Podcasts about kokoschka

Der ESC 2026 in Wien ist Geschichte – aber ausgesprochen haben wir uns noch nicht. In dieser zweiten Fazit-Folge tauchen Marco, Alkis und Simon Graser noch einmal tiefer ein: in die Ergebnisse beider Semifinals, in das Grand Final und in alles, was rund um die Wiener Ausgabe des Eurovision Song Contest noch zu sagen ist. Außerdem müssen wir mit Sonja noch einmal den Fall Sarah Engels besprechen. Im ersten Semifinale hätte das alte System – nur Televoting, ohne Jurys – Belgien und Schweden eliminiert. Israel dominierte die Televotes, Polen überraschte bei den Jurys. Im zweiten Semifinale sorgte das Aus der Schweiz für Diskussionen: Veronica Fusaro scheiterte, weil Albanien und Tschechien in der Kombiwertung dann die Nase vorne hatten. Bulgarien gewann das zweite Semi beim Publikum – aber nicht bei den Jurys. Australien und Dänemark, beide mit Top-Erwartungen ins Rennen gegangen, enttäuschten beim Televoting bereits im Halbfinale. Im Grand Final landeten UK, Österreich und Deutschland auf den letzten drei Plätzen. Frankreich schnitt mit 14 Televote-Punkten schwächer ab, als mancher prophezeit hatte (nur Simon und Marco nicht). Und Bulgarien feierte mit Dara und "Bangaranga" den ersten Sieg seiner Geschichte – ein Überraschungssieg, und gleichzeitig der erste Triumph für Songwriter-Legende Dimitris Kontopoulos, der damit nach zwei zweiten und zwei dritten Plätzen endlich ganz oben steht. Außerdem sprechen die drei über Moderation, Bühne und Licht in der Wiener Stadthalle – und lassen Kaleen hochleben, die als österreichische Dauerhacklerin des ESC 2026 eine besondere Rolle spielte. Und dann ist da noch die Sache mit Sarah Engels. Unser Interview mit der deutschen ESC-Teilnehmerin ging viral – mit Folgen, die wir so nicht erwartet hatten. Sonja Riegel und Marco berichten, was passiert ist: vom Interview im Medienzentrum über die Reaktion auf die veröffentlichten Clips bis zur Ausladung aus dem Pressegespräch nach dem Finale. Und warum am Ende alle Seiten nicht unbeschadet davongekommen sind. Hier der Text In eigener Sache von Sonja auf Bleistiftrocker.de: https://bleistiftrocker.de/in-eigener-sache-zur-kommunikation-rund-um-sarah-engels-beim-esc/ Marco hat übrigens einen neuen Podcast gestartet, und wir machen unbezahlte Werbung dafür. Rivalen. Schiele. Kokoschka entstand im Auftrag des Egon Schiele Museums und geht die eigenartige Rivalität zwischen den Malern Oskar Kokoschka und Egon Schiele auf die Spur. Marco und Nina Schedlmayer erzählen über das Leben der zwei Maler, das Wien um 1900 (Mythos und was war die soziale Realität) und wie wir heute auf nackte Frauenakte schauen. Und sie klären auf: Warum diese Rivalität? Und wer gewann das Duell? Überall, wo es Podcasts gibt und hier: https://egonschiele.transistor.fm. Creators: Marco Schreuder & Alkis Vlassakakis & Sonja Riegel & Simon GraserMerci Chérie Online:www.MerciCherie.atFacebook: MerciCheriePodcastInstagram: mercicherie.atTikTok: @merci_cherie_podcastbluesky: @mercicherie.atBitte bewertet uns und schreibt Reviews, wo immer ihr uns hört.

