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5 episodes with Kunsthistorisches Museum
2 episodes with Kunsthistorisches Museum
8 episodes with Kunsthistorisches Museum
4 episodes with Kunsthistorisches Museum
2 episodes with Kunsthistorisches Museum
2 episodes with Kunsthistorisches Museum
2 episodes with Kunsthistorisches Museum
4 episodes with Kunsthistorisches Museum
2 episodes with Kunsthistorisches Museum
Sabino Maria Frassà"Il Braille Stellato di Fulvio Morella"Il 2025 è l'anno del Braille Stellato, l'alfabeto ideato da Fulvio Morella per celebrare il bicentenario del sistema di scrittura utilizzato dalle persone cieche e ipovedenti. Il Braille Stellato, ideato da Fulvio Morella nel 2022, è un innovativo alfabeto visivo-tattile che trasforma il linguaggio braille in un codice estetico ispirato alle costellazioni. I punti braille vengono sostituiti da stelle, dando vita a un cielo stellato in cui è possibile leggere e toccare enigmatici messaggi celesti. Da Freud a San Francesco, da Pierangelo Bertoli a Seneca, tutto l'immaginario dell'artista prende forma attraverso costellazioni che si fanno parole. Questo sistema rivoluziona la scrittura braille, unendo percezione tattile ed esperienza visiva, trasformando ogni opera in un intreccio di arte, inclusione e narrazione. Il risultato è una scrittura che non è solo un mezzo di comunicazione, ma anche una forma di espressione poetica e universale.Questo innovativo linguaggio tattile ed estetico, concepito dall'artista valtellinese classe 1971 e promosso per primo da Cramum, ha ottenuto un crescente riconoscimento da parte di istituzioni e collezioni di prestigio internazionale. Le opere di Morella sono entrate a far parte di raccolte di rilievo, tra cui il Museo del Braille di Milano, il Museo del Braille di Parigi, la Zecca Italiana, il Kunsthistorisches Museum di Vienna, la Monnaie de Paris e l'UNESCO di Parigi. Il valore del suo lavoro è stato consacrato con la vittoria del Premio alla Carriera Alfredo d'Andrade 2023 e la selezione per importanti eventi artistici e medaglie ufficiali. "Con il suo alfabeto stellato, Morella invita il pubblico a toccare il cielo con le dita, trasformando l'arte in un'esperienza tanto evocativa quanto sensoriale e inclusiva", spiega Sabino Maria Frassà, direttore creativo di Cramum.Il Braille Stellato rappresenta una nuova frontiera dell'arte multisensoriale, in cui la bellezza diventa accessibile a tutti, abbattendo barriere percettive e culturali. "Le opere di Morella nascono con l'obiettivo di essere universali, superando i limiti della percezione e rendendo l'arte un'esperienza condivisa e senza confini", aggiunge ancora Frassà. Attraverso il suo linguaggio universale, Morella ci ricorda che i limiti sono solo traguardi da superare con ingegno e sensibilità, trasformando ogni opera in un ponte tra emozione e conoscenza.Il braille stellato e le OlimpiadiL'innovazione del Braille Stellato ha portato alla selezione delle opere di Fulvio Morella per la realizzazione di prestigiosi riconoscimenti internazionali. In particolare, la Medaglia "Ailes de Mouette" per le Olimpiadi e Paralimpiadi di Parigi 2024: un omaggio al superamento dei limiti e alla resilienza, presentata presso l'INJA Louis Braille di Parigi. "Il Braille, da 200 anni, è uno strumento straordinario che abbatte le barriere, rendendo le persone cieche e ipovedenti parte pulsante e attiva della società," afferma Stéphane Gaillard, direttore dell'INJA Louis Braille.Dopo questo successo, l'artista è stato selezionato dal Comitato Italiano Paralimpico (CIP) e dall'Unione Stampa Sportiva Italiana (USSI) per elaborare la medaglia della prima edizione del Premio CIP-USSI, un riconoscimento assegnato a giornalisti e comunicatori che hanno saputo raccontare lo sport paralimpico con passione e dedizione. È nata così la medaglia "Raccontami", ispirata al proemio dell'Odissea, che invita alla riflessione sul valore della narrazione. "Ogni eroe, per esistere