.com/hemochhaerdhttps://www.instagram.com/hemochhaerd/

Nicole Parish is inspired by life experiences and nature. She is influenced by artists John Singer Sargent and John William Waterhouse along with other nineteenth century artists. Nicole is autistic and has a wonderful view on the world and it shows in her art. HOME | nicoleparishfineart3 (wixsite.com) Nicole Parish- Artist (@nicoleparishart) • Instagram photos and videos https://www.tiktok.com/@soundoftheforest 2020- 95th Annual Spring Salon 2020 -Small Art Treasures, Meyers Gallery 2020- Pollinators exhibit, Lark and Key Gallery 2019- Small Art Treasures, Meyers Gallery 2019- Making Her Mark, Meyers Gallery 2019- 94th Annual Spring Salon 2019- Meyers Gallery in Park city 2017- Art stroll Here gallery in Provo.

Thank you for listening to this track produced by the Art Gallery of South Australia. Join Curator of Contemporary Art, Leigh Robb, in conversation with artist Julia Robinson as they discuss mythology and dangerous women in art focusing on Beatrice, and the iconic Circe Invidiosa from 1892 by John William Waterhouse, recently returned from loan in Italy. For more information please visit: agsa.sa.gov.au Image: installation view: 2020 Adelaide Biennial of a Australian Art: Monster Theatres featuring Beatrice by Julia Robinson, Santos Museum of Economic Botany; photo: Saul Steed.

Que tal queridos amantes del arte, En este episodio platicaremos del pintor John William Waterhouse y de la corriente prerafaelitas o the prerraphaelite brotherhood, que es un tema muy interesante y analizaremos una obra de este artista. Que lo disfrutes Carina García --- Send in a voice message: https://anchor.fm/arteyartistas/message

May 20th was the long-awaited date in Connecticut when the first phase of reopening began after the Coronavirus caused life as we know it to be put on hold. Phase 1 allowed offices and malls to be opened with precautions; restaurants, museums and zoos could open outdoor areas as well. You'll meet three restaurateurs who readied their patios for the reopening. Salons and barbershops were initially part of Phase 1, but with no less than 48 hours before they were to open, Governor Ned Lamont announced that the decision to include them in that phase had been reversed. Hear reactions from three stylists. Then, you’ll hear from three big thinkers about predictions they made back in March, and how those predictions have stood up over all this time.  Finally, in our "Comfort" segment, you’ll meet a bread baker who tells us about One Bread to Rule Us All, and an 11-year-old on whether or not she sees this pandemic as a defining point in her life. Image credit: John William Waterhouse (1902) / Wikipedia  Illustration: Chion Wolf See omnystudio.com/listener for privacy information.

I en tid av inbördeskrig lyckades Kleopatra med charm och list att hamna i politikens centrum och ge upphov till en av historiens mest tidlösa kärlekshistorier.Musik: ”Pavane för en död prinsessa” av Maurice Ravel med Luis SarroBild: Kleopatra av John William Waterhouse (1888) / Wikimedia Commons See acast.com/privacy for privacy and opt-out information.

El mito de Apolo y Dafne, es extremadamente llamativo, en esta ocasión exploramos una versión del mismo, que cuenta con Leucipo, un principe griego como actor adicional, una historia que se relaciona con el amor, las convicciones personales, y lo inefable del destino en la mitología griega.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/ Portada del episodio: Apollo & Daphne de John William Waterhouse.

Tiffany Jenkins goes to the Fitzwilliam Museum in Cambridge to talk to its director Luke Syson, art historian Jill Burke and Michael Savage (aka Grumpy Art Historian) about Titian’s Tarquin and Lucretia, and rehanging paintings in the age of #MeToo.   ► ART WORK DISCUSSED  John William Waterhouse’s Hylas and the Nymphs  Raphael’s Lucretia Sandro Botticelli's The Story of Lucretia  Titian’s Tarquin and Lucretia Titian's Rape of Europa  Nicholas Poussin  I Modi - The Sixteen Pleasures   ►  PARTICIPANTS Luke Syson Instagram: Luke Syson Jill Burke Twitter: @jill_burke Michael Savage Twitter: @GrumpyArt Fitzwilliam Museum Twitter: @FitzMuseum_UK   ► READ MORE  On the decision to temporarily remove John William Waterhouse’s Hylas and the Nymphs Jill Burke on The Power of Sexual Assault in Titian’s Tarquin and Lucretia Prof Mary Beard on Lucretia and the politics of sexual assault  ► MUSIC  Signature tune: Nick Vander Black Kopal - Galaxy II  A Himitsu, Track Name: "Reminisce" @ https://soundcloud.com/a-himitsu Original upload HERE -       Official "A Himitsu" YouTube Channel HERE  License for commercial use: Creative Commons Attribution 3.0 Unported (CC BY 3.0) https://creativecommons.org/licenses/...Music promoted by NCM https://goo.gl/fh3rEJ    ►  CREDITS  This episode of Behind the Scenes at the Museum was written and presented by Tiffany Jenkins, recorded by Nicky Barranger, and produced by Jac Phillimore.  Twitter: @BehindtheMuseum  Instagram: @BehindtheMuseum 