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What a delight to talk to laura thompson about Agatha Christie. Above all, this episode was fun. Laura really does know more than anyone about Agatha and we covered a lot. What did Agatha Christie read? What did she love about Shakespeare? Was she pro-hanging? Why so much more Poirot than Marple? Why was she so productive during the war? We also talked Wagner, modern art, the other Golden Age writers, nursery rhymes, TV adaptations, poshness, nostalgia, Mary Westmacott, and plenty more. TranscriptHENRY OLIVER: Today I am talking to the very splendid Laura Thompson. All of you will know Laura's Substack. She has also written books about the Mitfords, heiresses, Lord Lucan, many other subjects, and most importantly today, Agatha Christie, who died 50 years ago. And there's a new book coming from Laura about Agatha Christie's 1926 disappearance.Laura, welcome.LAURA THOMPSON: So lovely to be here, Henry. I'm such a fan of your Substack, as you know.OLIVER: Well, same. Same. This is a mutual admiration call.THOMPSON: Well, thank you. Well, that's what we like.Christie's Favorite WritersOLIVER: Now tell me, what did Agatha Christie like to read?THOMPSON: Oh, a lot the same as us. I discovered she was a huge fan of Elizabeth Bowen, as we are. And Nancy Mitford, Muriel Spark. But her big love really was Dickens. She absolutely adored Dickens. I mean, she grew up in a house full of books, you know, and she wrote a screenplay of Bleak House for which she was handsomely paid. And it was never—I know, don't you long to know what that was like? Can you imagine—OLIVER: We've lost it? We don't have the typescript?THOMPSON: I've never seen it. I mean, maybe—I don't know whether it exists somewhere. But I just wonder how she tackled it, what she did. But yes, so that happened. And of course, Shakespeare, as we know from her books, which are full of subliminal and—I mean, you kind of notice them, but you don't have to.OLIVER: Yes. There's Shakespeare in every book?THOMPSON: No, but it's there, particularly Macbeth, which I suppose figures.OLIVER: Yeah.THOMPSON: Like The Pale Horse is completely Macbeth themed. And when I was a kid reading them, I think she really—Tennyson she uses a lot—she affected my reading in a good way.OLIVER: She sent you back to Shakespeare and the poets?THOMPSON: Well, sent me to them as a kid, probably. And also, there's a lot of Bible in her books, as I'm sure you've noticed.OLIVER: Yes. Yes.THOMPSON: Very easy facility with quoting the Bible.Christie and ShakespeareOLIVER: Now, what did she learn from Shakespeare? Because she clearly knows the plays in detail. She sees them a lot. She reads them. She and he are, I think, quite good plotters.THOMPSON: Is she even better than he is?OLIVER: Well, let's not get into that. But there is a sort of, in a funny way, a kind of affinity between them as writers.THOMPSON: That's so interesting.OLIVER: What do you think she learned from him?THOMPSON: Tell me how you—how you see that.OLIVER: Well, do you know that Margaret Rutherford adaptation, which probably you don't like and I do—THOMPSON: Go on.OLIVER: It's called Murder Most Foul, isn't it?THOMPSON: Yes.OLIVER: And there's something about the way that they can both walk the line between the sort of dark and deadly and the histrionic. Margaret Rutherford can't walk that line, but Agatha Christie can, right?THOMPSON: That's really interesting.OLIVER: And Miss Marple could come onstage in a couple of the plays. She's not so far off from being a Queen Margaret or some—in her angry moments maybe, do you think?THOMPSON: More rational, maybe.OLIVER: Much more rational.THOMPSON: Not so mad. Well, she's not mad, Margaret, is she? But she's upset.OLIVER: She starts off as a much sort of nastier character—Murder at the Vicarage, right?THOMPSON: Yes, she does. She was more acidic and then gradually—OLIVER: Waspish.THOMPSON: Waspish, and sort of mellowed. I see what you mean. And almost in the way that she calls herself—although that's obviously not Shakespeare—calls herself Nemesis.OLIVER: And the sense of atmosphere.THOMPSON: Yes, and the way they're structured. That's not necessarily just true of Shakespeare, but there is this sort of act three entanglement and this beautiful act five resolution that goes on with a soliloquy, I suppose.OLIVER: And some people think they both get confused in act four, but that's obviously not true, that this is the real mess of the plot. I think she might have learned quite a lot from Shakespeare, right?THOMPSON: That's really interesting. But, you know, the way she writes about Shakespeare in her letters to her second husband, Max, because when she was living in London during the war and almost at her most productive—I mean, her productivity levels are insane. And hitting every ball for six, really, you know: Towards Zero, Five Little Pigs, a couple of Westmacotts, which I'm sure we'll talk about. But she spent a lot of time going on her own to see Shakespeare.She's very—I hope I'm right in saying this—she's very sort of Ernest Jones [CB1] in her approach. She doesn't regard them so much as the products of words on a page; she regards them as rounded characters. Why were Goneril and Regan the way they were? What's wrong with Ophelia? You feel like saying, “Well, whatever Shakespeare wanted it to be,” but she sees them in that way. And Iago particularly—OLIVER: Yes.THOMPSON: —is the one that gets her. Yes. In one of her, I better not say which, but a major, major novel.And the book that she wrote under the name Mary Westmacott, The Rose and the Yew Tree, which I think might well be her best book of all. I think—well, I'll just say she wrote these six books under a pseudonym, Mary Westmacott. People call them romantic novels; that's sort of the last thing they are. And they're very, very interesting mid-20th-century human condition novels, and they're full of lots of stuff that she had to distill for the detective fiction. And she talks a lot about Iago in The Rose and the Yew Tree really interestingly, I think.Christie on Shakespeare?OLIVER: Now, Max said she should just write a book about Shakespeare, all this Shakespeare all the time. But she didn't. Why?THOMPSON: No. I don't think she ever liked being told what to do.OLIVER: [laughs]THOMPSON: His letters to her are quite annoying, aren't they?OLIVER: Yes, yes. I've only read what's in your book, but yes, I didn't warm to him.THOMPSON: I'm glad because people do. He gets a really good press even though he was unfaithful. But it worked, the marriage, because they both got what they wanted from it. But he said that, yes, and she says, “Oh no, they're just thoughts for you.” I don't think she would've felt the need, somehow. I think she liked saying things in her own more oblique way.OLIVER: Save it for the novels.THOMPSON: Yes, she's a great mistress of the indirect, I think, really. The way she writes about Macbeth in The Pale Horse, which I think is a really underrated novel, including thoughts on how it should be staged, which are really interesting and very, very good. I think she would've preferred to do that and use it to her ends.And of course, she has an incredibly powerful sense of evil, which I suppose is also in Shakespeare. Hers is a Christian sensibility, I mean, no question. People never talk about that, but it really is.OLIVER: Was she pro hanging?THOMPSON: Well, I think she took a kind of utilitarian approach that the innocent must be protected. And she took a view that if you've killed once, it becomes very easy to kill again because something in you has shifted, so you become a danger to the community. So I suppose in that sense she was.I mean, Miss Marple was. She's quite—“I really feel quite glad to think of him being hanged.”OLIVER: It's one of her most striking lines.THOMPSON: It is, isn't it?OLIVER: Yes.THOMPSON: So I suppose she was. I mean, I suppose she was. You know, she's very modern, she's very subtle in her thinking, but at the same time, she is a late Victorian product of her society. Yes.Dickens and Christie's FamilyOLIVER: Now, you mentioned this Bleak House script. She loved Bleak House. Do we know what she loved about it? It's obviously the first detective novel. Are there other factors?THOMPSON: You are going to know—this is when I'm going to start coming across as an idiot. Is it written before The Moonstone? Yes, of course it is.OLIVER: I think so. Yes. Yes. It's the first time there's a police detective in a major English novel.THOMPSON: Okay. I think she—do you know, this is a really good question. I don't actually know why she loved Dickens so much. She grew up—she had that rather intriguing upbringing whereby she had two much older siblings, a sister who was 11 years older, a brother who was 10 years older. Father died when she was 11.So she grew up incredibly close with a really rather intriguing mother, Clara. This is in the house at Torquay. And her mother encouraged her in a way that, it seems to me, quite unusual for the time and for the class to which she belonged. Because it was never deemed that it would interfere with her marrying and leading a more conventional life. But she always wanted to express herself creatively. And I think her mother possibly was a frustrated creative. I don't know. She had a lot of go in her.And whether it was just something she read with—I think anything she did at an early age with her mother would've made a huge impression on her. I think what you read when you're that age, you never quite—I never read Dickens at that age, so I've never quite got the habit.OLIVER: But if she's born in 1890, presumably her mother is just about old enough to have been alive when Dickens was alive. And so she's got a somewhat direct—THOMPSON: Yes, she was.OLIVER: You know, it's sort of back to the original culture of it, as it were.THOMPSON: Yes. Isn't that extraordinary?OLIVER: Yes. Yes. It's crazy to think. So she must have taken it in maybe in a more original way, somehow?THOMPSON: Possibly. Certainly Tennyson, I get that feeling, because her mother wrote this rather leaden sub-Tennysonian poetry. [laughter] It's like Tennyson on the worst day he ever had, but worse than that.OLIVER: But worse, yes.THOMPSON: Yes. And she wrote poetry like that, the mother, which is really rather sweet and touching to read. And obviously she would've been alive at the same time as Tennyson. So, yes, I'd never, ever thought of that before. Isn't that extraordinary? I mean, they went to see Henry Irving.OLIVER: Yes.THOMPSON: Yes. And yet she feels—it just amazes me, this—so I'm leaping slightly here, but this 21st-century halo of cool that she has around her, Agatha Christie. [laughter] I know, it's awful in a way, but the way she can be reinterpreted—that is a bit Shakespearean, in a way.I don't mean to make extravagant claims, but there's a sort of translucent quality to what she writes that means that people can impose and pull it and twang it and know that she won't let them down, as we are seeing constantly at the moment.Art and MusicOLIVER: Yes. No, I agree. Other arts—we know about all this, she loves reading. What music did she enjoy, for example? Did she like paintings?THOMPSON: Yes, she loved paintings. She liked modern art. She was painted by Kokoschka. It's very good. And she writes about modern art. In Five Little Pigs, the painter in that is a modern artist.And then music was her grand passion. I mean, music was her original career choice, as you know, of course. She must have had a good voice. She thought she could make a career of it. And she could play the piano. Beautiful piano at Greenway, it's still there.And they used to do this thing—I think it's a lovely idea—as a family. They would fill in what they called the book of confessions, and it would be questions like, “What is your state of mind? If not yourself, who would you be?” And at the age of 63, which is the last time she filled it in, she wrote, “An opera singer.” So that was still what she would've dreamed of doing. She loved Wagner very, very deeply.OLIVER: Okay. Interesting.THOMPSON: And there's a Wagner theme in a very late book, Passenger to Frankfurt, the one that everybody hates except me. And music, I mean, as a girl when—so her voice wasn't strong enough for opera. I think her ultimate—same as I grew up wanting to be a ballet dancer, I think her ultimate would've been to sing Isolde at Covent Garden.And in some of her short stories and in her first Mary Westmacott, which is called Giant's Bread, which is about a musician—and she really inhabits this character, Vernon, and it's all about modern music. And somebody who knew about this stuff, which I don't, told me, “No, she knew. She knew what was going on. She knew about the trends.” This is in the late twenties.And she always went to Beirut, and that was her real, real, real passion. She was one of those restlessly creative people. And her mother, God bless her, encouraged it.Christie's UniquenessOLIVER: What is it that distinguishes her from the other detective fiction writers? Because she doesn't, to me, feel—she's obviously part of this whole generation, this whole golden age, whatever you want to call it, but she doesn't feel the same as them somehow.THOMPSON: No.OLIVER: What is that?THOMPSON: Do you think it's her simplicity, that distilled simplicity that she has? She doesn't write linear; she writes geometric, I always think.OLIVER: Tell me what you mean.THOMPSON: Well, if you think of a book, the one I admire the most, as I constantly go on about, which is Five Little Pigs—you think about the amount of stuff that's in that book. It's a meditation on art versus life. The solution is unbelievably intriguing, I think. There's a whole family psychodrama in there. And every move of the plot, she's also moving on a—every move of the plot is impelled by a revelation of character. So plot and character are utterly intertwined, distilled together.I don't think any of the others can do that. I think Dorothy Sayers would take twice as many pages. And she'd dot every i and cross every t, and she couldn't bear loose ends or anything, could she? And she liked to reveal her knowledge of other things, almost to—I think the others like you to know that they're a bit better than the genre, maybe. Their detectives are superhuman, almost; wish-fulfillment man, almost.She doesn't do that with Poirot. He's just pure omniscience, really, plus a few tics and traits and, you know, mustache. I think it's that distillation and simplicity and the way she inhabits the genre in a way that the others don't quite do. And at the same time, she's redefining it from within.OLIVER: There's something as well, I think, about—she gets past the kind of Sherlock Holmes model in a different way. They still all have a bit of an overreliance on that, maybe.THOMPSON: Yes.OLIVER: Whereas Poirot in, what is it? In something like, is it Murder in the Mews? Very sort of Sherlock and Watson—THOMPSON: Yes.OLIVER: —kind of dynamic. But within, I don't know, two or three novels, that's gone, and he's Poirot as we know him, as it were.THOMPSON: Yes, yes.OLIVER: And she kind of, as you say, makes it her own thing and goes off in new directions.Christie and the TheaterTHOMPSON: Yes. She's sort of conceptual and the others aren't quite, I think. She doesn't do—she does something completely different with the whole concept of what a solution is, it seems to me. She doesn't—it's not Cluedo, is it? It's not, there's six of them, and eventually it has to be one of them; however many tergiversations or however you say that word, you sort of know that. Whereas with her, it's: it's nobody, or it's everybody, or it's the policeman, or it's a child, or there's something bigger and bolder going on.And she writes—I think she writes very theatrically. I think she writes scenically. I think she's incredibly good at character and action. That scene where you know the girl's a thief because Poirot leaves out 23 pairs of silk stockings, and he goes back in the room and there's 19 or something like that, tells you everything. It's all in there.OLIVER: The solution to 4.50 from Paddington, which we shan't reveal, but—THOMPSON: That's Cards on the Table. But what I mean is, she's given us a little scene that tells us all we need to know about that person, really: a sort of timid thief who can't resist—OLIVER: Yes, but that's what I'm saying. At the end of 4.50, the solution is staged.THOMPSON: Oh, sorry. Yes.OLIVER: It is literally a little re-creation of the drama, if you see what I mean.THOMPSON: Yes, I do. Sorry, Henry. Yes, absolutely.OLIVER: No, no. We're crossed wires.THOMPSON: Yes, yes, yes.OLIVER: But she is very theatrical, yes.THOMPSON: No, you are absolutely right. That's a reenactment.OLIVER: Of something that was seen almost like in a—you know, the whole thing is very—THOMPSON: Yes, yes. Well, she was a great—I mean, obviously Shakespeare, but she was a great lover of the theater as a medium. And of course, she wrote plays, as we know, which I think are far weaker than her books, myself.OLIVER: Even The Mousetrap?THOMPSON: Especially. [laughter] When did you last see it? Or have you not—OLIVER: I've seen it once. I've seen it—you know, I don't know, before I had children, a long time ago. And I thought it was great. It was a lot of fun. The ending of act one, when someone opens a door and they say, “Oh, it's you.” It's very dramatic moments. You don't like it?THOMPSON: No, I think you're right. I wouldn't mind seeing it done really, really well. There's something strong at the heart of it, that theme that haunts a lot of her books about what happens to children who are unwanted.OLIVER: Yes.THOMPSON: Which is in loads of her—no, not loads. It's in Ordeal by Innocence. It's in Mrs. McGinty. That's, I think, because that happened to her mother. Her mother was given away as a child. Her own mother was a poor widow and gave up her daughter to be raised by her rich sister, which is not—it's not abandonment, but I think—OLIVER: Well, yes.THOMPSON: — it's not great. And I think all these things were absorbed by Agatha as a child. She grew up in what we would today call a house of—I hate this—strong women. I hate that “strong woman” thing, but they were strong women. Her mother was very, you know, as we've said, a sort of driving little person. And the rich grandmother, the poor sister, the dynamic there, they both fed into Miss Marple.And then her older sister, Madge, who was a big personality and actually had a play on in the West End before Agatha did, which I've always thought was extraordinary, just to write a play and have it on in the West End in 1924.And the men were—the father was feckless and charming and a rather grand New Yorker, he grew up as, and then settled in Torquay. And the brother was the Branwell Brontë. [laughter] He ended up a drug addict, which is also a type that feeds into her fiction: the man who could have made something of his life and goes wrong.The TV AdaptationsOLIVER: So all this theatricality in the books is obviously why she adapts so well to TV, and again, a lot of the others don't.THOMPSON: Yes, that's true.OLIVER: How famous would she be now without the TV adaptations?THOMPSON: Well, by 1990, so the centenary, she was a hell of a lot less—and that's really when the Poirots got going, which she never wanted. She never wanted—she didn't really want Murder on the Orient Express. It was only because it came via Lord Mountbatten. I don't know. I don't know because I think they're mostly not very good. I don't know what you think about the adaptations. But maybe that's deliberate, that they're less—if they drove you back to the books, you'd probably get quite a pleasant surprise.OLIVER: It's hard for me to say because I saw them all more or less after I'd finished reading her.THOMPSON: What did you think?OLIVER: I love Joan Aiken—not Joan Aiken, what's she called?THOMPSON: Yes, Joan Hickson is marvelous. Yes, absolutely.OLIVER: Hickson. I think she's just perfect because as you say, the simplicity, the not overstating. The “Pocketful of Rye” episode where she turns up and quotes the Bible, and the vicious older sister is there, and they have that moment. It's all so cleanly done.THOMPSON: Yes, I agree.OLIVER: David Suchet, I quite like him. I think he has those wonderful moments. “I cannot eat these eggs. They are not the same.” I think that's very good. It's very funny, you know, he gets it.THOMPSON: You prefer him in spats and art deco mode to when he became—he became like a de facto member of the House of Atreus by the end, hadn't he? It had gone very, very—OLIVER: I mean, I certainly didn't watch them all, no, no.THOMPSON: No. Well, I sort of had to.OLIVER: Yes, you did.THOMPSON: But I could never get through those short story ones. I don't think I've ever got—OLIVER: The moral sort of doom of it all, yes.THOMPSON: Well, the early ones, when they always had—you could see they'd hired a car for the day. [laughter] And I don't think I've ever got to the end of one of those.But I think—sorry, going back to your question, I think they probably did make a massive difference. You know, they're really, really popular. And whether she would have—what you think her—she might be read as much as somebody like Sayers if it weren't for all those adaptations. But then the fact of all those adaptations tells its own story in a way, because that wouldn't happen to one of the others, as you rightly said.Resurgence and PopularityOLIVER: No, they don't have that quality. And also, she was bigger than them. That's why they picked her, because she was bigger than them anyway.THOMPSON: And simpler. Because when I used to read them at university between the pages of Beowulf or whatever, like porn, [laughter] it was a bit mal vu. You read her for entertainment. But you certainly—I don't think—she's always been admired by a certain kind of French intellectual, hasn't she, for that subtextual quality that she has, that sort of fathomless quality that she has.But when I researched that biography, which I started in 2003, I can remember going on the radio. And names will not be named, but I was like a figure of fun with a couple of other detective writers, quite well known, who just sort of openly mocked me for taking her seriously and more or less said, “Oh yeah, we love her, but she's terrible” kind of thing. “Why are you taking her seriously?” I mean, it was regarded as a bit of a joke to take her seriously.I'm not saying I changed the game or anything like that, but I think there must have been a movement around that time in the early twenty-naughties—whatever the damn thing, decade's called—to start seeing that she is an interplay of text and subtext, facade and undercurrents, and these powerful foundations that underpin her books. Murder on the Orient Express is, you know, “Does human justice have the right to exert itself when legal justice has let it down?”There are these very strong—I think this is part of why she's survived the way she has. We intuit powerful truths underneath the Christie construct, if you like. I always say she's not real, she's true. I think she's incredibly wise about human nature, possibly more than any of them.You take a book like Evil Under the Sun, and there's a femme fatale who's murdered. “Oh, the femme fatale. No man can resist her.” Turns out she can't resist men. She's prey; she's not a predator. And of course, women who are so dependent on their looks and so on, that is what they are. They are prey. They're not predators. They're very, very vulnerable. Just a really small thing like that. And I just think, oh, you're very—there's so much easy wisdom in there somehow.And she deploys it perhaps differently—I mean, Ruth Rendell is wise, but it's very, “I am wise and you're going to pay attention to me.” You know what I mean? It's all very, “I'm very dark and very wise and very,” you know. I love her, but everything's so easy with Agatha. It's so, to coin a phrase, two tier. You can read them and have fun with them. You can read them and there's so much stuff going on underneath, and yet she presents this smooth face. I don't think any of the others are quite that resolved, if you like.Self-AdaptationsOLIVER: Now, you wrote that her own stage adaptations of The Hollow and Five Little Pigs lack the subtlety of the original books, quote, “almost as if Agatha herself did not realize what made them such good books.” How much of her talent do you think was unconscious in that way?THOMPSON: Yes. That's such a good question. I do think that, about those plays, it could have been that she just thought, “That's not what my audiences are going to want from me. They're just going to want to be entertained by”—we know she can do the other thing because of her Mary Westmacott books, where everything is laid out. They're not distilled at all; they're quite the opposite.I think they must have been such a pleasure for her to write because she didn't have to constantly—they're unresolved; they ask questions that don't have to be answered. She could have done that with those plays, I'm sure, but I think she would've thought people aren't coming to see them for that. I think she had a very good opinion of herself, in the best possible way.OLIVER: Hmm.THOMPSON: Like I said to you earlier, she didn't take a lot of notice of anything anybody said to her. Because it is like writing this other little book, the one I've just done about 1926. She was very acclaimed right from the start. I didn't emphasize that enough in the biography. And she was really recognized as very special right from the start.And I think it's extraordinary to me how—it's so difficult for us today, isn't it? We're so at the mercy of “That won't sell, don't do that, blah, blah, blah.” She really did not just plow her own furrow, but create that furrow in a way that you can only compare with, like, Lennon and McCartney. Or whether the time was absolutely right that they let her run, they trusted her to do what she wanted, and because she had the gift of pleasing readers . . .You do really feel, although those books are very tight and taut, you do feel an instinctive ease in what she's doing, an instinctive sort of—there's a kind of liberated—which sounds perverse because they are so controlled, the books. But I always feel she's doing exactly what she wants to do because she knows what it is and she knows how to do it. Because I think, would she be amazed that you and I are having this conversation now? I don't know that she would be, really. What do you think?OLIVER: No, I agree with you. I think she had what Johnson said, the felicity of rating herself properly. I think she knew she was really good.THOMPSON: You might know he'd say it right.OLIVER: Yes. [laughs] But there's a—I think there must have been something about—I think it's in Poirot's Christmas, one of those, where someone gets killed in the night in their bedroom, and they go up. And one of the women says, “Who would've thought the old man had so much blood in him?”And the quotation just sort of occurs to—I think there's quite a lot of that in Christie, right? Things are coming up and it fits. And she's good enough to run on instinct at times.THOMPSON: That's right. That's it. Exactly. That's absolutely right. Like the way she quotes from the—yes, I love the bit when she quotes from the Book of Saul in One, Two, Buckle My Shoe, which is really quite a profound novel about whether—I mean, it's terribly timely—whether it's better to be run by a corrupt capitalist or to let in the radicals. And as I said in the biography, the corrupt capitalist wins on points. But then another element enters, which is what power does to people. And that's when she quotes from the Book of Saul.And it's just like you said, this—an instinctive that she—I do always feel her as an instinctive writer, even though—her notebooks are intriguing because obviously some plots she really has to work away at. And yet they feel felicitous. A coup like The ABC Murders, and she's really—that went through lots and lots of iterations. But what she'll often do is scribble down a line of dialogue, a line of “There they are.” It's the whole—it's not bullet points, which is a loathsome concept. It reminds me of a bee going from flower to flower and knowing exactly which—and she's got this gift of knowing what flowers we're going to need.I sometimes fear I overdo it. I don't want be like one of those people who's writing a PhD on, what was the thing I said on Substack, gynocracy in St. Mary Mead or whatever. It's not—I do think that's a bit overdone these days, the rummaging in the subtext, because she's an interplay. And that's why I write that chapter in the book called “English Murder,” which is about the facade, you know, “smile and smile and be a villain.” And there's nothing more interesting. There's nothing more interesting than murder among classes who are trying to cover things up.And she does that—that's at the heart of golden age murder, I suppose. And I just think she does that better than anybody because she's so all the things we've been talking about. She's so distilled, she's so simple, she's so smooth, she's so instinctive. And she's doing it the way she wanted to do it because of your wonderful Dr. Johnson quote. She knew not to take notice of other people, including her—Quick Opinions on ChristieOLIVER: Should we have—THOMPSON: Yes. Go on.OLIVER: Sorry, sorry. Should we have a quick-fire round?THOMPSON: Please.OLIVER: I will say the name first of a few of her books—THOMPSON: Oh, god.OLIVER: —and then a few other detective writers, and you will just give us your unfiltered opinion: good, bad, ugly, indifferent.THOMPSON: Okay. What fun.OLIVER: You can “nothing” them if you want to.THOMPSON: Okay. [laughter]OLIVER: Hallowe'en Party.THOMPSON: Underrated. Very interesting on sixties counterculture and the effects of societal breakdown, et cetera. What do you think?OLIVER: I think it's a real page turner. I remember reading that for the first time. I loved it. Yes. Nemesis.THOMPSON: I can't keep saying the same thing. Underrated. [laughter] Very interesting philosophy of love in that book, I think. I think it harks back to her first marriage. However badly it turns out, it's better to have experienced it. It's quite a mournful novel.OLIVER: The Mr. Quin—THOMPSON: Oh.OLIVER: Oh, sorry.THOMPSON: No, no. Sorry. You carry on. Marvelous. So inventive, don't you think? Such a clever character.OLIVER: Why didn't she do more of him?THOMPSON: Yes, that would've been good. And she was always interested in the commedia dell'arte. She wrote poems about it as a girl. And the concept of Mr. Quin, yes, as this sort of evanescent figure who's also a moral force, isn't he really? Or—yes, I wish she'd done more. They're