e trasformarsi in mito e leggenda, ha bisogno di una narrazione: senza di essa, l'impresa resta nell'ombra, silenziosa e incompiuta," sottolinea Sabino Maria Frassà, Direttore Creativo di Cramum. Il Premio CIP-USSI, come spiega il Presidente del CIP Luca Pancalli, celebra e racconta "il valore dello sport come strumento di benessere e inclusione, capace di contribuire alla crescita culturale, sociale e civile del Paese". La medaglia è stata assegnata a numerosi giornalisti e comunicatori di spicco, tra cui Claudio Arrigoni, Novella Calligaris, Mattia Chiusano, Maria Luisa Colledani, Paolo De Laurentiis, Sandro Fioravanti, Giovanni Bruno, Claudio Lenzi, Nadia Lauricella, Dario Marchetti, Mirko Narducci, Mario Nicoliello, Roberto Pacchetti, Felicita Pistilli, Giacomo Prioreschi, Lorenzo Roata, Sonia Arpaia e Mauro Ujetto.Le Mostre Dedicata al Braille StellatoLe mostre sul Braille StellatoIl Braille Stellato, presentato per la prima volta nella mostra Romanitas presso lo spazio Gaggenau della capitale, è oggi protagonista della rassegna I limiti non esistono, nell'ambito dell'Olimpiade Culturale di Milano Cortina 2026. La rassegna, ideata da Sabino Maria Frassà, si sviluppa nei luoghi che saranno il cuore delle Paralimpiadi: Milano, Val di Fiemme e Cortina.Il primo appuntamento, Le stelle che non ti ho detto, si è tenuto nel 2025 presso il Museo d'Arte Contemporanea di Cavalese, aprendo il ciclo con una mostra co-curata dalla neo-direttrice Elsa Barbieri e dallo stesso Frassà. L'esposizione si è arricchita di performance dentro e fuori il Museo, alcune delle quali proseguiranno anche oltre la chiusura ufficiale della mostra, prevista per il 29 giugno 2025. In autunno, l'attenzione si sposta a Milano con la mostra LUDI – L'arte è un abbraccio, ospitata presso Palazzo Regione Lombardia. Al centro di questa esposizione vi è un inedito dialogo tra arte tattile e le sculture gonfiabili di Franco Mazzucchelli, incentrato sulla percezione sensoriale e sull'inclusione. La rassegna si concluderà con l'esposizione Cortina di Stelle al Lagazuoi Expo Dolomiti, il museo più alto delle Dolomiti. Qui, per la prima volta, verranno presentate le sculture luminose del ciclo Braillight, che combinano il Braille Stellato con la luce, creando un'esperienza immersiva a 2.732 metri di altitudine.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.
After a challenging year in which international galleries, auction houses and museums have been forced to scale back their operations and make redundancies on an alarming scale, a slower, more considered approach to business seems to be emerging. So are we into an era of longer, more in-depth exhibitions and bespoke events concerned more with authentic connection than flashy spectacle? Ben Luke talks to Anny Shaw, a contributing editor at The Art Newspaper. In the Netherlands, just as in the US, cuts by far-right politicians to international development seem likely to have a huge impact on arts projects. As Tefaf, the major international art fair opens in the Dutch city of Maastricht, we talk to Senay Boztas, our correspondent based in Amsterdam, about fears of a funding crisis. And this episode's Work of the Week is one of the greatest paintings ever made: The Hunters in the Snow (1565) by Pieter Bruegel the Elder. It is part of an exhibition called Arcimboldo – Bassano – Bruegel: Nature's Time, which opened this week at the Kunsthistorisches Museum in Vienna. The museum's director, Jonathan Fine, tells us more.Arcimboldo–Bassano–Bruegel: Nature's Time, Kunsthistorisches Museum, Vienna, until 29 JuneSubscription offer: enjoy 3 issues of The Art Newspaper for just £3/$3/€3—subscribe before 21 March to start your subscription with the April bumper issue including our Visitor Figures 2024 report and an EXPO Chicago special. Subscribe here. https://www.theartnewspaper.com/subscriptions-3FOR3?utm_source=podcast&promocode=3FOR3 Hosted on Acast. See acast.com/privacy for more information.