A listener comments about his frustration with Stan’s opinions about art history. It prompts a longer discussion about the benefits of studying history. Jazza didn’t sponsor this episode, but we unbox his Jazzy Art Box. Call and Ask Your Art Questions: 1-858-609-9453 Some showlinks contain affiliate links to amazon.com: Mixergy - https://mixergy.com/ Ken Burns (The Civil War, The West, Empire of the Air) - https://amzn.to/32D32Pz Dan Carlin's Hardcore History - https://www.dancarlin.com/hardcore-history-series/ Robert McKee story workshop - https://mckeestory.com/seminars/story/ Dr. Seuss and Mr. Geisel: A Biography - https://amzn.to/2N93Qb0 Burne Hogarth - https://amzn.to/2LmBDeU Jazza - https://www.youtube.com/user/DrawWithJazza Jazza’s Jazzy Art Box - https://smartartbox.com/pages/jazzy-art-box Visions of Light - https://amzn.to/2NRJAdJ Artists Mentioned in this Podcast: John Everett Millais, John William Waterhouse, William-Adolphe Bouguereau, Solomon Joseph Solomon, Jack Hamm, Andrew Loomis, Stephen Peck, Norman Rockwell, J.C. Leyendecker, Jeremy Lipking, Craig Mullins, Drew Struzan, John Singer Sargent, Joaquín Sorolla, Norman Rockwell, Frank Frazetta, Rembrandt, Honoré-Victorin Daumier, Jacopo da Pontormo, Paul Cézanne, Edgar Degas, Claude Monet, Michelangelo, and Alphonse Mucha - https://proko.com/347 Learn to Draw - www.proko.com Marshall Vandruff - www.marshallart.com Stan Prokopenko - instagram.com/stanprokopenko  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Nick and Carey talk about a couple of related items: the decision by the Manchester Art Gallery to remove the painting 'Hylas and the Nymphs' by John William Waterhouse, in order to 'provoke debate', and Formula One's announcement that they will no longer use 'grid girls' (they're to be replaced with 'grid kids' We talk about objectification, changing attitudes and the implications for porn if all titillating female roles are now going to be taken by children. We also take in the fallout (so far) of the #metoo movement - is it proportional, and is it too early to say if real change has happened?Links to the stories: http://www.independent.co.uk/arts-entertainment/art/news/manchester-art-gallery-removes-waterhouse-nude-naked-nymphs-painting-hylas-girls-times-up-metoo-a8190606.htmlhttp://www.bbc.co.uk/sport/formula1/42950040 

The Treatise of Timaeus the Locrian on the Soul of the World and Nature (Ancient Greek: ΠΕΡΙ ΦΥΣΙΟΣ ΚΟΣΜΩ ΚΑΙ ΨΥΧΑΣ; Latin: Timaeus Locrus) may not have been written by Plato. The Pythagorean philosopher Timaeus describes the creation of the world by God and the Demiurge using the eternal forms as guides and matter composed of Platonic solids. Painting: The Magic Circle by John William Waterhouse.

Scripture: Luke 1 Painting: The Annunciation by John William Waterhouse

This morning we returned to Settling the Mind in its Natural state, this time observing the foreground of events arising within the domain of the mind. Alan quotes two plays from Shakespeare ("The Tempest" and "As You Like It") which relate with uncanny precision to what we have been covering in this retreat. Enjoy the mostly silent practice!Some of you may recognize today's image as the painting "Miranda," (by John William Waterhouse in 1916), depicting a scene from "The Tempest."