marvelous.OLIVER: Towards Zero.THOMPSON: Oh, top notch, don't you think?OLIVER: One of the best.THOMPSON: Yes, I agree. Frightening motive. Very Ruth Rendell.OLIVER: It's very distinct in her. I haven't read all of her novels, but it's very distinct.THOMPSON: But the plot is, again, typical of her because it redefines the word contingent. [laughs] I mean, Dorothy Sayers would be having palpitations. She's very bold and grand like that. “Oh, there's a loose end. Oh, who cares?” You know, I mean, it's so—it just drives along that book, doesn't it? Yes. But I agree with you, one of her best.OLIVER: Death on the Nile.THOMPSON: Quite moving, I think. I think it's one of those ones from the thirties that, again, is talking about love in a way that—I think it just strikes a personal note to me because she was very in love with her first husband, Archie Christie. And he did fall in love with another woman, and it did cause her extreme pain that some people said to me she never quite got over.And I feel that a little bit in that book. There's a shadow of something quite powerful in that book, I think. Again, very, very loose and lovely plot, but powerful. Would you agree? Very good on the place as well, I think, Egypt.OLIVER: I love it. I think the solution is great.THOMPSON: Yes.OLIVER: And it makes a really good film.THOMPSON: It's a great film, yes. Wonderful film.Other Mystery WritersOLIVER: Yes. Okay. A few other detective writers: Michael Innes.THOMPSON: You've got me. I haven't read him. Should I?OLIVER: Oh, I think you will like him. Yes. Try Hamlet, Revenge!THOMPSON: Okay. Okay. Oh, I like it already.OLIVER: Yes, yes, yes. Oh, this is exciting. Gladys Mitchell.THOMPSON: Can't get into her.OLIVER: No.THOMPSON: What do you think? Should I try a bit harder?OLIVER: I read two. I thought they were good. I was not intrigued.THOMPSON: No, somebody told—OLIVER: The ones I read—Spotted Hemlock is a wonderful, like, wow, that's great.THOMPSON: Okay. Okay. Somebody said to me, I know she really—no, I didn't—I read it in a book that she really hadn't liked Agatha Christie, but you know, who knows? All that Detection Club rivalry, you can imagine. But okay, Spotted Hemlock—if I'm going to read one, try that, yes?OLIVER: Yes, that's a great book. Margery Allingham.THOMPSON: Kind of love her, but I never understand her plots. I always feel I'm in a bit of a fog, but she's quite a good writer. Do you think? Or what do you think?OLIVER: She's good at the fog. She's good at that sort of whirligig sense that there's a lot going on—THOMPSON: Yes, whirligig.OLIVER: —and you've got to get to the end before they do, kind of thing.THOMPSON: Also, she had a pub in her sitting room. Now, I like a woman who has a pub in their sitting room.OLIVER: [laughs] E. C. Bentley.THOMPSON: You've got me again, Henry.OLIVER: Oh, The Blotting Book mystery. You'll like this.THOMPSON: Okay. Okay.OLIVER: The other one is not so good, but you'll like that a lot.THOMPSON: Okay.OLIVER: Edmund Crispin.THOMPSON: Didn't get on with him.OLIVER: Why not?THOMPSON: Don't know. Don't know. It sounds like I don't read the men, doesn't it? Which is not the truth at all.OLIVER: I think that's fair enough, isn't it?THOMPSON: Well, I don't know. I don't think anyone's ever come up with a really good reason why women have shone so brightly in this genre. I don't know. Why didn't I—I read that one, the toyshop one [The Moving Toyshop] or whatever. I don't know. I just didn't get on with it.OLIVER: Too glib?THOMPSON: Possibly.OLIVER: Bit flippant, bit sort of funny-funny?THOMPSON: Possibly. I just couldn't quite get hold of it in some way. I don't know.OLIVER: I quite like Edmund Crispin, but I do think he's got a bit of a “he's a very clever boy” about him.THOMPSON: Maybe that's what it was. Maybe that.OLIVER: Something, yes. G. K. Chesterton.THOMPSON: I haven't read Father Brown. Oh, this is awful, isn't it? I'm starting to sound like a radical feminist by accident.OLIVER: [laughs] Maybe that's what you are, Laura. Maybe you just need to admit it. [laughs]THOMPSON: No, it does. It sounds really bad because I do really love almost all the women. I just, I don't know why I haven't read him.Christie and NostalgiaOLIVER: Was Agatha a nostalgia writer?THOMPSON: No, I don't think so. I don't think so. I don't think anyone who was a nostalgia writer would've written At Bertram's Hotel, which is an entire spin on the riff of nostalgia. Really clever. I think that's such a clever book. The way she traps us in her golden age, you know, this phantasmagoria of the re-created golden age. And then she says, “Ha, really fooled you.”I've written about this. I think she moved with the 20th century far more than is realized. I love those Cold War novels she writes about her dislike of ideologies. I love her postwar books about the fragmentation of the hierarchical society. I think she's—well, she's an incidental social historian, as are, I think, P. D. James and Ruth Rendell, but they're much more underlined about it. Again, I'm intrigued what you think. Do you think she is?OLIVER: I think there's definitely some quality, particularly to the Miss Marple stories—as you say, the social history sort of becomes a way of preserving something that's disappearing. One of them, written in the sixties—you can tell me which one—it opens with that description of all the new houses in the village and the mothers who give their children cereal for breakfast. And what sort of a thing is that to give a child? They should have bacon and eggs. Bacon and eggs is a real—you know, and she does have a real something heartfelt and real sense that this part of England is going, and this new thing is coming in.THOMPSON: That's true. That's absolutely true. That's The Mirror Crack'd. And it's—OLIVER: The Mirror, yes, yes.THOMPSON: Yes, and that whole thing of Mrs. Bantry's house has now been bought by a film star and blah, blah, blah. Yes, no, you are absolutely right. I didn't think hard enough before I answered your question.OLIVER: But no, what you said is also true. I can't sort of work out to what extent she regrets it, to what extent it's just useful material for her, you know?THOMPSON: Both. I mean, some of her late books, including Endless Night, I think, which is an incredibly modern book—that whole “me, me, me” culture of “I want, therefore I will have now,” which is written when she was quite an old lady. And then a book like Passenger to Frankfurt, which is—it's a bit sub–Brave New World, but it's very honest and pessimistic about a future—well, the one we are living in, really—full of fear and uncertainty and almost dystopian.She was a realist. You know, she is Miss Marple in a lot of ways. She was a realist in a way that I think a lot of us would find it difficult to be. And her American publishers were often—would sort of say, can she tone this down? Can she not have a young person who's completely evil? Readers want to know, is she going get any therapy? [laughter] And it's so true. There's quite a lot of that going on.She's very clear-eyed. So if she—I'm a bit nostalgic for Blur, do you know what I mean? I mean, you can't help it, in a way, like that brilliant example you give at the start of The Mirror Crack'd. But I would say her image is quite at odds with the reality of her in that way. But the image—OLIVER: And the adaptations don't help with that.THOMPSON: No. No. But at the same time, that Christie image, you know, the gentlewoman, the tea or the eternal bridge party, blah, blah, blah, that has a huge power of its own. So just being too iconoclastic about her, I think, is also a lie. Because I think, again, it's that interplay. She used the image, and the image—I hate the word cozy. I loathe the word cozy, but there's no denying that any book of that kind does have that quality. So I suppose even that's nostalgic in a way.Christie's PoshnessOLIVER: In a way, yes. How posh was she?THOMPSON: Good question. I've been thinking about that a lot. Quite, I would say. Quite grand, with that confidence. Her father really was—as I said, he was a young blade in New York dancing with Jennie Jerome and blah, blah, blah. And then it so happened that he ended up in Torquay, which of course then was very posh. And the fact that when she disappears, she disappears to Harrogate, [laughs] which is like the Torquay of the north.I remember her grandson saying to me, “She dealt with her literary agent. To her, he was staff.” You know, that kind of thing. Her sister, there is a—well, her sister ended up very grand indeed with a huge house up in Cheshire.I think she just had that internal confidence, really. She wasn't—and that there wasn't much money. I mean, there was very little money when she was growing up, as of course you know, but that didn't matter. I mean, her voice is insane. Her voice is, [affecting a posh voice] “Oh, it's lucky it just happens.” [laughter] But yes, there's a part of her that is real late Victorian upper middle class that, again, underpins her books.It's amazing really how broad-minded and cosmopolitan she was. But possibly, I mean, possibly that does—she was—you know, when she disappeared, she was described in foreign newspapers as an Anglo-American, the embodiment of Englishness, and that's how she was described. And then of course she was genuinely cosmopolitan in her love of travel and her love of other cultures and all that obvious stuff. Yes.Inspirations for Miss MarpleOLIVER: How much of her grandmothers is in Miss Marple?THOMPSON: Quite a lot, I would say, particularly the—OLIVER: Drawn from life?THOMPSON: Well, in an essential way not, because Miss Marple has no real experience of life in that way. We're occasionally told about some chap who came calling who wasn't suitable or whatever, but she's almost defined by nonexperience of life in a sense, but observation of life. She's an observer. She's not an outsider in the way that Poirot is. She has a place within the social hierarchy and whatever, and that village has a reality to it. And the way it changes has a reality to it. But she is defined by being an observer, I would say.But Margaret Miller, who was the rich grandmother, who is the one who had the big house at Ealing and was—you know, she's the one who would go to the Army and Navy stores and all that stuff that's in At Bertram's Hotel. She was—there's a lot of her in Miss—I think, as I say in the book, she grew up with the sound of female wisdom in her ears. You know, her grandmother was the sort of—if she'd seen her up in Harrogate, she would've known exactly what was going on. You know, one of those kind of women who could spot an affair at a hundred paces, just a wise sort of woman, worldly, worldly woman.And Miss Marple is worldly in her thinking, but not in her experience, particularly in a book like A Caribbean Mystery, which I think is—she's a real sophisticate, Agatha. I mean, I'm reading The Hollow again at the moment. And it's really astounding to me how there's a love affair at the center of it with a young woman who's kind of a self-portrait and this married man. And not only, there's not—it's not only nonjudgmental; there's literally no concept of judgment being in the vicinity. It's really, really sophisticated, grown-up stuff, I think. And again, I think that's maybe not recognized about her that much.Nursery RhymesOLIVER: What are the importance of nursery rhymes to her?THOMPSON: Yes, that's interesting. They're part of that distilled quality she had, I suppose, that really simple ability to catch hold of something that is simple and familiar in itself and then subvert it. There's books where she—I don't think she needs it in Five Little Pigs. I think the book is almost too good for that.But is it not to do with that—like her titles, which are really, really simple with a faint frisson of the sinister about them. Is it not that ability she has to catch, to take something really, really simple and subvert it for her own ends? What do you think? Do you think that's right? Or do you think it's something more than that?OLIVER: No, I think the simplicity is the point, and I think it probably gives her a way of talking, of showing how fundamental the wickedness is. And as you say, the children can be evil, and it's part of the darkness in a way, but it gives the appearance of innocence and, oh, One, Two, Buckle My Shoe? You know, children do this. And so it leads you through and makes it worse somehow. [laughs]THOMPSON: Yes. Exactly. Exactly. But I know I've—how many times have I said the word simple? But I really do feel that's the heart of her. And I also feel it's the heart of why she was misunderstood when I was growing up reading her because it was mistaken for simplistic.Wartime ProductivityOLIVER: Why was she so productive during the war? I mean, there were four books one year.THOMPSON: Yes.OLIVER: And as you say, they're some of the best. I mean, what is it about the war that gets her so busy?THOMPSON: Well, she was on her own, which she had never been, really. Well, obviously she divorced her first husband in 1928. So there's a couple of very bleak, dead years before she met her second husband and married him in 1930. But she wasn't completely on her own because she had her friend Charlotte Fisher, who was a sort of secretary-companion, but much more than that—really, really good friend.But in the war, Max Mallowan was abroad. Her daughter—she had one child—her daughter was married and living in Wales. And she was living in the Isokon building in North London, which I love because that's like, “You think I'm chintzy and old fashioned. And here I am socializing with the sort of left-wing intelligentsia at the Isokon building.” And there's something about being in that adorable little flat—they're so fabulous, those flats—and being alone but not feeling abandoned, as she had after her first marriage.And I suppose also, you know, war is, you either cower in despair or you think, “Right, well, better get on with it.” War is stimulating in that way. I think it was to quite a few writers, maybe, or quite a few creatives. The shadow of death. But there was something about that solitude but not abandonment, plus the stimulation of not knowing whether it was your last day on earth that did—it did. I mean, it's absolutely insane how productive she is.And then she wrote—she had a week off. She was also working as a dispenser at a London hospital, and she had a week off. And she wrote a Mary Westmacott, Absent in the Spring, which is one of her best Westmacotts, I think. I mean, she's got a week off and she writes a book. I mean, Jesus, there's a challenge to us, Henry. [laughter]The Mary Westmacott NovelsOLIVER: What are those Mary Westmacotts like? Because I've never read them, but you seem very—THOMPSON: Oh, have you not?OLIVER: You're very up on them. You like them?THOMPSON: I am. I really am. Well, for a biographer, they were a treasure trove because they're very revealing. Unfinished Portrait is, I think, as close as you are ever going to come to a true autobiography, as opposed to the actual autobiography, which is charmingly disingenuous.OLIVER: And also dull. No? I mean, it's just so dull.THOMPSON: Do you think? It is a bit.OLIVER: I couldn't read it. I couldn't read it. No, it was so long and so leaden. I felt like she didn't really want to tell me the story of her life. Just couldn't.THOMPSON: Well, I think that's probably right. It was very heavily edited after her death. And her daughter was very, very protective of her. So, Max Mallowan as well. So maybe there was a much better book in there somewhere. Who knows?OLIVER: So we should read Mary Westmacott if we want the unfiltered Agatha?THOMPSON: I would say Unfinished Portrait. It really fascinates me because the worst time you've ever gone through in your life—so in 1926, she lost her mother and her husband in the space of four months. And I think an awful lot of people, even writers, would think, “I'm going to put that behind me and get on.” But she had to reopen the wound. She had to go through it all again eight years later. I find that really, in itself, incredibly revealing about her.Poirot vs. MarpleOLIVER: Why is there so much more Poirot than Marple?THOMPSON: Yes, I've wondered that because there is this little thing that she hated him, which I don't really think she did. It's just something people say, isn't it?OLIVER: Well, it's a common thing about artists. They're supposed to hate their most successful work, but—THOMPSON: Yes. Yes. All I could come up with was that he was easier to put in different places. He could conceivably be on the Nile or in Mesopotamia or—I mean, it would be a—she does manage to get Miss Marple to the West Indies, but it's certainly—OLIVER: There are only so many holidays your nephew can send you on.THOMPSON: He was really successful, that nephew, wasn't he? Who do you think he was like? Sort of Ian McEwan or—OLIVER: [laughs] I know. It was sort of crazy, isn't it?THOMPSON: And very kind to her.OLIVER: It might be to her credit that she doesn't do a Midsomer Murders thing and just sort of wave away and say, “Oh, we can just have as many of these murders as we want.” She says, “No, we can only fit—” Do you think maybe that's it?THOMPSON: I think there might be a bit of that. I mean, her notebooks sort of—some of the books were originally Marples, like Cat Among the Pigeons and Death on the Nile, in fact. And then they became Poirots. I just wonder whether he's a bit more malleable because she is a more rooted, fixed entity.And he is—I don't mean to denigrate David Suchet because he's a fantastic actor, but he does root him more than I think the written version. I think he is a sketch on the page. And one of her great skills, I think, is how she can sketch, and they've got that quality of aliveness on the page, which you just can't analyze, really. I don't—well, I can't. And that's how I see Poirot. So he was more movable in that sense.And she's incredibly good at certain—like Sleeping Murder, there's no way you could have him in that. And Miss Marple is—her qualities are so perfect for a book like that, which has suddenly reminded me of how she got me into John Webster. I never read John Webster until—OLIVER: [laughs] That's great.THOMPSON: The way she uses The Duchess of Malfi is so clever. Do you think that's right about Poirot? Do you think there's something more . . .Reader Preferences and SalesOLIVER: I can see that. I wondered if there was some reader's prejudice involved.THOMPSON: Oh.OLIVER: Poirot is the sort of exotic—Sherlock Holmes, one thing that makes him popular is that he's a bit wacky, you know. And Poirot—he's always talking about, “You English are so xenophobic. Excuse me, I am Belgian.” And with the eggs and all the little—whereas Miss Marple's just the kind of old lady that we all wish there were more of. And how much of that will readers take? I don't know.THOMPSON: Yes. Although, as I say, she, she did—I mean, I think her publishers did like her to do Poirot, but I don't know that she would've been influenced by that necessarily. I mean, maybe she was—maybe I'm overdoing her—OLIVER: Well, she had these terrible money problems. Didn't she have to be a little bit focused on the dollar?THOMPSON: She did. She did, but she didn't—well, I mean, the money problems are insane because they were absolutely no fault of her own. They were to do with test cases, and it was just this sort of accumulation of horror that put her in tax problems during the war. And she really never could dig her way out of them and was advised to go bankrupt twice, which is unbelievable, just as a way of clearing it. I mean, it's terrible.But I don't know that she—I think her attitude was a bit more, “Well, why should I even bother if they're just going to take it away from me?” In 1948 she didn't write anything at all because I think she thought, “What's the point?” But then, that wasn't her way. But I don't know that she thought of writing as a way of digging out of it necessarily. But I could be—OLIVER: The Marples, did they make less money? Were they, did they sell less?THOMPSON: Not really. I think they all sold. Even poor old Passenger to Frankfurt sold hugely, absolutely hugely. I think people—I mean, my parents would—it was like people just wanted them, the Christie for Christmas.Rereading ChristieOLIVER: How many times have you read these books? Do you ever get bored?THOMPSON: No.OLIVER: Really?THOMPSON: Well, I have them on rotation, and I don't—as you know, I do interleave them with our beloved Elizabeth Bowen, who's my passion at the moment, and other people. But they are consolatory, I suppose. They are—there's bits of—there is this kind of—there's bits of them that I just know completely off by heart, like the gramophone record in And Then There Were None and all that.But there's something—and maybe I should have said this earlier, when I say—I've said it on Substack—that they're fairy tales for adults. There's something about that. There's an almost physical sensation of pleasure, really, when the resolution comes. It is a bit like act five of Shakespeare. I'm not going to say she's quite on that level. Not even I am going to say that.But there is—and it is like being a child again and reading the end toward the happy-ever-after, even though her happy-ever-afters are sometimes compromised. And there is something almost primal in that pleasure. And it almost sounds borderline mad, me saying it like that, but I do think there's something in it because the resolution is so—because it's character based, and at her best, she's character and plot as one, as in Five Little Pigs or The Hollow or Murder on the Orient Express or blah, blah, blah.Her resolutions do tell you something about human nature. You do think, “Oh, yes, that is what that would be. Yes, it would be all about money. Yes. Yes, doctors are untrustworthy,” or something on a more profound level than that. There's something that is a satisfaction, both childlike and I'm experiencing it as an adult. In my defense, P. G. Wodehouse said you can never read them too many times. [laughs] It doesn't matter if you know who did it. There's so much pleasure in them.Thompson's CareerOLIVER: Now, I want to ask a little bit about your career.THOMPSON: Mm-hmm.OLIVER: You were at a sort of stage school, then you studied at Merton, and then you worked at The Times.THOMPSON: Yes. Very briefly. Yes.OLIVER: How does one therefore go from all of this to being the biographer?THOMPSON: Well, I did always think I would have a career in—I wanted to direct plays. I directed Hamlet after university, which is probably the thing I'm still proudest of. But what it was, was that I wrote a couple of books. I won an award when I was quite young.And then I had an agent who—I said to him, “I want to write a biography of Nancy Mitford.” And he wasn't very keen on the idea, but I must have written an okay proposal. Again, because I thought Nancy Mitford was a little bit undervalued, that she's a lot more than just a posh girl. And at the time her reputation was quite low. And so somebody bought into that idea, and it sort of went from there, really.But it's a bit—I sometimes look back at the books I've written, including a memoir of my publican grandmother, and I think, gosh, this is all quite scatter-gun, but maybe that's okay. Maybe you should just write the books you really want to write. But it was a passion for Nancy Mitford that sort of started that particular ball rolling.And then I had the idea of—oh, no. I was down in Devon with a boyfriend, and he said, “You never stop talking about Agatha Christie. Why don't you try and write her biography?” And that was just a luck of timing because her daughter was still alive. So I met her, and she liked me because I knew the Mary Westmacotts so well, and that sort of happened. I mean, quite often these things are very fortuitous, don't you think? Did you not find that with your book?OLIVER: Yes, yes. No, I did. I did. I think some writers, as you say—I don't think of it as scatter-gun. I think of it, it's sort of an emergent thing, and you happen to have these different interests, and you just follow your nose, and that's fine.THOMPSON: Yes, exactly.OLIVER: Tell us about this production of Hamlet.THOMPSON: Oh. Do you know, I think it was not bad. I had a very good Hamlet. I think if you've—well, you're in trouble without—who is now quite a successful actor. And we were all really young, but he was—I saw him in something and said, “Do you want to play Hamlet for me?” And he said, “Okay then.” And it was a room above a pub in Chelsea, and it was very spare and very quick.And it was about—I can't bear when people overanalyze the character of Hamlet, and why does he delay? He delays because Shakespeare wants him to, so that he can write all those incredible speeches. That's a bit simplified, but it was—he was so, he so understood the translucent power of those soliloquies, this actor. So it just sort of worked because we didn't do too much to it. And it was, yes, it was good. I think it was good. But then I did Macbeth, and that was much less good.Secretly Reading ChristieOLIVER: And you've said here, and I think you said it in your book, that when you were at Merton, you were reading Agatha Christie between the covers of what you were supposed to be reading.THOMPSON: Yes, yes, I was.OLIVER: That can't be—is that a slight exaggeration, or did you really not get on with the syllabus?THOMPSON: Well, hang on. I was a bit stuck in the first term. Can you imagine coming from a performing arts school—OLIVER: Yes.THOMPSON: —and then being told, “Read that bloody, you know.OLIVER: Yes, yes. No, it's intense.THOMPSON: All I knew was French. How I got in is a minor mystery, but there it was. I've tried to do it honor ever since by writing as best books I possibly can. But I was okay once I got over that bit. Once I got into my beloved Tennyson and all the people we've been talking about, Hardy and blah, blah, blah. Larkin, about whom the best thing I've ever read—the best thing I've ever read about Larkin is your Substack about him, without a shadow of a doubt.OLIVER: Oh, thank you.THOMPSON: Just wonderful. So I sort of winged it a bit, but I had a very nice don. And the autodidact side of me, which is very like Agatha Christie, who barely went to school, and Nancy Mitford—I think it can be a good thing in a way, because you have such a respect for learning and truth. I always try to be truthful in my biographies, which as we know, not everybody is. [laughter]And I think you carry on wanting to learn and carry on wanting to fill all the gaps because I only had half an education, because in the morning you would do ballet and drama and all that kind of thing. So it is a bit odd, but in some ways I think it's been a good thing.OLIVER: Now, the new book is about the 1926 disappearance. When can we expect it to be published?THOMPSON: It's only a short book—OLIVER: Yes.THOMPSON: —because obviously I covered it a lot in the biography, and it doesn't—but I have found out a couple of new things. And that will be out in August here and in November in America. And I have come up with a slightly different slant on it, but mainly—and I treat it a little bit like a cold case. And it was—I had to write—I wrote it in five weeks, but it was incredibly good fun. Oh, and I reenacted her journey, which was very interesting, to Harrogate.But mainly it's such a pleasure because I, you know, on Substack, and I think, “Oh, you can't write about Agatha Christie again.” There always seems to be quite a lot to say. I'm intrigued by how you, who I think of as a true intellectual, how you have clear regard for her.Henry on Agatha ChristieOLIVER: I started reading her when I was about 12, and I just thought she was great, and I went through most of them. But I read them at intervals. So I was reading her into my twenties, thirties. And before this interview I tried to—I thought, “Laura's always saying Five Little Pigs is the best one. I'm going to read it.” And I just sort of found that I've lost the taste, in a way.THOMPSON: Okay.OLIVER: Which I was quite, I don't know, just maybe—I feel like this is my failing. Maybe I should take a week off and sit by the pool and read it properly. But I've always thought she's really, really great, and very few people can do that many very compelling stories without you sort of thinking, “Oh, I've read this one. I know. Yes. It's the same as the other one, isn't it? Yes. Yes, it was the”—as you say, it's not Cluedo. Even Dorothy L. Sayers, I don't think I could read much more by her, frankly. Great, she's great, but it's enough. [laughs]THOMPSON: Well, I quite like her. The whole—most girls who went to Oxford are quite keen on Gaudy Night, and the character of Harriet Vane is quite satisfying, I think.OLIVER: Indeed, indeed. And Strong Poison is great. And there—but I just mean if she'd written as many books as Agatha, you can't imagine it would've sustained the level of quality.THOMPSON: No, no. There is that lightness in Agatha and that terrible cliché of, “I wrote a long book because it was too—I didn't have enough time to write a short book,” and all that kind of thing. The brevity amazes me. When I said at the start, most writers would take twice as many pages to get all that in.She has style—I don't know if you can call it a style, but there is something blindingly effective about it that nobody can imitate. And it does—there's something so fathomless about her, and that's what continues to compel me. But I think it's very lovely of you to do this if you are no longer an admirer because you've let me sort of—OLIVER: Well, it's not that I'm not an admirer. It's just that I don't—I had this with P. G. Wodehouse. I read quite a lot of it, and now, I don't know, somehow I've reached a point where it's—I sort of get it, but it's just not that funny anymore. I don't know, just need some time away.THOMPSON: Well, maybe. Maybe, but you know, I'm a bit—she's part of my life now. It's like if somebody said, “You can't read her anymore,” it would be like, “You can't listen to the Rolling Stones anymore.” I mean, it'd be like a kind of death. She's part of my life the same way they're part of my life. She's now inseparable from just the way I go on, as is Shakespeare. And if I had to lose one of them, trust me, it would be her, you'll be reassured to know. [laughter]OLIVER: Very good. Laura, this has been a lot of fun. Thank you very much.THOMPSON: Oh, I've really enjoyed it. I really have. And I was really looking forward to it, and it's been even nicer than I thought it would be. So thank you.OLIVER: Oh, it's been delightful.THOMPSON: Thank you so much, Henry.OLIVER: Thank you. This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit www.commonreader.co.uk