A 2025 preview: Georgina Adam, our editor-at-large, tells host Ben Luke what might lie ahead for the market. And Ben is joined by Jane Morris, editor-at-large, and Gareth Harris, chief contributing editor, to select the big museum openings, biennials and exhibitions.All shows discussed are in The Art Newspaper's The Year Ahead 2025, priced £14.99 or the equivalent in your currency. Buy it here.Exhibitions: Site Santa Fe International, Santa Fe, US, 28 Jun-13 Jan 2026; Liverpool Biennial, 7 Jun-14 Sep; Folkestone Triennial, 19 Jul-19 Oct; Ruth Asawa: A Retrospective, San Francisco Museum of Modern Art, 5 Apr-2 Sep; Museum of Modern Art (MoMA), New York, 19 Oct-7 Feb 2026; Gabriele Münter, Guggenheim Museum, New York, 7 Nov-26 Apr 2026; Musée d'Art Moderne de Paris, 4 Apr-24 Aug; Elizabeth Catlett: a Black Revolutionary Artist, Brooklyn Museum, New York, until 19 Jan; National Gallery of Art (NGA), Washington DC, 9 Mar-6 Jul; Art Institute of Chicago, US, 30 Aug-4 Jan 2026; Ithell Colquhoun, Tate Britain, London, 13 Jun-19 Oct; Abstract Erotic: Louise Bourgeois, Eva Hesse, Alice Adams, Courtauld Gallery, London, 20 Jun-14 Sep; Michaelina Wautier, Kunsthistorisches Museum, Vienna, 30 Sep-25 Jan 2026; Radical! Women Artists and Modernism, Belvedere, Vienna, 18 Jun-12 Oct; Dangerously Modern: Australian Women Artists in Europe, Art Gallery of South Australia, Adelaide, 24 May-7 Sep; Art Gallery of New South Wales, Sydney, 11 Oct-1 Feb 2026; Lorna Simpson: Source Notes, Metropolitan Museum of Art, New York, 19 May-2 Nov; Amy Sherald: American Sublime, SFMOMA, to 9 Mar; Whitney Museum of American Art, New York, 9 Apr-Aug; National Portrait Gallery, Washington DC, 19 Sep-22 Feb 2026; Shahzia Sikander: Collective Behavior, Cincinnati Art Museum, 14 Feb-4 May; Cleveland Museum of Art, US, 14 Feb-8 Jun; Cantor Arts Center, Stanford, US, 1 Oct-25 Jan 2026; Jenny Saville: The Anatomy of Painting, National Portrait Gallery, London, 20 Jun-7 Sep; Linder: Danger Came Smiling, Hayward Gallery, London, 11 Feb-5 May; Arpita Singh, Serpentine Galleries, London, 13 Mar-27 Jul; Vija Celmins, Beyeler Collection, Basel, 15 Jun-21 Sep; An Indigenous Present, ICA/Boston, US, 9 Oct-8 Mar 2026; The Stars We Do Not See, NGA, Washington, DC, 18 Oct-1 Mar 2026; Duane Linklater, Dia Chelsea, 12 Sep-24 Jan 2026; Camden Art Centre, London, 4 Jul-21 Sep; Vienna Secession, 29 Nov-22 Feb 2026; Emily Kam Kngwarray, Tate Modern, London, 10 Jul-13 Jan 2026; Archie Moore, Queensland Gallery of Modern Art, 30 Aug-23 Aug 2026; Histories of Ecology, MASP, Sao Paulo, 5 Sep-1 Feb 2026; Jack Whitten, Museum of Modern Art, New York, 23 Mar-2 Aug; Wifredo Lam, Museum of Modern Art, Rashid Johnson, Solomon R. Guggenheim Museum, New York, 18 Apr-18 Jan 2026; Adam Pendleton, Hirshhorn Museum and Sculpture Garden, Washington DC, 4 Apr-3 Jan 2027; Marie Antoinette Style, Victoria and Albert Museum, London, 20 Sep-22 Mar 2026; Leigh Bowery!, Tate Modern, 27 Feb- 31 Aug; Blitz: the Club That Shaped the 80s, Design Museum, London, 19 Sep-29 Mar 2026; Do Ho Suh, Tate Modern, 1 May-26 Oct; Picasso: the Three Dancers, Tate Modern, 25 Sep-1 Apr 2026; Ed Atkins, Tate Britain, London, 2 Apr-25 Aug; Turner and Constable, Tate Britain, 27 Nov-12 Apr 2026; British Museum: Hiroshige, 1 May-7 Sep; Watteau and Circle, 15 May-14 Sep; Ancient India, 22 May-12 Oct; Kerry James Marshall, Royal Academy of Arts, London, 20 Sep-18 Jan 2026; Kiefer/Van Gogh, Royal Academy, 28 Jun-26 Oct; Anselm Kiefer, Ashmolean Museum, Oxford, 14 Feb-15 Jun; Anselm Kiefer, Van Gogh Museum, Stedelijk Museum, Amsterdam, 7 Mar-9 Jun; Cimabue, Louvre, Paris, 22 Jan-12 May; Black Paris, Centre Pompidou, Paris, 19 Mar-30 Jun; Machine Love, Mori Art Museum, Tokyo, 13 Feb-8 Jun Hosted on Acast. See acast.com/privacy for more information.
W ostatnim odcinku w roku: Podsumowuję kończący się sezon podkastu, opowiadam o inspiracjach, ale i planach na nowy sezon. Wyrażam moją wdzięczność dla Patronek i Patronów, bo bez Was pewnie dawno bym się poddała. Przypominam o możliwości kontaktowania się ze mną, opowiadania o fascynacjach i pytania o sztukę dawną. A od około 15 minuty opowiadam o wystawie Rembrandt Hoogstraten, kolor i iluzja, która trwa do 12 stycznia 2025 roku w Kunsthistorisches Museum w Wiedniu. Do siego roku!
Wenn man uns nach unseren Top 3 EVER fragt, dann ist er wahrscheinlich dabei, der gute Rembrandt. Und es es ist tatsächlich so, dass er seinen Platz an der Sonne mit der aktuellen Ausstellung im KHM festigt. Dass er seinen Kumpel Hoogstraten mitstrahlen lässt, ehrt ihn. Natürlich schaffen beide Illusion, aber Rembrandt braucht keine nachvollziehbaren Tricks, um Faszination auszulösen. Die reine Malerei genügt ihm, um uns "normale" Menschen staunend zurückzulassen. Mein Vater und ich haben gestaunt, analysiert und darüber gesprochen. Und wie immer sind wir ein Stückchen schlauer geworden... https://www.khm.at https://de.m.wikipedia.org/wiki/Rembrandt_van_Rijn Kontakt: redaktion@gieseundschweiger.at; Website: https://www.gieseundschweiger.at/; Redaktion: Fabienne Lubczyk, Lara Bandion; Musik: Matthias Jakisic; Sprecherin: Sarah Scherer; Grafische Gestaltung: Studio Riebenbauer
Szukam śladów jesieni w malarstwie dawnych mistrzów. Naszymi przewodnikami po tradycji malarskiej są: Pieter Bruegel starszy jako autor Powrotu stada (Jesieni) z 1565 roku, obecnie w Kunsthistorisches Museum w Wiedniu Bracia Limbourg, Barthélemy d'Eyck i Jean Colombe jako autorzy miniatur jesiennych w Bardzo bogatych godzinkach księcia de Berry powstających od 1411 roku, obecnie w Muzeum Kondeuszy w Chantilly. Giuseppe Archimboldo jako autor Jesieni z 1573 roku, obecnie w Luwrze w Paryżu. Corrado Giaquinto, autor Jesieni z około 1740/1750 roku, obecnie w National Gallery of Art w Waszyngtonie. Sami się przekonajcie dlaczego na jesiennych drzewach w malarstwie dawnym brak złotych liści, za to wszędzie dużo winogron. A tutaj znajdziecie odcinek o Myśliwych na śniegu i całym cyklu Bruegla. ... ❤️ Dziękuję, że słuchasz Otuliny o sztuce. Ten podcast powstaje dzięki Patronkom i Patronom w serwisie Patronite. Możesz to nich dołączyć tutaj: https://patronite.pl/otulina_o_sztuce
Wien ist nicht nur per Bahn gut zu erreichen, die Stadt lockt immer wieder mit neuen Sehenswürdigkeiten und Geheimtipps. Zusammen mit der Stadtführerin Elisabeth Wolf und Lukas Blecher von Ameropa fahren wir in dieser Folge in die österreichische Hauptstadt.