Le Musée Jenisch à Vevey célèbre sa saison japonaise avec l'exposition temporaire "Impressions du Japon", présentant plus de 200 estampes japonaises (ukiyo-e) du legs Rudolf Schindler, mettant en lumière les écoles Utagawa (Hiroshige, Kunisada) et offrant un voyage dans la culture et la vie japonaise des XVIIIe-XXe siècles. Une exposition complémentaire, "Kokoschka. Japomanie", explore l'influence de l'art japonais sur l'artiste autrichien, suisse d'adoption Oskar Kokoschka. Musée Jenisch – Vevey – jusquʹau 29 mars 2026 Margaux Honegger, conservatrice adjointe du cabinet cantonal des estampes est lʹinvitée dʹAnne Laure Gannac.

Sieb, Antje www.deutschlandfunk.de, Kultur heute

In dieser Kunstsnack-Folge dreht sich alles um ein Porträt und die spannenden Geschichten dahinter. Dabei griff der Künstler Oskar Kokoschka zu einer ungewöhnlichen Maltechnik und nutzte statt Pinsel und Palette seine Hände. In welcher Beziehung Kokoschka zu seinem Modell Karl Etlinger stand und weshalb er neben seinem klangvollen Namen auch als schwierige Persönlichkeit bezeichnet wird, erzählt Kunstcomedian Jakob Schwerdtfeger in dieser Folge.

In 1897, Gustav Klimt led a group of radical artists to break free from the cultural establishment of Vienna and found a movement that became known as the Vienna Secession. In the vibrant atmosphere of coffee houses, Freudian psychoanalysis and the music of Wagner and Mahler, the Secession sought to bring together fine art and music with applied arts such as architecture and design. The movement was characterized by Klimt's stylised paintings, richly decorated with gold leaf, and the art nouveau buildings that began to appear in the city, most notably the Secession Building, which housed influential exhibitions of avant-garde art and was a prototype of the modern art gallery. The Secessionists themselves were pioneers in their philosophy and way of life, aiming to immerse audiences in unified artistic experiences that brought together visual arts, design, and architecture. With:Mark Berry, Professor of Music and Intellectual History at Royal Holloway, University of LondonLeslie Topp, Professor Emerita in History of Architecture at Birkbeck, University of LondonAndDiane Silverthorne, art historian and 'Vienna 1900' scholarProducer: Eliane GlaserReading list:Mark Berry, Arnold Schoenberg: Critical Lives (Reaktion Books, 2018)Gemma Blackshaw, Facing the Modern: The Portrait in Vienna 1900 (National Gallery Company, 2013)Elizabeth Clegg, Art, Design and Architecture in Central Europe, 1890-1920 (Yale University Press, 2006)Richard Cockett, Vienna: How the City of Ideas Created the Modern World (Yale University Press, 2023)Stephen Downes, Gustav Mahler (Reaktion Books, 2025)Peter Gay, Freud, Jews, and Other Germans: Masters and Victims in Modernist Culture (Oxford University Press, 1979)Tag Gronberg, Vienna: City of Modernity, 1890-1914 (Peter Lang, 2007)Allan S. Janik and Hans Veigl, Wittgenstein in Vienna: A Biographical Excursion Through the City and its History (Springer/Wien, 1998)Jill Lloyd and Christian Witt-Dörring (eds.), Vienna 1900: Style and Identity (Hirmer Verlag, 2011)William J. McGrath, Dionysian Art and Populist Politics in Austria (Yale University Press, 1974)Tobias Natter and Christoph Grunenberg (eds.), Gustav Klimt: Painting, Design and Modern Life (Tate, 2008)Carl E. Schorske, Fin-de-siècle Vienna: Politics and Culture (Vintage, 1979)Elana Shapira, Style and Seduction: Jewish Patrons, Architecture and Design in Fin-de-Siècle Vienna (Brandeis University Press, 2016)Diane V Silverthorne, Dan Reynolds and Megan Brandow-Faller, Die Fläche: Design and Lettering of the Vienna Secession, 1902-1911 (Letterform Archive, 2023)Edward Timms, Karl Kraus: Apocalyptic Satirist: Culture & Catastrophe in Habsburg Vienna (Yale University Press, 1989)Leslie Topp, Architecture and Truth in Fin-de-Siècle Vienna (Cambridge University Press, 2004)Peter Vergo, Art in Vienna, 1898-1918: Klimt, Kokoschka, Schiele and Their Contemporaries (4th ed., Phaidon, 2015)Hans-Peter Wipplinger (ed.), Vienna 1900: Birth of Modernism (Walther & Franz König, 2019)Hans-Peter Wipplinger (ed.), Masterpieces from the Leopold Museum (Walther & Franz König)Stefan Zweig, The World of Yesterday: An Autobiography (University of Nebraska Press, 1964)In Our Time is a BBC Studios Audio ProductionSpanning history, religion, culture, science and philosophy, In Our Time from BBC Radio 4 is essential listening for the intellectually curious. In each episode, host Melvyn Bragg and expert guests explore the characters, events and discoveries that have shaped our world.

Bohaterem wykładu Eweliny Sobczyk Podleszańskiej w Szkole Bardzo Wieczorowej jest Oskar Kokoschka - austriacki malarz, poeta i grafik, działający w okresie ekspresjonizmu. Nie bez wpływu na twórczość Oskara Kokoschki pozostała jego miłość do Almy Mahler (wdowy po kompozytorze Gustawie Mahlerze), a zwłaszcza fakt zerwania przez nią związku. Znany jest również fakt zamówienia przez malarza manekina utraconej ukochanej, którego używał później jako pomocy warsztatowej przy pracy malarskiej. Malował wspaniale przez wiele lat, ale zawsze gdzieś w jego obrazach pojawiała się ukochana Alma. O życiu i twórczości Oscara Kokoschki opowiada w rozmowie z Markiem Mierzwiakiem Ewelina Sobczyk Podleszańska.

Reinhardt, Anja www.deutschlandfunk.de, Kultur heute

Hoy desvelaremos los pasajes más ocultos de la vida de David Keith Lynch, mundialmente conocido como “el de Twin Peaks”. El pequeño Daví nació el 20 de enero de 1946 en Montana, pero podría haber nacido en Castrourdiales porque los padres se movían más que la mesa coja de un velador. Su madre se llamaba Edwina, que es el Elpidia de ellos y su padre Donald, que se vé que es el Manué de allí. Donald era científico y trabajaba para el Seprona por eso el matrimonio iba teniendo los hijos cerca de las reservas forestales que al padre le tocaba investigá porque que a los americanos le pasan muchas cosas malas en los bosques, en los lagos, en los parques nacionales y en las puertas de urgencias de los hospitales. David fue educado como presbiteriano que en vez de ostias consagradas en la comunión les dan galletas de arroz sin gluten. Y luego querrán que las criaturas no vayan dando tiros. También fue Boy Scout consiguiendo el más alto rango, el de Eagle Scout, porque el niño se conocía mejor la Serranía de Ronda que “El Tragabuches”. Gracias a esto, en 1961, David participó como acomodador en la toma de posesión del presidente Kennedy el día que cumplía 15 años, porque las investiduras de los presidentes en los EEUU siempre son los 20 de enero, que coja a la gente sin dinero pa comprá balas. En 1964 se matriculó en la escuela de Bellas Artes de Boston y le tocó de compañero de cuarto Peter Wolf. Tú te matriculas en la de Cádiz y te toca un compañero de Barbate, que a lo mejor famoso no se hará pero no veas el material que se trae del pueblo. David no duró mucho porque esa escuela no le inspiraba y se fue con su colega Jack Fisk a Europa para intentar estudiar en la escuela de Oskar Kokoschka que pa ser pintor dibujaba los tigres como mi niño que puede ser un tigre, un oso o un bocadillo de lomo con queso. Cuando llegaron, Kokoschka les dijo que no era posible pq la última plaza la había cogido uno de Barbate, así que se volvieron y David se matriculó en la escuela de Pensilvania donde conoció a Peggy Reavey, con la que se casó en 1967 y tuvo a su 1º hija. Luego ya iría teniendo otras parejas y niños como la renovación del certificado digital, cada 4 años Buscador incansable de imágenes bizarras, tocó tó los palos: arte, pintura, comics, cine, fotografía, imagen y sonido, electrónica y grandes electrodomésticos. Ya en esta época llevaba el tupé como Sergio Ramos y tenía el pellejito de los párpados así caío y arrugaito, como los güebetes de los masai. Su debut como director fue en 1967 con Alphabet, pero el reconocimiento le llegaría con películas como Terciopelo Azul, El Hombre Elefante o Corazón Salvaje. Eso sí, el dinero se lo dio Twin Peaks, serie de TV estrenada en 1990 y en la que 35 años después todavía no se sabe quién mató a Laura Palmer. Desgraciadamente, el 16 de enero de este 2025, a los 78 años, David se llevó el final de Twin Peaks, aunque ustedes siempre podrán recordarlo cuando se renueven el certificado digital o les toque un compañero de Barbate.