More on Rashi and the Giant Frog. It made little frogs when you hit it: https://www.jewishanswers.org/ask-the-rabbi-2912/one-huge-frog/ Grain on the Sabbath: Lk 6:1-5 Healing on the Sabbath: Lk 6:6-10 IMAGE: Christ defends the plucking of the ears of grain on the Sabbath (August), by Marten van Valckenborch (1535-1612), ~1580-1590. Oil on canvas. This piece can be found at the Kunsthistorisches Museum in Vienna. Cropped, as usual.
das kunstgeschichten abc auf exkursion! für diese folge haben wir susanne hehenberger im archiv des kunsthistorischen museum wien besucht. als archivarin, kuratorin und "museumsgeschichteforscherin" erzählt sie uns nicht nur über aus heutiger sicht skurrile gruß- und hausordnungen aus alten zeiten, sondern spricht mit uns über österreichische wissenschaftsskepsis, provenienzforschung und über das weitverbreitete image der erhabenen forscher*innen im elfenbeinturm.
Die Georg Baselitz Ausstellung im Wiener Kunsthistorischen Museum wurde in den letzten Wochen kontrovers diskutiert. Eine wichtige Stimme kam dabei von der Journalistin und Kunstkritikerin Nina Schedlmayer, die auf ihrem Blog „Artemisia“ einen kritischen Beitrag zur Ausstellung veröffentlichte. Darin thematisiert sie unter anderem die schlechte Frauenquote bei Ausstellungen im KHM, worüber sie auch im Rahmen dieser Folge von „Ausgesprochen Kunst“ mit Alexander Giese spricht. Die beiden diskutieren aber auch, wie Museen generell mit ihren historischen Sammlungen umgehen und sammeln positive Beispiele und Ideen. Jetzt anhören! Kontakt: redaktion@gieseundschweiger.at; Website: https://www.gieseundschweiger.at/de/; Redaktion: Lara Bandion, Fabienne Pohl; Musik: Matthias Jakisic; Sprecherin: Sarah Scherer; Grafische Gestaltung: Studio Riebenbauer Zum Blogbeitrag: https://artemisia.blog/2023/03/10/eine-schwarze-kuenstlerin-ins-khm/
Der deutsch-österreichische Maler, Grafiker und Bildhauer Georg Baselitz nimmt einen wichtigen Platz in der Kunstgeschichte des 20. Jahrhunderts ein, doch bei seiner Person scheiden sich die Geister – die einen verehren ihn als einen der bedeutendsten Künstler der Gegenwart, die anderen kritisieren die provokanten, mitunter sexistischen Aussagen des „Malerfürsten“. Im Wiener Kunsthistorischen Museum läuft derzeit die Ausstellung „Baselitz. Nackte Meister“, in der der Künstler 75 eigene Werke 40 Arbeiten Alter Meister gegenüberstellt. Die Gemeinsamkeit: es handelt sich um Aktdarstellungen. Wie erfolgreich ist diese Intervention? Ist es ein gleichberechtigtes Aufeinandertreffen? Und wieso zeigt das KHM überhaupt Baselitz? Diese Fragen wurden in den letzten Wochen intensiv diskutiert und beschäftigen auch Alexander und Herbert Giese in dieser Folge von „Ausgesprochen Kunst“. Die Ausstellung ist noch bis 25. Juni 2023 zu sehen – machen Sie sich selbst ein Bild! Kontakt: redaktion@gieseundschweiger.at; Website: https://www.gieseundschweiger.at/de/; Redaktion: Lara Bandion, Fabienne Pohl; Musik: Matthias Jakisic; Sprecherin: Sarah Scherer; Grafische Gestaltung: Studio Riebenbauer Zur Ausstellung: https://baselitz.khm.at/
Annemieke Bosman in gesprek met Quentin Buvelot, senior curator van het Mauritshuis. Naast Vermeer was er nog een grote schilder in Nederland actief in de Gouden Eeuw. Iedereen kent de verstilde interieurs en dat ene Straatje van Johannes Vermeer. Weinig mensen weten dat de schilder Jacobus Vrel dit soort taferelen al maakte voor Vermeer. In de tentoonstelling 'Vrel, voorloper van Vermeer' vertelt het Mauritshuis in Den Haag het verhaal achter deze mysterieuze schilder. Aan de hand van 13 schilderijen uit binnen- en buitenland gaan bezoekers op ontdekkingstocht en leren zij Jacobus Vrel kennen via zijn werken. Uit het Kunsthistorisches Museum in Wenen komen twee bijzondere schilderijen naar Den Haag, waaronder Vrouw bij een venster (1654), het enige gedateerde werk van Vrel.