Maria Caterina Cicala"La collezione Gurlitt"Acquario Libriwww.acquariolibri.itDisegni a matita e a china, litografie, acqueforti, acquarelli e dipinti a olio di grandi artisti, soprattutto del primo Novecento: Picasso, Renoir, Monet, Cézanne, Signac, Klee, Matisse, Heckel, Kirchner, Liebermann, Marc, Beckmann, Munch, Chagall, Nolde, Corinth, Schmidt- Rottluff, Dix, Grosz, Kokoschka, solo per fare qualche nome. Per Cornelius Gurlitt la collezione di famiglia è amore e angoscia, gioia e ricordo.È la storia della sua famiglia e della vita precaria di grandi artisti in fuga dall'orrore nazista, dell'ambiguità del padre Hildebrand grazie al quale si sono salvati gli artisti che il Reich aveva catalogato come degenerati e di un segreto custodito troppo a lungo. Di come la collezione dei più grandi artisti del Novecento sia finita nelle sue mani, quelle di un personaggio minore che vive ai margini della società. Arrivato alla fine della vita, Cornelius si rende conto che alla sua collezione manca soltanto una cosa: un erede. Cicala segue le tracce della vera storia dei protagonisti, lasciando che l'immaginazione colmi i pezzi mancanti del disegno.Maria Caterina Cicala vive a Napoli, ha insegnato Storia e Filosofia nei licei, nel 2000 ha pubblicato con Sellerio Per gioco e nel 2021 per Acquario Il teatro dei pappagalli.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/german-studies

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/psychology

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices

Eric Kandel was born in Vienna in 1929. In 1938 he and his family fled to Brooklyn, where he attended the Yeshiva of Flatbush. He studied history and literature at Harvard, and received an MD from NYU. He is a professor of biochemistry at Columbia University, and won the 2000 Nobel Prize in Medicine for his research on memory. In addition to his science textbooks, Kandel has written several books for a general readership, including In Search of Memory: The Emergence of a New Science of Mind (2007), and The Disordered Mind: What Unusual Brains Tell Us About Ourselves (2018).  In 2012 he spoke to the Institute about his book The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present (Random House, 2012). About the book:  At the turn of the century, Vienna was the cultural capital of Europe. Artists and scientists met in glittering salons, where they freely exchanged ideas that led to revolutionary breakthroughs in psychology, brain science, literature, and art. Kandel takes us into the world of Vienna to trace, in rich and rewarding detail, the ideas and advances made then, and their enduring influence today. The Vienna School of Medicine led the way with its realization that truth lies hidden beneath the surface. That principle infused Viennese culture and strongly influenced the other pioneers of Vienna 1900. Sigmund Freud shocked the world with his insights into how our everyday unconscious aggressive and erotic desires are repressed and disguised in symbols, dreams, and behavior. Arthur Schnitzler revealed women's unconscious sexuality in his novels through his innovative use of the interior monologue. Gustav Klimt, Oscar Kokoschka, and Egon Schiele created startlingly evocative and honest portraits that expressed unconscious lust, desire, anxiety, and the fear of death. Kandel tells the story of how these pioneers--Freud, Schnitzler, Klimt, Kokoschka, and Schiele--inspired by the Vienna School of Medicine, in turn influenced the founders of the Vienna School of Art History to ask pivotal questions such as What does the viewer bring to a work of art? How does the beholder respond to it? These questions prompted new and ongoing discoveries in psychology and brain biology, leading to revelations about how we see and perceive, how we think and feel, and how we respond to and create works of art. Kandel, one of the leading scientific thinkers of our time, places these five innovators in the context of today's cutting-edge science and gives us a new understanding of the modernist art of Klimt, Kokoschka, and Schiele, as well as the school of thought of Freud and Schnitzler. Reinvigorating the intellectual enquiry that began in Vienna 1900, The Age of Insight is a wonderfully written, superbly researched, and beautifully illustrated book that also provides a foundation for future work in neuroscience and the humanities. It is an extraordinary book from an international leader in neuroscience and intellectual history. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/neuroscience

Corrientes Circulares 14x29 con noticias y novedades sobre Dorian, León Benavente,Nada Surf, Bunbury ft Arde Bogotá, Noise Box, Spring Festival, Viva Suecia, Suzanne Vega, Travis, Moby, Kokoschka y Tom Odell!!! Dale al play!!!

Corrientes Circulares 14x29 con noticias y novedades sobre Dorian, León Benavente,Nada Surf, Bunbury ft Arde Bogotá, Noise Box, Spring Festival, Viva Suecia, Suzanne Vega, Travis, Moby, Kokoschka y Tom Odell!!! Dale al play!!!

Corrientes Circulares 14x29 con noticias y novedades sobre Dorian, León Benavente,Nada Surf, Bunbury ft Arde Bogotá, Noise Box, Spring Festival, Viva Suecia, Suzanne Vega, Travis, Moby, Kokoschka y Tom Odell!!! Dale al play!!!

Kokoschka fue un pintor inclasificable, cercano a los expresionismos artísticos del siglo XX y con una controvertida vida íntima. En este pódcast nos centraremos en su obra pictórica y en las resonancias con nuestro tiempo. También tocaremos el tema de cómo se forja el artista y su lugar en la historia del arte. Ten en cuenta que no se trata de una biografía del artista, si deseas ese tipo de contenido no te recomiendo este episodio.

Der Folgentitel sollte ja eigentlich eh schon keine Fragen mehr offen lassen. Für mehr Informationen über diesen und weitere Romane, Dokumentationen und alternative Historik solltet ihr uns dringend euer Ohr lauschen. Abonnieren nicht vergessen! Bei Youtube übrigens mit Video! Außerdem in dieser Folge: Neue Lore zu Alfons, seiner Herkunft, seinen Beinamen Oschka Kokoschka und die 43 Schweinchen Die verschiedenen Dente-Grade endlich erläutert Wie Basti mit Sebastians Hilfe ein Freibad-Imperium gründete (die Trilogie) Die gescheiterte Beziehung von Titanic und Eisberg Geschichten von irgendeinem Feind Werft auch einen Blick auf die Friedhofsgeschichte zu Maximal Durchschnitt! ################################# Maximal Durchschnitt - Ein lustiger Podcast mit Basti und Sebastian. Zwei Trottel, die seit Schulzeiten gemeinsam Blödsinn machen - was macht da mehr Sinn, als ein lustiger Podcast? Wir beantworten Fragen von Zuschauern oder ihrem treuen Begleiter Alfons unter der Prämisse, dass die Antworten mit der Wahrheit möglichst wenig zu tun haben sollen. Maximal Durchschnitt ist ein Podcast für alle, die - Impro Comedy mögen - auf absurden und nerdigen Humor stehen - jede Folge überrascht werden wollen - nicht auf fundiertes Wissen hoffen - nicht immer nur Hack wollen Besucht www.maximaldurchschnitt.de für alle Infos. --- Send in a voice message: https://podcasters.spotify.com/pod/show/maximal-durchschnitt/message

Der Ausnahmekünstler: Oskar Kokoschka Oskar Kokoschka zählt heute zu den bedeutendsten österreichischen Künstlern des 20. Jahrhunderts. Der 1886 in Pöchlarn geborene Vertreter des Expressionismus hat im bürgerlichen Kulturklima, das Anfang des 20. Jahrhunderts in Wien herrschte, von Beginn an polarisiert. Teil 1: Frühe Ausstellungen in Wien - Zwischen Ablehnung und Verehrung. Mit der Kunsthistorikerin Bernadette Reinhold, Leiterin des Oskar Kokoschka Zentrums an der Universität für angewandte Kunst Wien Eine Eigenproduktion des ORF. Diese Ö1 Sendung wurde am 18.12.2023 ausgestrahlt.

Der Ausnahmekünstler: Oskar Kokoschka Oskar Kokoschka erhielt 1919 eine Professur an der Dresdner Kunstakademie. In den folgenden Jahren unternahm er ausgedehnte Reisen und hielt sich für längere Zeit in Paris und London auf. Anfang der 1930er-Jahre versuchte er wieder in Wien Fuß zu fassen. Teil 2: Politisierung und Instrumentalisierung Anfang der 1930er-Jahren. Mit der Kunsthistorikerin Bernadette Reinhold, Leiterin des Oskar Kokoschka Zentrums an der Universität für angewandte Kunst Wien. Eine Eigenproduktion des ORF. Diese Ö1 Sendung wurde am 19.12.2023 ausgestrahlt.

Der Ausnahmekünstler: Oskar Kokoschka Oskar Kokoschka leitete bis 1962 seine Sommerakademie, die "Schule des Sehens", in Salzburg: Teil 5: Kokoschka als Vorbild Mit der Kunsthistorikerin Bernadette Reinhold, Leiterin des Oskar Kokoschka Zentrums an der Universität für angewandte Kunst Wien. Buchtipp: Der Band "Oskar Kokoschka und Österreich. Facetten einer politischen Biographie" von Bernadette Reinhold ist im Böhlau Verlag erschienen. - Sendung vom 22.12.2023

Der Ausnahmekünstler: Oskar Kokoschka Teil 4: Zum Verhältnis des Künstlers Oskar Kokoschka und Österreich nach 1945. Mit der Kunsthistorikerin Bernadette Reinhold, Leiterin des Oskar Kokoschka Zentrums an der Universität für angewandte Kunst Wien. Buchtipp: Der Band "Oskar Kokoschka und Österreich. Facetten einer politischen Biographie" von Bernadette Reinhold ist im Böhlau Verlag erschienen. - Sendung vom 21.12.2023

Der Ausnahmekünstler: Oskar Kokoschka Teil 3: Verfolgung unter dem NS-Regime und politisches Engagement im Londoner Exil. MIt der Kunsthistorikerin Bernadette Reinhold, Leiterin des Oskar Kokoschka Zentrums an der Universität für angewandte Kunst Wien. Buchtipp: Der Band "Oskar Kokoschka und Österreich. Facetten einer politischen Biographie" von Bernadette Reinhold ist im Böhlau Verlag erschienen - Sendung vom 20.12.2023

Noch bis zum 11. Februar 2024 ist in der Landesgalerie Niederösterreich die Ausstellung „Kunstschätze vom Barock bis zur Gegenwart“ zu sehen. Brillante Werke der österreichischen Malerei vom späten 18. Jahrhundert bis zur Gegenwart werden präsentiert und ausgewählten Skulpturen und Fotografien ergänzend gegenübergestellt. Herbert und Alexander Giese haben es sich nicht nehmen lassen, die Ausstellung zu besuchen und in dieser Podcast-Episode ihre Eindrücke zu teilen. Neben künstlerischer Diskussion und kunsthistorischer Einordnung kommt dabei auch die Erwähnung einiger Lieblingslokalitäten der beiden Wachau-Kenner nicht zu kurz. Reinhören lohnt sich also gleich doppelt! Kontakt: redaktion@gieseundschweiger.at; Website: https://www.gieseundschweiger.at/; Redaktion: Lara Bandion, Fabienne Pohl; Musik: Matthias Jakisic; Sprecherin: Sarah Scherer; Grafische Gestaltung: Studio Riebenbauer Zur Ausstellung: https://www.lgnoe.at/de/ausstellungen/27-kunstschaetze-vom-barock-bis-zur-gegenwart

Les animaux, que ce soit sur le plan graphique, sémantique ou symbolique, innervent lʹœuvre de l'artiste Oskar Kokoschka. Dans ses cahiers de papier aux crayons de couleur, c'est l'intégrité de leur instinct et leur force vitale qu'il saisit. Les traits de crayons vifs et lumineux, le choix des couleurs peu fidèle à la réalité, souvent emprunt de fluorescence, donnent naissance et mouvement à autant de fauves, chevaux, oiseaux, poissons que de créatures hybrides et mythologiques. " Kokoschka. Animaux totems ", une exposition féeriquement animale, au Musée Jenish Vevey jusquʹau 29 octobre 2023. Historienne de lʹart, conservatrice de la Fondation Oskar Kokoschka hébergée au Musée Jenish à Vevey, commissaire de lʹexposition " Kokoschka. Animaux totems ", Aglaja Kempf est lʹinvitée de Céline OʹClin

Der deutsche Expressionismus und seine großen Vertreter aus der ‘Brücke‘ und dem ‘Blauen Reiter‘ sind aus dem Pantheon der Kunstgeschichte längst nicht mehr wegzudenken, weshalb man manchmal vergisst, wieviel Skandalpotential anfänglich eignete und wie lange ihrem Schaffen auch über die Phase der ersten heftigen Anfeindungen hinaus im Fachdiskurs erbitterter Widerstand entgegengebracht wurde. Von letzterem kündet die nachfolgende Besprechung einer Ausstellung Oskar Kokoschkas im Berliner Salon Cassirer durch den Kunstredakteur des Berliner Tageblatts Fritz Stahl vom 10. April 1923. Viel lieber als über Kokoschka, den er mit Abstrichen gelten lässt, spricht Stahl über einige namhafte abwesende Künstlerkollegen, über die sich das nicht sagen lässt; so dass wir am Ende der Rezension mehr über die Kunstdebatten in der jungen Weimarer Republik erfahren als über die Werke, die damals bei Cassirer zu besichtigen und zu erwerben waren. Es liest, trotzdem, Frank Riede.

Pekarová Adamová: “Chequia y Taiwán comparten el respeto de los derechos humanos“. La obra Mujer y esclavo, de Kokoschka, objeto de disputas internacionales. Radioviajes.

Dans Historiquement Vôtre, Clémentine Portier-Kaltenbach vous raconte la passion sans limites que vouait le peintre autrichien Oskar Kokoschka (1886-1980) à sa maîtresse, Alma Mahler (1879-1964), devenue sa muse. Lorsque leur idylle brûlante et chaotique prit fin, vers 1915, Kokoschka, inconsolable, fit fabriquer une poupée de tissu grandeur nature, à l'effigie de sa bien-aimée…

*TICKETS FOR OUR LIVE SHOW AT LONDON'S VAULT FESTIVAL, 19th FEBRUARY 2023 @ 8.40pm: https://vaultfestival.com/events/worst-foot-forward-live-recording/* Got ourselves a crying, walking, sleeping, talking, living doll in the form of Dr. Kit Chapman returning to the show this week with a world of creepiness to explore. As we hunt down the world's worst doll, we uncover the second life of composer Alma Mahler, the failures of Thomas Edison and, of course, far too many sex dolls. Follow us on Twitter: @worstfoot @bazmcstay @benvandervelde @ChemistryKit Follow us on Instagram: @worstfoot  Join us on our Discord server! https://discord.gg/9buWKthgfx Visit www.worstfootforwardpodcast.com for all previous episodes and you can donate to us on Patreon if you'd like to support the show during this whole pandemic thing, and especially as we work on our first book and plan some live shows! https://www.patreon.com/WorstFootForward Worst Foot Forward is part of Podnose: www.podnose.com

avec Stéphane Coviaux et la chronique de Guillaume Sébastien Beaucoup d'entre nous aurions pu connaître le peintre Oskar Kokoschka. En effet, il est mort en 1980. Mais ce qui est encore plus incroyable, c'est que Kokoschka aurait pu nous parler de Klimt qu'il a très bien connu et dont il a été l'élève. Kokoschka, né à Vienne en 1886, a eu une vie longue et dense que nous raconte le musée d'Art Moderne de Paris qui l'expose en majesté jusqu'au 12 février. Il fut d'abord complètement à contre-courant de son temps en peignant des portraits très expressifs, presque « radiographiés », souvent déformés. avec force couleurs. C'est un fauve dans tous les sens du terme. Puis il est grièvement blessé lors de la première guerre mondiale. A Dresde où il habite, sa peinture change radicalement, peut-être parce qu'il s'éprend de la veuve de Gustav Mahler. Lui le portraitiste dont les paysages de jeunesse étaient mièvres devient un somptueux paysagiste. Il voyage bientôt en Europe, en France en particulier, et l'exposition nous fait basculer dans toute autre chose : les couleurs ont changé, Kokoschka peint magnifiquement des animaux sauvages du zoo de Regent's Park, l'artiste semble s'être assagi. Ce n'est qu'une illusion car en Allemagne, cela gronde, le régime nazi monte, confisque 600 œuvres de l'artiste, dont certaines sont présentées dans les expositions d' « art dégénéré » qu'il organise. Kokoschka se révolte contre la barbarie qui veut aussi anéantir l'art, préside une association d'artistes libres créée à Paris. Après la guerre, il s'exile en Suisse, ne cesse de peindre, continue de remettre en cause sa peinture, œuvre aussi pour l'Europe dans laquelle il croit farouchement. Quelle vie !..

Anne Teresa De Keersmaeker laat haar dansers los in de gangen van het Louvre in Parijs. Oskar Kokoschka maakte zijn entree in de kunstwereld tijdens de Weense Belle Epoque maar zijn carrière ging daarna nog decennia door. Het Musée d'Art Moderne in Parijs werpt licht op die minder bekende episodes in Kokoschka's oeuvre. Barbara De Coninck ging kijken. De Nederlandse kunstenaar Magali Reus neemt Museum Dhondt-Dhaenens onder handen.

Als Teil des weltweiten Netzwerkes der Österreichischen Auslandskultur fungiert das Österreichische Kulturforum Paris (ÖKF Paris) als Plattform für österreichische Kunst, Kultur und Wissenschaft in Frankreich und vermittelt zwischen österreichischen Kulturschaffenden sowie WissenschaftlerInnen und französischen Partnern. Das ÖKF Paris arbeitet daran, das internationale Ansehen Österreichs als moderne, weltoffene und pulsierende Kulturnation zu stärken sowie den kulturellen und wissenschaftlichen Austausch in und mit Frankreich zu fördern. Chefredakteur Christoph Wellner spricht mit der Direktorin des ÖKF Paris, Marina Chrystof. Im Fokus dabei steht die noch bis Februar laufenden Oskar Kokoschka-Retrospektive.

durée : 00:11:18 - Oskar Kokoschka - par : Marianne Vourch - Peintre expressionniste, Oskar Kokoschka, « enfant terrible » et surdoué de la scène artistique viennoise, rencontre Alma, veuve de Gustav Mahler, le 12 avril 1912. Un amour fou fait alors irruption dans la vie de l'artiste. Histoires de Musique nous conte cette passion déchirante. - réalisé par : Sophie Pichon

“Oskar Kokoschka“ Un fauve à Vienneau Musée d'Art moderne de Parisdu 23 septembre 2022 au 12 février 2023Interview de Fanny Schulmann, conservatrice au Musée d'Art moderne de Paris et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 22 septembre 2022, durée 18'16.https://francefineart.com/2022/09/22/3306_oskar-kokoschka_musee-d-art-moderne/Communiqué de presseCommissariat :Dieter Buchhart, Anna Karina Hofbauer et Fanny Schulmannassistés d‘Anne Bergeaud et Cédric HussLe Musée d'Art Moderne de Paris présente la première rétrospective parisienne consacrée à l'artiste autrichien Oskar Kokoschka (1886-1980). Retraçant sept décennies de création picturale, l'exposition rend compte de l'originalité dont fait preuve l'artiste et nous permet de traverser à ses côtés le XXe européen.Peintre, mais aussi écrivain, dramaturge et poète, Oskar Kokoschka apparaît comme un artiste engagé, porté par les bouleversements artistiques et intellectuels de la Vienne du début du XXe siècle. Par sa volonté d'exprimer l'intensité des états d'âmes de son époque, et un talent certain pour la provocation, il devient pour la critique l'enfant terrible de Vienne à partir de 1908 où, soutenu par Gustav Klimt et Adolf Loos, il inspire une nouvelle génération d'artistes, parmi lesquels Egon Schiele. Portraitiste de la société viennoise, Kokoschka parvient à mettre en lumière l'intériorité de ses modèles avec une efficacité inégalée.Ébranlé par sa rupture avec la compositrice Alma Mahler avec qui il entretient une relation tumultueuse entre 1912 et 1914, Kokoschka s'engage dans l'armée au déclenchement de la Première Guerre mondiale. Il sera gravement blessé à deux reprises. Il enseigne ensuite à l'Académie des Beaux-Arts de Dresde, où il recherche de nouvelles formes d'expressions picturales, en contrepoint des mouvements contemporains tels que l'expressionnisme, la Nouvelle Objectivité et l'abstraction.Voyageur infatigable, il entreprend dans les années 1920 d'incessants périples en Europe, en Afrique du Nord et au Moyen Orient. Sa fragilité financière l'oblige à revenir à Vienne, qui connaît dès le début des années 1930 d'importants troubles politiques, le contraignant à partir pour Prague en 1934. Qualifié par les nazis d'artiste « dégénéré », ses oeuvres sont retirées des musées allemands. Kokoschka s'engage alors pleinement pour la défense de la liberté face au fascisme. Contraint à l'exil, il parvient à fuir en Grande-Bretagne en 1938 où il prend part à la résistance internationale.Après la guerre, il devient une figure de référence de la scène intellectuelle européenne et participe à la reconstruction culturelle d'un continent dévasté et divisé. Il explore les tragédies grecques et les récits mythologiques afin d'y trouver le ferment commun des sociétés. Prenant ses distances avec la culture et la langue germanique, il s'installe à Villeneuve, en Suisse romande, en 1951. Les oeuvres des dernières années témoignent d'une radicalité picturale proche de ses premières oeuvres, dans leur absence de concessions. Sa croyance dans la puissance subversive de la peinture, vecteur d'émancipation et d'éducation, demeure inébranlable jusqu'à sa mort.Oskar Kokoschka. Un fauve à Vienne réunit une sélection unique des 150 oeuvres les plus significatives de l'artiste grâce au soutien d'importantes collections européennes et américaines. L'exposition sera présentée au Guggenheim Bilbao du 17 mars au 3 septembre 2023.#expoKokoschka Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Es war ein schweres Erbe, was das Kunstmuseum Bern 2014 antrat: 1600 Werke aus dem Gurlitt-Nachlass. Man vermutete einen «Nazi-Schatz». Bern prüfte die Herkünfte und zieht nun Bilanz. Klar ist: Gurlitt war ein Paradigmenwechsel für die Schweizer Museen. Was Gurlitt für die Schweiz bedeutet Als Cornelius Gurlitt dem Kunstmuseum Bern 1600 Kunstwerke vermachte, war die mediale Aufmerksamkeit gross. Immerhin galt das Erbe als Raubkunst und Fluchtgut kontaminiert. Jetzt nach acht Jahren Provenienz-Forschung zieht das Kunstmuseum Bern Bilanz: ein «Nazi-Schatz» war die Gurlitt-Sammlung nicht. Und: bei 1000 Werken lässt sich die Provenienz nicht lückenlos ermitteln, zu lange ist alles her, zu viel Archiv zerstört oder unzugänglich. Aber Gurlitt war auch ein Paradigmenwechsel für die Schweizer Museen: niemand kann es sich mehr leisten, Provenienzen oder Unklarheiten zu ignorieren. Wie Basel seine Geschichte aufarbeitet 1939 legte das Kunstmuseum Basel den Grundstein für seine Sammlung der Klassischen Moderne. Der damalige Direktor, Georg Schmidt, kaufte für 50'000 Franken 21 Bilder von Chagall, Kokoschka oder Franz Marc. Heute unbezahlbare Meisterwerke, die die Nazis als «entartete Kunst» diffamierten, aus Museen entfernten und ins Ausland verkauften. Inwiefern rettete Basel diese Gemälde vor der Zerstörung, oder profitierte es letztlich von moderaten Preisen? Das beleuchtet ab 22. Oktober die Ausstellung «Zerrissene Moderne». Warum schweizweit (noch) keine Benin-Objekte zurückgegeben werden Es war ein historischer Augenblick als der deutsche Staat Anfang Juli endlich das Abkommen über die Rückgabe der Benin-Bronzen unterzeichnete. 1100 dieser Objekte, die sich in deutschen Museen befinden, werden offiziell Nigeria zurückgegeben. In Grossbritannien wiederum, dem Land, dass Tausende der wertvollen Kunstschätze 1897 aus Benin raubte, gestaltet sich die Rückgabe schwieriger. Und wie sieht es in der Schweiz aus? Immerhin gibt es auch hierzulande 100 Benin-Objekte, 20 davon im Museum Rietberg in Zürich. Werden diese nun auch (endlich) zurückgegeben? Warum sieben Skelette die Universität Genf beschäftigen Die Gebeine von sieben Menschen sind seit beinahe 70 Jahren im anthropologischen Institut der Universität Genf aufbewahrt, schön angeordnet in Schachteln. Sie stammen aus dem Nordosten des Kongo, vom Stamm der Mbuti. Boris Adé, ein Genfer Arzt, liess sie in den 50er-Jahren exhumieren und braucht sie für Forschungen nach Genf. Sie sind noch heute in Genf, wenn auch im Besitz der Universität Lubumbashi im Südkongo. Die Nachfahren möchten nun die sterblichen Überreste zurück. Sie werden dabei vom Kollektiv Group 50:50 unterstützt, das diese Geschichte in einem Musiktheater thematisiert hat.

En el Espeluznarte de esta semana, Cristian Salomoni nos acerca una historia sobre el amor no correspondido y obsesivo del pintor expresionista Oskar Kokoschka hacia su musa, Alma Mahler, y cómo llevó esa obsesión hasta pedir que hicieran una muñeca con sus mismos rasgos. Escuchar audio

durée : 01:23:07 - Une vie, une oeuvre - Oskar Kokoschka (1ère diffusion : 18/05/1995) - Par Michel Bydlowski- Avec Olda Kokoschka, Johann Winkler, Antonia Hoerschelmann, Konrad Oberhuder et Erika Tunner - Réalisation Josette Colin

Agneita Pleijel: Doppelporträt | Ein Roman über Agatha Christie und Oskar Kokoschka | Gelesen von Peter Kaempfe | 1 mp3-CD, 4 Std. | 16,90 € (UVP) | Audiolino ||

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 „Mädchen mit Tonpuppe“ aus dem Jahr 1922 von Oskar Kokoschka und irgendwie auch um eine missglückte Liebe zu einer Frau, die in Künstlerkreisen sehr begehrt war.

Agneita Pleijel: Doppelporträt | Ein Roman über Agatha Christie und Oskar Kokoschka | Gelesen von Peter Kaempfe | 1 mp3-CD, 4 Std.| 16,90 € /UVP) | Audiolino ||

Heute entsichert die Albertina für uns Ihre Alarmanlagen und Roderick Martin führt uns vor ein Bild, das von einem der bedeutendsten Vertreter der Wiener Moderne gemalt wurde: Oskar Kokoschka. Das Bild findet ihr hier: https://modigliani.albertina.at/ausstellungen/monet-bis-picasso/

Este é o podcast do Encontro de Leituras, o clube conjunto do PÚBLICO e do jornal brasileiro Folha de S. Paulo, que junta online leitores de língua portuguesa todas as segundas terças-feiras de cada mês.O convidado do 10.º Encontro do Leituras, que aconteceu a 14 de Setembro, foi o escritor português Afonso Cruz, sobre o romance “A Boneca de Kokoschka”, reeditado em 2018 pela Companhia das Letras publicado no Brasil pela Dublinense.O Encontro de Leituras é moderado pela jornalista Isabel Coutinho, responsável pelo site do PÚBLICO dedicado aos livros, o Leituras, e por Eduardo Sombini, jornalista da Ilustríssima, o caderno de cultura da Folha de S. Paulo.Siga o podcast do Encontro de Leituras no Spotify, Apple Podcasts, SoundCloud ou outras aplicações para podcasts. Conheça os podcasts do PÚBLICO em www.publico.pt/podcasts. Para descobrir outros podcasts, subscreva gratuitamente a newsletter Subscrito, com novidades e recomendações para trazer nos ouvidos.Os podcasts do PÚBLICO dão-lhe 10% de desconto numa nova assinatura do seu jornal. Em publico.pt/assinaturas, procure pela pergunta “Tem um código promocional?”, escreva o código POD10 e usufrua das vantagens de ter o PÚBLICO no ouvido. O código é válido para novas assinaturas ou assinaturas expiradas há mais de 90 dias.Produção: Isabel Coutinho e Aline Flor (PÚBLICO) / Música: Bottega Baltazar (Artlist.io)

Este é o podcast do Encontro de Leituras, o clube conjunto do PÚBLICO e do jornal brasileiro Folha de S. Paulo, que junta online leitores de língua portuguesa todas as segundas terças-feiras de cada mês.O convidado do 9.º Encontro do Leituras, que aconteceu a 10 de Agosto, foi o jornalista e escritor brasileiro Laurentino Gomes, que conversou sobre o primeiro volume da trilogia “Escravidão”, que tem como subtítulo: “Do primeiro leilão de cativos em Portugal até à morte de Zumbi dos Palmares”.O Encontro de Leituras é moderado pelas jornalistas Isabel Coutinho, responsável pelo site do PÚBLICO dedicado aos livros, o Leituras, e por Úrsula Passos, editora-assistente de Cultura do jornal paulista.O encontro seguinte aconteceu a 14 de Setembro, com o escritor português Afonso Cruz, sobre o romance “A Boneca de Kokoschka”, reeditado em 2018 pela Companhia das Letras publicado no Brasil pela Dublinense.Siga o podcast do Encontro de Leituras no Spotify, Apple Podcasts, SoundCloud ou outras aplicações para podcasts. Conheça os podcasts do PÚBLICO em www.publico.pt/podcasts. Para descobrir outros podcasts, subscreva gratuitamente a newsletter Subscrito, com novidades e recomendações para trazer nos ouvidos.Os podcasts do PÚBLICO dão-lhe 10% de desconto numa nova assinatura do seu jornal. Em publico.pt/assinaturas, procure pela pergunta “Tem um código promocional?”, escreva o código POD10 e usufrua das vantagens de ter o PÚBLICO no ouvido. O código é válido para novas assinaturas ou assinaturas expiradas há mais de 90 dias.Produção: Isabel Coutinho e Aline Flor (PÚBLICO) / Música: Bottega Baltazar (Artlist.io)

Este é o podcast do Encontro de Leituras, o clube conjunto do PÚBLICO e do jornal brasileiro Folha de S. Paulo, que junta online leitores de língua portuguesa todas as segundas terças-feiras de cada mês. A convidada do oitavo Encontro do Leituras, que aconteceu a 13 de Julho, foi a actriz e escritora brasileira Fernanda Torres, à conversa sobre o seu segundo romance, “A Glória e seu Cortejo de Horrores”, publicado em 2017 no Brasil pela Companhia das Letras e no ano seguinte em Portugal pela mesma editora.O Encontro de Leituras é moderado pelas jornalistas Isabel Coutinho, responsável pelo site do PÚBLICO dedicado aos livros, o Leituras, e por Úrsula Passos, editora-assistente de Cultura do jornal paulista. O encontro seguinte aconteceu a 10 de Agosto, com o escritor e jornalista brasileiro Laurentino Gomes, para conversar sobre o primeiro volume de “Escravidão”, que tem como subtítulo: “Do primeiro leilão de cativos em Portugal até à morte de Zumbi dos Palmares”. O próximo Encontro de Leituras acontece a 14 de Setembro, com o escritor português Afonso Cruz, sobre o romance “A Boneca de Kokoschka”, reeditado em 2018 pela Companhia das Letras publicado no Brasil pela Dublinense. O encontro tem lugar esta terça-feira às 22h em Portugal, 18h em Brasília. Siga o podcast do Encontro de Leituras no Spotify, Apple Podcasts, SoundCloud ou outras aplicações para podcasts. Conheça os podcasts do PÚBLICO em www.publico.pt/podcasts. Para descobrir outros podcasts, subscreva a newsletter Subscrito, com novidades e recomendações para trazer nos ouvidos. Os podcasts do PÚBLICO dão-lhe 10% de desconto numa nova assinatura do seu jornal. Em publico.pt/assinaturas, procure pela pergunta “Tem um código promocional?”, escreva o código POD10 e usufrua das vantagens de ter o PÚBLICO no ouvido. O código é válido para novas assinaturas ou assinaturas expiradas há mais de 90 dias. Produção: Isabel Coutinho e Aline Flor (PÚBLICO) / Música: Bottega Baltazar (Artlist.io)

Imagination, cohérence et originalité caractérisent les programmes de concerts et les CDs de la pianiste belge Thérèse Malengreau. Son répertoire témoigne d'une prédilection certaine pour la musique du tournant des XIXe et XXe siècles et la musique contemporaine ; elle a découvert et créé de nombreuses partitions du passé et du présent. Les rapports de la musique, des arts plastiques et de la littérature sont au centre de ses recherches et de sa carrière, parfois en lien étroit avec des expositions et des projets artistiques internationaux (Musée d'Orsay, Grand Palais, Centre Pompidou Metz...). Des CD-livres réalisés dans cette perspective s'ajoutent à de nombreux albums monographiques comportant plusieurs premières mondiales (sous les labels BIS, Naxos, Etcetera, Cyprès et Miroirs). Son dernier CD paru chez BIS fixe sa découverte à Vienne et en Suisse d'œuvres composées par HE Apostel, disciple de Berg et de Schönberg, d'après des dessins de Kokoschka et de Kubin. Dans le prolongement de son parcours artistique, Thérèse Malengreau enseigne le piano et l'esthétique comparée des arts et participe aux travaux des Sociétés belge et française d'analyse musicale. Née dans une famille d'artistes, elle a obtenu plusieurs premiers prix et diplômes supérieurs au Conservatoire royal de musique de Bruxelles et est titulaire d'une maîtrise en philologie romane de l'Université libre de Bruxelles. Ses maîtres comptent Nicole Henriot-Schweitzer, Bernard Lemmens, Yevgeni Malinin et Léon Fleisher. www.theresemalengreau.com

Programa dedicado a los adelantos de lo que serán nuevos discos de IZAL, RUFUS T FIREFLY, QUIQUE GONZÁLEZ O SANTERO Y LOS MUCHACHOS. Y también KOKOSCHKA, MUJERES, LOS PUNSETES, MACARRONES, LOS BENGALA, LOS ENEMIGOS Y JOSELE SANTIAGO. Síguenos en Instagram: desafinado4fm

Afonso Cruz has written more than 30 books, plays, young-adult novellas, essays and novels, including ‘Kokoschka’s Doll’, which won the EU Prize for Literature. His subsequent books have also found success: ‘Jesus Christ Drank Beer’ was Time Out Lisbon’s best Portuguese novel of the year; ‘Where do Umbrellas End Up’ won the 2014 Portuguese Society for Authors award. Cruz is also a columnist, illustrator, animated-film director and member of the band The Soaked Lamb.