"Chłopskie wesele" Pietera Bruegla starszego z około 1567 roku to niewątpliwie jedno z jego najważniejszych dzieł. Dzisiaj można je obejrzeć w Kunsthistorisches Museum w Wiedniu. Opowiadam, co artysta przedstawił w kompozycji, gdzie się schował pan młody, ale także o tym, czego już nie widać, bo ktoś poddał dzieło "cenzurze obyczajowej". ... Możesz zostać moją patronką lub moim patronem tutaj: https://patronite.pl/otulina_o_sztuce Każde wsparcie jest dla mnie na wagę złota ❤️ … Nagrań możecie posłuchać na: Spotify: https://spoti.fi/3bS7qEa Anchor: https://anchor.fm/otulina-otulina Apple Podcasts: https://apple.co/3lgoqoS You Tube: https://bit.ly/3wynHGl Możecie znaleźć moje wpisy na profilu na Facebooku: https://www.facebook.com/otulinablogpl lub na Instagramie: https://www.instagram.com/otulina_o_sztuce
Am heutigen Dreikönigstag wird nach einem flämischen Volksbrauch ein ausgiebiges und berauschendes Fest gefeiert: Das Fest des Bohnenkönigs. Und davon erzählt uns ein riesiges Gemälde, das in der Gemäldegallerie des Kunsthistorischen Museums zu sehen ist. Rotraud Krall führt uns durch das Bild. https://www.khm.at/objektdb/detail/1017/ Im Museum auf Instagram: https://www.instagram.com/immuseum.podcast/ Im Museum im Web: https://www.immuseum.at/
“Feast of the Bean King” by Flemish painter Jacob Jordaens shows a debauched celebration of the Epiphany, with the inscription “nil similusinsano quam ebrius” — “nothing is more like a madman than a drunk.” Kunsthistorisches Museum, Vienna. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit anncoulter.substack.com/subscribe
Nastała zima, a wraz z nią naszła mnie nostalgia za Pieterem Brueglem starszym. Stąd opowieść o jego cyklu pór roku i niekwestionowanej gwieździe zimowego sezonu, czyli "Myśliwych na śniegu". Obraz możecie zobaczyć w kolekcji Kunsthistorisches Museum w Wiedniu, razem z dwoma innymi dziełami z serii: "Powrotem stada" i "Pochmurnym dniem". Wszystkie datowane są na rok 1565. Opowiadam o: ☘️ niezwykłej wrażliwości Bruegla na obserwację otaczającego go świata, ☘️ temacie pór roku w sztuce, ☘️ tym, jak rytm życia był kiedyś silnie związany z rytmem pór roku, ☘️ tym, jak Pieter Bruegel st. stał się prekursorem dwóch nowych gatunków w malarstwie! ... Możesz zostać moją patronką lub moim patronem tutaj: https://patronite.pl/otulina_o_sztuce Każde wsparcie jest dla mnie na wagę złota ❤️ ... Nagrań możecie posłuchać na: Spotify: https://spoti.fi/3bS7qEa Anchor: https://anchor.fm/otulina-otulina Apple Podcasts: https://apple.co/3lgoqoS You Tube: https://bit.ly/3wynHGl Możecie znaleźć moje wpisy na profilu na Facebooku: https://www.facebook.com/otulinablogpl lub na Instagramie: https://www.instagram.com/otulina_o_sztuce
Two things are true of history podcasts: Everyone loves a bit of Tudor History, and everyone loves a good ghost story. Today, we explore a bit of both! When visiting Henry VIII's magnificent Hampton Court Palace, it's often the darker episodes from its past that get the best reactions. Using Tudor portraiture as our guide, let's explore the origin of some of the Palace's ghostly tales and the lives at the center of them. Today's images: Jane Seymour (unfinished), after Hans Holbein the Younger (1537). Oil on panel. National Portrait Gallery, London. Jane Seymour, by Hans Holbein the Younger (1536/37). Kunsthistorisches Museum, Vienna. Portrait of a Lady, perhaps Katherine Howard, by Hans Holbein the Younger. (ca. 1540). Watercolor on vellum laid on playing card (the 4 of Diamonds). Royal Collection Trust. Effigy of Dame Sybil Penn, from Hampton Church British School, The Family of Henry VIII (c.1545). Oil on canvas. Hampton Court Palace, Royal Collection Trust. ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Patreon: https://www.patreon.com/matta_of_fact Instagram: @artofhistorypodcast Twitter: @ArtHistoricPod TikTok: @artofhistorypod // @matta_of_fact Learn more about your ad choices. Visit megaphone.fm/adchoices
durée : 00:24:59 - Les Nuits de France Culture - Par Daniel Arasse - Réalisation Jean-Claude Loiseau "Le sphinx de Delft". C'est ainsi qu'un certain Théophile Thoré, critique d'art au XIXème siècle, surnomma Vermeer, qu'il contribua largement à faire redécouvrir après deux siècles d'oubli. * L'expression est restée, et fait partie de la légende du peintre, car elle évoque l'énigme qu'il représente. Enigme de sa vie, dont on sait peu de choses ; énigme surtout de son oeuvre, ces quelques 36 tableaux dont le génie relève du mystère. A l'été 2003, l'historien de l'art Daniel Arasse proposait pour France Culture une série d'émissions intitulées "Histoires de peintures". Spécialiste de la Renaissance italienne, il se penchait dans l'une d'entre elles sur le cas Vermeer. Il tordait le cou pour commencer à un certain nombre d'idées reçues, avant de proposer quelques clés pour comprendre la singularité de l'art du fameux peintre hollandais. Et ce au travers de l'étude de trois tableaux : La Dentellière, que l'on peut voir au Musée du Louvre ; La laitière, au Rijksmuseum d'Amsterdam ; et enfin L'Atelier du peintre , qui se trouve au Kunsthistorisches Museum de Vienne. « Vermeer fin et flou », par Daniel Arasse, une émission diffusée pour la première fois le 15 août 2003. Histoires de peinture - Vermeer fin et flou (1ère diffusion : 15/08/2003) Par Daniel Arasse Réalisation Jean-Claude Loiseau
EPISODE 27 of ‘All About Art': Interview with MUSEUM DIRECTOR DR. SABINE HAAG For the All About Art Anniversary episode (!!! A year strong !!!), I sat down with the phenomenal Dr. Sabine Haag, director of the KHM-Museumsverband. Sabine is an Austrian art historian and is the director of not only one of the most renowned museums worldwide, the Kunsthistorisches Museum, but also the associated institutions, as well, including the Vienna Museum of Ethnology and the Austrian Theater Museum. A woman who has set an example in the arts, Sabine has been leading the Museumsverband since 2009, so over a decade. In this episode, I ask her all about her career path, starting from her education as an art historian and spanning to present day. I ask her about her role as director, and what that really entails. She gives advice to those seeking to follow in her footsteps, tells us what qualities she looks for in employees, and opens up about what it has been like leading a museum in a pandemic. Thank you Sabine for taking the time to sit down and chat with me, as well as Natacha Graf and the rest of the team at the Generaldirektion at the Kunsthistorisches Museum for assisting in the facilitation of this marvelous episode, which was not only an absolute joy for me to record but will hopefully be enjoyable and educational to listen to. If you want to support All About Art, please consider signing up to my Patreon here: https://www.patreon.com/allaboutart Mentioned in the episode: Further information on Dr. Sabine Haag: https://www.khm.at/en/explore/organisation/management/ Here you can find the book on Sabine's current reading list: https://www.transcript-verlag.de/978-3-8376-4896-6/museen-der-zukunft/ More on Benvenuto Cellini and the theft of the Saliera: https://en.wikipedia.org/wiki/Benvenuto_Cellini https://secretvienna.org/the-saliera-a-very-special-tableware/ ABOUT THE HOST: I am an Austrian-American art historian, curator, and writer. I obtained my BA in History of Art at University College London and my MA in Arts Administration and Cultural Policy at Goldsmiths, University of London. My specializations include contemporary art, specifically feminism and artificial intelligence in artistic practice, as well as museum policies and arts engagement. Here are links to my social media, feel free to reach out: Instagram @alexandrasteinacker Twitter @alex_steinacker and LinkedIn at Alexandra Steinacker-Clark COVER ART: Lisa Schrofner a.k.a Liser www.liser-art.com