Wislawa Szymborska, Oskar Kokoschka, Katsushika Hokusai, Robert Mapplethorpe, Gerard Damiano & Linda Lovelace e Diego Beyró.Parliamo di arte, sessualità e cose così... Enrico è uno psicologo, un sessuologo e parla di quello che conosce con curiosità ed apertura, per fare dell'arte uno strumento di trasformazione, non solo di intrattenimento. È consigliato l'ascolto ad un pubblico adulto.Extra e BTS: telegram.me/kaplanpodcast Instagram: instagram.com/kaplanpodcastPer contatti: kaplanpodcast@gmail.com

Hélène Frédérick est née au Québec en 1976 et vit à Paris. Elle est l'auteure de deux romans aux éditions Verticales, La poupée de Kokoschka (2010) et Forêt contraire (2014), publiés chez Héliotrope, « série P » pour l'Amérique du Nord. Son troisième roman qui se déroule à Québec à la fin des années 1980 vient de paraître sous le titre La nuit sauve chez Verticales. « Pour solder la fin des cours, au début de l'été 1988, dans une vallée reculée du Québec, des adolescents se sont donné rendez-vous à la lisière d'un champ de maïs. Un feu de joie, du rock à plein volume et plusieurs motos garées près de la ferme voisine. Avec intensité, Hélène Frédérick profite de cette nuit blanche pour faire un portrait libre de cette jeunesse à travers les regards alternés de Fred – l'exclu écorché vif –, de Mathieu – le playboy contrarié –, et de Julie – la mélancolique jouisseuse.Leurs corps tournoient entre deux âges, se perdent dans la pénombre, se jalousent de loin, s'attisent de plus près, mais on pressent qu'un drame va se produire. De cette rage de vivre, restera l'éclat persistant de quelques « étoiles filantes » à qui ce roman est dédié. » (Présentation de l'éditeur) (Rediffusion du 19 juillet 2019)  

Short description: On this episode we speak on Tool. Also, ASAP Rocky is out of jail. Enjoy the last episode of Season 1. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/smashingcast/message Support this podcast: https://anchor.fm/smashingcast/support

Waren mit explizit christlichem Bezug findet man in deutschen Kaufhäusern keine. Deswegen mag in den Augen des säkularisierten Westens die Kultur islamischer Länder so fremdartig wirken, denn dort ist die Produktgestaltung stark mit Religiosität und moralischen Vorstellungen durchflochten. Eines der auffälligsten Beispiele dafür: eine Barbie-Puppe mit Verschleierungs-Outfit. Doch wer genauer hinschaut, entdeckt im Orient eine schillernde Warenwelt, in der es nicht die ganze Zeit um Entsagung geht und an der die Globalisierung keineswegs spurlos vorübergegangen ist. Die Islamwissenschaftlerin Dr. Alina Kokoschka beschäftigt sich in ihrer Forschung mit der Rolle von Dingen des Alltags in islamisch geprägten Ländern. Auf ihren Reisen durch Syrien, den Libanon und in die Türkei hat sie viele Beispiele für Konsumgegenstände gesammelt. Es sind Waren, die als „made for Muslims“ auch im Design eine soziale Funktion besitzen. Mode kann zum Beispiel traditionalistisch sein – oder aber fast subversiv, wenn ein Hijab mit opulenten Mustern bedruckt ist und damit gerade ins Auge sticht. Kokoschka ist Postdoctoral Research Fellow an der Berlin Graduate School Muslim Cultures and Societies. Aus ihrer Dissertation ist das Web-Projekt „Hawass“ entstanden, das die Ästhetik des zeitgenössischen Islams in Bildern zeigt – von Plakaten über Spielzeug und Küchengeschirr bis hin zu Verpackungen, Schildern und urbanen Szenen. Die Online-Plattform soll auch qualitative Feldforschung transparent machen, indem sie für die Forschungsobjekte einen virtuellen Showroom schafft und im Sinne von Open Science zum Austausch mit anderen Wissenschaftlern einlädt. Alina Kokoschka wurde für „Hawass“ mit einem Fellowship im Programm „Freies Wissen“ von Stifterverband und Wikimedia Deutschland gefördert.

Ciclos de conferencias: Cuatro ciudades. Episodios de la historia cultural del siglo XX en Occidente (I). Viena 1900-1918: Wagner, Freud, Klimt. Luis Fernández-Galiano. La Viena de comienzos del siglo XX fue escenario de un extraordinario florecimiento cultural. Si en las grandes metrópolis europeas –Londres, París o Berlín– las élites intelectuales, artísticas o científicas vivían enclaustradas en sus campos específicos, en Viena existió una fluida comunicación entre disciplinas que promovió la innovación y la apertura de nuevos territorios: en la psicología con Freud, en la literatura con Hofmannsthal o Kraus, en la historia del arte con Riegl, en la música con Mahler, en el urbanismo con Wagner o Sitte, en la pintura con Klimt, Schiele o Kokoschka, en la economía con Menger y en la política con Adler o Bauer. La ciudad que estaba transformando su realidad urbana con el gran proyecto de Ringstrasse alumbró una nueva arquitectura racional con las obras de Otto Wagner y los escritos de Adolf Loos, exploró los abismos del inconsciente con Sigmund Freud e hizo visible la importancia de la sexualidad con las imágenes convocadas por Gustav Klimt y Egon Schiele, pero toda esta construcción cultural se vio arrastrada por el vendaval de la Gran Guerra a la que llevaron unos líderes sonámbulos. Nuestro relato comienza en 1900, fecha en la que se publicó La interpretación de los sueños de Sigmund Freud, y llega hasta 1918, que marca el fin del Imperio austrohúngaro y la muerte de Wagner, Klimt o Schiele, todos ellos víctimas de la llamada "gripe española", una pandemia que causó más fallecimientos que la propia Guerra Mundial. Explore en www.march.es/conferencias/anteriores el archivo completo de Conferencias en la Fundación Juan March: casi 3.000 conferencias, disponibles en audio, impartidas desde 1975.

Bienvenidos a ERA Magazine, el podcast de la música independiente española. En el programa de hoy, tenemos el capítulo 18 de nuestro especial 7 minutos al día de la revista online Muzikalia. Buenos días a todos los amantes de la música indie. Antes de comenzar comentar los servicios de diseño web de ERA Magazine. Si visitar eramagazine.fm/web verás las tres opciones de web que te ofrecemos, con tienda online y sin tienda online, a unos precios muy asequibles. Sobre todo, y lo más importante, aprenderás a gestionar tu propio sitio en internet. Garantizamos tu formación. Vamos, da el siguiente paso, no te conformes sólo con tener un Bandcamp o un perfil de Facebook. ¿O es que no te acuerdas de lo que pasó a MySpace? ¿No sería mejor controlar tú mismo la información de tu grupo o discográfica? Hoy, escuchando algunos de las entradas de 7 minutos al día, he tratado de encontrar solo mujeres, pero me ha sido imposible. Se queja, por ejemplo, Irantzu Varela, de la que hubo una entrevista recientemente, de que en el Azkena Rock no hay más que hombres, con pocas mujeres artistas. No sé si es problema de los festivales, de los periodistas o de quién, pero justo estos últimas semanas he ido a conciertos de muy buenas artistas: Mursego, Anari, Los Punsetes, Núria Graham y Joana Serrat. Mujeres artistas hay, habrá que encontrarlas entonces. Brigitte Laverne es una de ellas. Una de esas indiscutibles, ya seleccionada con premios y viajes a París y Japón que tiene un pop electrónico que algunos juntan a New Order. Yo, por ser española, la asemejo a Linda Mirada, aunque bastante más oscura. Eso sí, entre la producción y cantar en inglés, lo que diría un españolito como yo es: “Si es que parece de fuera”. La verdad es que sus canciones de su último disco, “Wasted”, de este año son muy a tener en cuenta aquí o en el resto del mundo. Escuchamos de su último elepe, la canción “Can’t take it no more”. Y ahora vamos a por una pareja de hermanos de Figueres que se llaman North State. Más pop electrónico, pero esta vez con esa oscuridad que tienen The XX y Portishead. Estarán también en el Primavera Sound así que los podéis escuchar dentro de la lista de Spotify con otros grupos nacionales que tenemos. Escuchamos ahora la canción que se llama “Late Night Calls”. Me gustaban mucho de 7 minutos al día Mueveloreina y Apartamentos Acapulco, pero de algunos de ellos ya tendréis referencias en algún programa de ERA Magazine. Así que pasamos ahora a Poolshake, un grupo murciano que tienen más pinta por su imagen, letras y música de haber pasado por Londres y llegar a la región a uno de esos resorticos llenos de alemanes e ingleses, pero no de murcianos. Cantan en inglés, producidos por Brian Hunt, que parece inglés pero es de Torrelavega, y su dreampop necesita un elepe, ya que todos los singles hasta ahora son muy buenos. Por ello han sido escogidos Mejor Grupo Debutante en los Premios de la Música de la Región de Murcia. Escuchamos una de las canciones que será parte de su proximo single: “Pale trees”. Del electro, al pop y ahora un poco de rock, pero también soñador. Se llaman Bolga, vienen de Catalunya y yo los pondría más en el post-rock que no en el shoegaze a pesar de la interpretación de su cantante María Pipla que se ha incorporado recientemente al grupo. Publicaran su EP Altares este año, con ese rock y guitarras a plenos pulmón. Además, cantan en castellano, un plus. Escuchamos “Microcospio”. En este grupo hay una chica pero no lo hemos cogido por eso. Se llaman Vermú y son de Albacete. Se les puede emparejar por su forma de rock y folk con el propio Nacho Vegas. Toma ya. Esto es empezar fuerte. Merecen la pena su EP de debut que ahora están presentando. Escucharemos de él “Los páramos cerrados” y veremos cómo se sitúan en el futuro. Vamos ahora a Asturias, pero no para ver algo parecido a Nacho Vegas, sino la electrónica experimental de Octuvre, que ha girado con Kokoschka y Pablo Und Destruktion y, sólo por eso, ya merece nuestra atención. Más oscuro aún que Brignitte Laverne o North State. La letra de la canción que vamos a escuchar dice “Somos residuos, desechos nucleares sin reacción”. Algo perfecto para alegrar el día. Escuchamos “Residuos” de Octuvre. Con esta canción nos despedimos por hoy. También recordad, que si quieres ayudar a este podcast, y seguir disfrutando de la música de muchos más grupos, haz tus compras de Amazon a través del enlace eramagazine.fm/amazon. A ti no te cuesta nada y ERA Magazine se lleva una pequeña comisión con la que podremos difundir más propuestas emergentes. Porque recuerda: a la gente le encanta la música indie, pero todavía no lo sabe. Adiós.

Bienvenidos a ERA Magazine, el podcast de la música independiente española. En el capítulo de hoy, tenemos el capítulo 17 de nuestro especial 7 minutos al día de la revista online Muzikalia. Comenzamos. Buenos días a todos los amantes de la música indie. Antes de comenzar comentar a los grupos que nos estéis escuchando, que si queréis presentar vuestras canciones en el podcast de ERA Magazine, solo tenéis que mandarnos un email a través de eramagazine.fm/contacto. ¿Quieres tener una página web de tu grupo o discográfica y no sabes cómo? Entra también en eramagazine.fm/web y allí verás las tres posibilidades de web que te ofrecemos, con tienda online y sin tienda online. Sobre todo, y lo más importante, aprenderás a gestionar tu propio sitio en internet. Formación garantizada. Saludos a Borja que nos acompaña en el capítulo 17 de la sección 7 minutos al día de la revista online Muzikalia. Nightcrawler Hemos hecho una propuesta de bandas españolas que estarán en el Primavera Sound en Spotify. Entre ellas se encuentra Nightcrawler al que denominan su música como Synth Wave. Para los que no tenemos ni idea de qué van estas marcas podemos decir que es como si Daft Punk se hubiera juntado con guitarras heavies y pop más oscuro que The Cure. Publicó su segundo disco, Beware of the humans el año pasado con la colaboración de gente italiana, francesa, argentina… y su disco está editado por un sello austriaco. Vamos de todos lados. Si os interesa saber las influencias podéis consultarlas en Muzikalia. Ahora os ponemos de su último disco la canción “Blood rage” que puede sonar a Electric youth pero es más oscuro y menos pop. Nacho Casado Nada mejor para acercarse a la primavera y el verano que hacerlo a través de la música portuguesa-brasileña con esa pequeña saudade que hace que rememoramos los buenos días. Si, exactamente como La buena vida. Nacho Casado así lo hace con Verão después de separarse de Pilar Guillén con el grupo Odisea, buen grupo del que ha salido un buenisimo cantautor. Es sorprendente como canciones tan sencillas pueden resultar tan imposibles de olvidar. Escucharemos “Luna” de su último disco y os pondréis el disco entero en Spotify seguro. Nuevos Hobbies Siempre he pensado en Iruña, Pamplona como referente. Bien por El columpio asesino, Kokoschka y para los de los 80 o 90 Barricada, como no. Y aparte porque tiene un montón de bandas más a tener en cuenta. Una pena que desaparecieran los Gin-kas un grupo para bailar toda la noche rock. De ahí podemos decir que vienen Nuevos Hobbies pero ellos nos harán bailar esta vez pop. Mirando a los 60 pero también a los grupos nacionales que tanto nos gustan (Tachenko o La costa brava). Ahora están presentando su último disco Palmeras y de él vamos a escuchar “Todo puede aún empeorar”. Hay que tener cuidado con el wassap, el twitter, el facebook y demás zarandajas. Pavo Peña Si piensas hacerte rico componiendo música va a ser difícil. Después de leer el libro de Deam Wareham de Luna “Postales negras” ya se ve que los contratos para todo de las grandes multinacionales son la trampa de la que no se puede escapar. Y aún más si tienes un grupo como Pavo Peña puedes encontrarte mensajes como el que aparece de inicio de su disco “Ya sabes que pasa eso”. Lo de pagarte casi me da la risa. De todos modos hagámoslo todo por el arte y vivamos de la basura. Pavo Peña con sintes de comunión y hip hopeando a lo Le Tigre o Hidrogenesse nos cuenta su vida en Barcelona sacando risa y mala leche a la vez. Podemos escuchar “Los padrecitos”, esos seres que hacen lo que quieren con sus hijitos. The Limboos Un poco de rock de Jerry Lee Lewis, un buen puñado de rithm and blues de Ray Charles, música latina para exportar con unas buenas maracas y unas ganas de tocar locas como para ir hasta Japón a que les puedan descubrir. Estos son The limboos, antigua y nueva música a la vez que ahora podemos descubrir con Limbootica! que lanzaron el año pasado y del que ahora tenemos nuevo videoclip de “Blue dream” canción que vamos a escuchar ahora. Se trata de una canción que pudieran tocar en la gira de Japón junto a Pizzicato Five, esos ritmos que podría ir una película de las que se daban en los cines y no en Netflix. Oh! Ayatollah Y ahora, fomentando las lenguas que tenemos en el Estado vamos a escuchar a un grupo que canta en gallego, la tierra de nuestros dirigentes e incluso de los fascistas que hicieron dictadura durante tanto tiempo. Pero vamos que esto no es una canción protesta. Oh! Ayatollah ponen pop vitamínico en unas letras divertidas, vamos para pasarlo bien con los cuatro amigos que tengas. Y con el pedazo de protagonista del video imposible que no sea así. Escuchamos de ellos “Volve a canción protesta” con un video que hay que ver para darse cuenta de una novia siempre es una novia. Con esta canción nos despedimos por hoy. También recordad, que si quieres ayudar a este podcast, y seguir disfrutando de la música de muchos más grupos, haz tus compras de Amazon a través del enlace eramagazine.fm/amazon. A ti no te cuesta nada y ERA Magazine se lleva una pequeña comisión con la que podremos difundir más propuestas emergentes. Porque recuerda: a la gente le encanta la música indie, pero todavía no lo sabe. Adiós.

Bienvenidos a ERA Magazine, el podcast de la música independiente española. El capítulo de hoy, junto a Borja Buján nos vamos de festivales por el norte de la Península. Comenzamos. Buenos días a todos los amantes de la música indie. Antes de comenzar quiero decir a los grupos que nos estéis escuchando, que si queréis presentar vuestras canciones en el podcast de ERA Magazine, solo tenéis que mandarnos un email a través de eramagazine.fm/contacto. Como cada viernes, contamos con Borja Buján, que nos trae hoy tres festivales muy interesantes: el Donosti Kutxa Kultur Festibala, el MUWI de Logroño y el Santander Music. El primer festival que vienes a presentar se celebra en San Sebastián. Cuéntanos. El 15 y 16 de septiembre tendremos en Donosti Kutxa Kultur Festibala. Tienen cambio de ubicación. Ya no estarán en el Parque Igeldo, genial para los amantes de los parques de atracciones de otra época. Se pasará al Hipódromo y tiene como cartel una ilustración muy chula de Mikel Casal, dibujante local. Los cabezas de cartel son The Jesus & Mary Chain, The Hives, The Divine Comedy… Y de aquí Love of Lesbian, pero nosotros apostamos por Amateur con ex-miembros de La Buena Vida, también de la ciudad que presentarán su últimos discos de este año y os ponemos ahora la canción “El golpe”. Una canción más del festival de Donosti con uno de esos grupo que ya casi es parte de la ciudad. Kokoschka. Los iruñeses cuenta con el batería Alex, alma mater del Dabadaba, que es uno de los mejores locales de conciertos de los últimos tiempos de Donosti y de toda España. Escuchad ahora “No queda nada” de su último álbum “Algo real”, de los mejores rock chico-chica. Nos vamos un poquito más al Sur para comprobar lo que se cuece a final de agosto en La Rioja. Ahí tenemos el MUWI, no se si se dice así pero me hace gracía. Música y vino. Esto és. Del 24 al 27 de Agosto en una bodegas cercanas a Logroño muchos grupos españoles (Joe Crepusculo, La Bien Querida, Perro, Solea Morente…) con algunas colaboraciones de grupos de La Rioja. Estoy seguro que con un par de crianzas el “Señoras Bien” de Las Bistecs es cantando por todos. Y para disfrutar ya a lo bestia, Los Bengala nos pueden dar parte de su rock sucio a todo trapo con algún vino sacándonos los colores por el hocico. Vamos con “Jodidamente loco”. Por último, viajamos hasta Santander. Y ahora lo más cercano en el tiempo, el Santander Music 2017, del 3 al 5 de agosto en algunas de la playas de la capital cántabra. Muchos grupos nacionales también (Sidonie, Los Deltonos, Triángulo de Amor Bizarro, Delorean, Lori Meyers, La Casa Azul…). Pero vamos a escuchar ahora al grupo de referencia. Si te gustan, como dicen los Novedades Carminha, es que eres un pureta. Los Planetas arrimándose al trap. Escuchamos “Islamabad”. Y para terminar el programa festivales del norte escuchamos a Belako. Entre Joy Division y The Breeders, unos de esos grupos para apostar seguro, muy buenos en el disco de hace tres años y muy buenos ahora. Escuchamos del últimos disco Hamen la canción “Track sei”. Con esta canción nos despedimos por hoy. Gracias Borja por tus recomendaciones, nos oímos el próximo viernes con la sección 7 minutos al día de Muzikalia en el podcast de ERA Magazine. Y recordad que si nos escucháis a través de iTunes, iVoox o Spreaker, una valoración de 5 estrellas o un me gusta ayudará a dar a conocer este podcast. Recuerda, a la gente le encanta la música indie, pero todavía no lo sabe. Adiós.

Finalmente no Biblioteca de Bolso, recebemos Afonso Cruz. Nascido na Figueira da Foz, em 1971, publicou o primeiro romance, "A Carne de Deus", em 2008. De então para cá, tem sido um dos mais prolíficos e reconhecidos escritores portugueses. Com "A Boneca de Kokoschka", ganhou o Prémio da União Europeia para a Literatura. Publicou outros romances, como "O Pintor Debaixo do Lava-Loiças", "Jesus Cristo Bebia Cerveja", "Para Onde Vão os Guarda-Chuvas" e o recente "Nem Todas as Baleias Voam", com chancela da Companhia das Letras. Tem igualmente editado, em vários volumes, uma "Enciclopédia da Estória Universal", e diversos títulos de literatura para a infância. Para além de escritor, é ilustrador e músico, na banda de blues The Soaked Lamb. Trouxe-nos: Contos - Isaac L. Peretz História Verdadeira - Luciano de Samósata O Livro de Chuang Tzu - Chuang Tzu

更多内容请参看我们今天微信推送的第一条~We did a small survey on Beijing's street to find out if they visit galleries regularly.Among the six people we asked randomly, no one go to the galleries very often. Only one young mother had appreciated artworks up-close. The only purpose was to let her child to feel the atmosphere."No, I don't go to galleries. I don't have time and there's no gallery around my place.""Rarely, although I did visit a gallery once or twice, with my child.""Basically not. I don't know much about art. And none of my friends are interested in it. So we don't hangout in such places. But if offered the opportunity. I would be interested."But it's also true that Beijing's art zones such as the famous 798 are congested with visitors. Take the just-concluded exhibition of David Hockney as an example, it was so popular that nearly 800 Chinese art lovers queued in front of the exhibition hall.Li Shubo, a researcher with the University of Oslo, said Chinese people are more likely to appreciate art works with their ears, rather than eyes."People tend to judge the art from hearsay. They believe one work must be good as long as it's famous. The others must be banal because they've never heard of it. I hope we can use our own eyes instead. As an old Chinese saying goes, the more we know about the past, the more we know about the future. If we know how to appreciate and criticize a classic work, we'll be more competent in making independent judgement about new works."That's why Li Shubo has published a collection of essays recently, called "Pictures must be miraculous" or "Hui Hua Dang Wei Qi Ji" in Chinese, introducing eight western artists to readers in China. Instead of talking about the Leonardo Da Vincis or Vincent Van Goghs, Li Shubo featured eight equally representative but less well-known artists. "All of them lived in turbulent times, when great forces emerged and played against each other. All the places they worked from were fascinating cultural centers where important movements took place. "These artists are: Piero Della Francesca and Michelangelo Caravaggio from Italy, Oskar Kokoschka from Austria, Bruegel Pieter from the Netherlands, Velazquez from Spain, Edvard Munch from Norway, Mark Rothko from the United States, and Ronald Brooks Kitaj from Britain. Chinese readers may find themselves dazzled by these long and exotic names at first glance. But don't worry, after examining the pages, they will know them in person.Different from other art-related texts, Li Shubo doesn't use many technical terms, but tells the life stories of these artists with highly eloquent language. Through many biographical details, readers will find that these art titans were just like you and me, having their own interpersonal relations, unique personalities, and ups and downs. Comments towards their works are naturally woven into the telling of these stories, making good sense of their signature artistic styles."The key issue is to find out their restrictions. Their works are actually pushing the boundaries, becoming solutions to their constraints and answers to their times."In Li Shubo's eyes, Francesca is fond of geometry. Caravaggio describes the struggle between sense and sensibility. Kokoschka is remembered for his portraits of modernity. Rothko seems to favor abstract technique, but actually brings back the divinity of the early age into the contemporary art.Li used to dream about becoming an artist herself. But it was denied by her family. She learned economics instead, and became a journalist. In the 1990s she went to Britain to learn media communication, and then settled down in Norway as a researcher."My parents said there's no bright future for an artist. If I study art, I will work in cinemas and design posters for a living, which they don't want me to do."But Li never let go of her artistic pursue. She's married with an artist, and has been visiting galleries around the world. She found startling inequality in the distribution of cultural capital among the global North and South. But she believes it's a born ability of human beings to appreciate art. She is trying to invite the artistic side of everyone to come out."I hope I can bring art to be democratized. Everyone should have the ability to make their own judgment about art. Especially when contemporary art is becoming a game of capital, and when agencies and major collectors are trying to manipulate a misinformed market."What's more, Li is planning another book, focusing on Children's art education. It will be unique as well."We will make a very different children's art history. Unlike what you may find on the market, listing world's most famous 100 painting or artists. We will have a more anthropological and less Euro-centric perspective. For example, art works from Asian, African and Latin American countries will be included."If we compare fine arts as a nut, "Pictures must be miraculous" is like an easy-to-hold nutcracker, revealing the content to the world. As Li Shubo says, only after the public have a good taste of the delicacy will they distinguish yummy nuts by themselves.

Oskar Kokoschka, an Austrian expressionist painter and playwright in early 20th century Vienna, had a torrid affair with a woman--his muse--named Alma Mahler. When it ended, Oskar was devastated, feeling that he couldn't live or work without her. So, he did what any man would do: he had a life-size doll likeness of Alma made, which he continued to live with to inspire his work. Henry Schvey, a director, playwright, and professor of drama and comparative literature at Washington University in St. Louis, wrote a play based on this period of Kokoschka's life. He tells the story of how he first met the artist and explains how he turned the historical facts into a play.

Het Spoor terug: 1913 - Wenen, proefstation voor de ondergang van de wereld In het jaar 1913, het laatste jaar voor de wereldoorlog, noemde de satiricus Karl Kraus Wenen 'het proefstation voor de ondergang van de wereld'. De hoofdstad van het Habsburgse Rijk waar voor het eerst de aardbevingen werden geregistreerd die de crisis van de Europese cultuur inluidde, was volop aan het gisten. In de literatuur creëerde Musil zijn 'man zonder eigen- schappen', in de schilderkunst gooiden Klimt, Schiele en Kokoschka alle conventies over boord, in de muziek lapte Arnold Schönberg de harmonie aan zijn laars. Ondertussen maakten Hitler en Stalin zich in Wenen op om de wereld te verdelen. Samenstelling: Hans Olink

"Om jag i framstegets tid lärt mig att underskatta livet måste jag ju ha överskattat pressen". Karl Kraus var en skriftställare, intellektuell kättare och tidskriftsmakare som från slutet av 1800-talet och fram till 1936, då han dog, utgav tidskriften Die Fackel. Föremålen för hans sarkasmer och vivisektioner var framförallt militarismen, pressen, psykoanalysen, nationalismen och sin tids hyckleri runt prostitutionen. Hans frispråkighet och gå-mot-strömmen-filosofi skaffade honom många sedermera berömda anhängare, filosofen Wittgenstein, arkitekten Loos, kompositörer som Mahler och Schönberg, konstnärer som Klint och Kokoschka, författare som Canetti. Och ännu mer framgångsrik var Kraus när det gällde att skaffa sig fiender. I dagens K1 försöker Göran Sommardal med hjälp av bl.a. Gabriella Håkansson och Håkan Lindgren att använda Karl Kraus som österrikisk fackla i det svenska ljuset. Uppläsare: Anders A. Rosendahl, EwaMaria Björkström-Roos, Lena Endre. Karl Kraus var en skriftställare, intellektuell kättare ochtidskriftsmakare som från slutet av 1800-talet och fram till 1936, då han dog, utgav tidskriften Die Fackel. Föremålen för hans sarkasmer och vivisektioner var framförallt militarismen, pressen, psykoanalysen,nationalismen och sin tids hyckleri runt prostitutionen. Hans frispråkighet och gå-mot-strömmen-filosofi skaffade honom många sedermera berömda anhängare, filosofen Wittgenstein, arkitekten Loos, kompositörer som Mahler och Schönberg, konstnärer som Klimt och Kokoschka, författare som Canetti. Och ännu mer framgångsrik var Kraus när det gällde att skaffa sig fiender. I dagens K1 försöker Göran Sommardal med hjälp av bl.a. Gabriella Håkansson och Håkan Lindgren att använda Karl Kraus som österrikisk fackla i det svenska ljuset.Uppläsare: Anders A. Rosendahl, EwaMaria Björkström-Roos, LenaEndre.

Kokoschka war expressiv, als Maler und Schriftsteller, als aufstrebender Künstler wie auch als Liebender. Alfred Weidinger, Chefkurator des Museums Belvedere über den Künstler.

Kokoschka war expressiv, als Maler und Schriftsteller, als aufstrebender Künstler wie auch als Liebender. Alfred Weidinger, Chefkurator des Museums Belvedere über den Künstler.

Kokoschka war expressiv, als Maler und Schriftsteller, als aufstrebender Künstler wie auch als Liebender. Alfred Weidinger, Chefkurator des Museums Belvedere über den Künstler.

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"«Obras maestras del Museo de Wuppertal: De Marées a Picasso» es el título de la Exposición que se inaugurará en la Fundación Juan March el próximo 17 de noviembre, compuesta por un total de 78 obras de pintura pertenecientes a 38 artistas, a caballo entre los siglos XIX y XX, procedentes de la colección del Museo von der Heydt, de la ciudad alemana de Wuppertal. La muestra, organizada con la colaboración del citado Museo, permanecerá abierta en la sede de la Fundación Juan March hasta el próximo 25 de enero, y ofrece una variada selección de lo que ha sido la vanguardia histórica europea desde el último cuarto de la pasada centuria: Cézanne, Manet y los grandes maestros del impresionismo, el cubismo, el expresionismo, el surrealismo, etc., que ilustran uno de los períodos más ricos de la historia del arte. La exposición será presentada con una conferencia de Sabine Fehlemann, directora del Museo Von der Heydt, de Wuppertal. Entre el amplio número de artistas con obra en la exposición figuran Picasso -con cinco obras-, Dalí, Kandinsky, Gauguin, Bonnard, Léger, Kokoschka; varios nombres del Impresionismo francés (Degas, Monet, Toulouse-Lautrec...), De Chirico; una representación de los grupos expresionistas germánicos «Die Brücke» (El Puente), «Der Blaue Reiter» (El Jinete Azul) y «Los 4 Azules» (Corinth, Feininger, Heckel, Kirchner, Liebermann, Jawlensky, Marc, Nolde...), de la «Nueva Objetividad» alemana, como Beckmann, Otto Dix, Schad; y otros. Esta exposición itinerante, con la denominación de «De Marées a Picasso», ha sido mostrada ya en Ascona y Berna y, tras su exhibición en la Fundación Juan March en Madrid, se ofrecerá en el Museo Picasso de Barcelona, en Tel Aviv yen la National Gallery de Washington. Más de ochenta años de existencia tiene el Museo de la Ciudad de Wuppertal, que desde 1961 lleva el nombre del barón Eduardo Von der Heydt, el mayor de sus impulsores. Creado en 1902 el Museo Municipal de Elberfeld, fue incrementando sus fondos, que se unieron más tarde con los de la Asociación de Arte de Barmen, al fundirse ambas ciudades en la actual de Wuppertal. El mecenazgo de Dr. Von der Heydt, cuyo padre había sido Presidente del Museo de la ciudad desde 1903 y había legado a éste su colección de cuadros, contribuyó decisivamente a la notable colección de pinturas que hoy alberga el Museo de la Ciudad de Wuppertal y de la que la presente exposición constituye una muestra."Más información de este acto

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"Oskar Kokoschka, casi nonagenario, vino desde Suiza para inaugurar en la Fundación la exposición con 200 de sus obras. Habló largamente con medio centenar de periodistas, recorrió su exposición cuadro a cuadro, conversó con muchas de las personalidades que asistieron a la inauguración, fue al museo del Prado y demostró una vitalidad y un ingenio sorprendentes. En este número del Boletín Informativo ofrecemos algunas de las opiniones dadas por Kokoschka en Madrid, un resumen de las palabras del director gerente de la Fundación, don José Luis Yuste, y del especialista en la obra de Kokoschka, doctor Spielman, en el acto inaugural de la exposición, y una referencia de la disertación de Francisco Nieva sobre ""Kokoschka y el teatro"", primera de las actividades programadas en relación con la citada exposición."Más información de este acto

"Oskar Kokoschka, casi nonagenario, vino desde Suiza para inaugurar en la Fundación la exposición con 200 de sus obras. Habló largamente con medio centenar de periodistas, recorrió su exposición cuadro a cuadro, conversó con muchas de las personalidades que asistieron a la inauguración, fue al museo del Prado y demostró una vitalidad y un ingenio sorprendentes. En este número del Boletín Informativo ofrecemos algunas de las opiniones dadas por Kokoschka en Madrid, un resumen de las palabras del director gerente de la Fundación, don José Luis Yuste, y del especialista en la obra de Kokoschka, doctor Spielman, en el acto inaugural de la exposición, y una referencia de la disertación de Francisco Nieva sobre ""Kokoschka y el teatro"", primera de las actividades programadas en relación con la citada exposición."Más información de este acto