Stefano Zuffi"Tiziano e l'immagine della donna nel Cinquecento Veneziano"Milano, Palazzo RealeQuesta mostra parla della donna dipinta da Tiziano e dai suoi contemporanei: di bellezza, eleganza e sensualità, e del ruolo tutto particolare che la loro rappresentazione acquistò nella Venezia del Cinquecento.(Sylvia Ferino)Palazzo Reale apre il 2022 con una grande mostra dedicata all'immagine della donna nel Cinquecento nella pittura del grande maestro Tiziano e dei suoi celebri contemporanei quali Giorgione, Lotto, Palma il Vecchio, Veronese e Tintoretto.La mostra, aperta fino al 5 giugno 2022, è promossa e prodotta da Comune di Milano–Cultura, Palazzo Reale e Skira editore, in collaborazione con il Kunsthistorisches Museum di Vienna. La Fondazione Bracco è Main Partner dell'esposizione, mentre il Corriere della Sera è il Media Partner. VeraLab è Social Media Partner. L'allestimento e la grafica sono progettati da Pierluigi Cerri Studio. La mostra è curata da Sylvia Ferino, già direttrice della Pinacoteca del Kunsthistorisches Museum, coadiuvata da un prestigioso comitato scientifico internazionale composto da noti studiosi del settore, quali Anna Bellavitis, Jane Bridgeman, Enrico Maria Dal Pozzolo, Wencke Deiters, Francesca Del Torre, Charles Hope, Amedeo Quondam. Il libro che accompagna la mostra è pubblicato da Skira in tre edizioni, italiana, tedesca e inglese.Oltre un centinaio le opere esposte di cui 47 dipinti, 16 di Tiziano, molti dei quali in prestito dal Kunsthistorisches Museum di Vienna, cui si aggiungono sculture, oggetti di arte applicata come gioielli, una creazione omaggio di Roberto Capucci a Isabella d'Este (1994), libri e grafica.L'esposizione – afferma la curatrice - aspira a riflettere sul ruolo dominante della donna nella pittura veneziana del XVI secolo, che non ha eguali nella storia della Repubblica o di altre aree della cultura europea del periodo.A partire dal volume di Rona Goffen Titian's Women, pubblicato nel 1997, sono innumerevoli gli studi che si sono concentrati sull'universo femminile nel Rinascimento veneziano. Questa indagine non è tuttavia mai stata posta al centro di una mostra. La struttura portante dell'esposizione affronta dunque un argomento eternamente valido ma anche completamente nuovo, presentando l'immagine femminile attraverso tutto l'ampio spettro delle tematiche possibili e nel contempo mettendo a confronto gli approcci artistici individuali tra Tiziano e gli altri pittori del tempo.Partendo dal tema del ritratto realistico di donne appartenenti a diverse classi sociali, passando a quello fortemente idealizzato delle così dette “belle veneziane” si incontrano via via celebri eroine e sante, fino ad arrivare alle divinità del mito e alle allegorie.Inclusi nella mostra anche i ritratti e gli scritti di famosi poeti che cantarono l'amore ed equipararono la ricerca del bello all'esaltazione della donna e della bellezza femminile, come anche ritratti delle donne scrittrici, nobildonne, cittadine e anche cortigiane.Sono analizzati anche l'abbigliamento e le acconciature femminili sfoggiate nei ritratti, sia reali che ideali, esaminando la moda contemporanea con la sua predilezione per tessuti sontuosi, perle e costosi gioielli.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/
Ostani tydzień karnawału zobowiązuje do świętowania go odpowiednim obrazem. Dlatego zanurzymy się w świat stworzony przez Pietera Bruegla starszego w "Walce postu z karnawałem" z 1559 roku z Kunsthistorisches Museum w Wiedniu. Pod pozornym chaosem wypełniającym plac pewnego miasta, kryje się wiele opowieści o życiu i zwyczajach szesnastowiecznych Niderlandczyków. Z tego odcinka dowiecie się:
Unser Objekt Nummer #99 findet sich in der Kunstkammer des Kunsthistorischen Museum in Wien und gilt als einzigartiges Meisterwerk. Die Saliera von Benvenuto Cellini. Ein Objekt das spektakulär aus dem KHM gestohlen und dankenswerterweise seinen Weg wieder dorthin zurück gefunden hat. Denn ansonsten könnten uns Daniel Uchtmann nicht von den vielschichtigen Symboliken erzählen, die dieses wundersame Objekt umsäumen. Da wir euch davon nichts vorenthalten möchte, ist diese Episode auch etwas länger als gewohnt. https://www.khm.at/objektdb/detail/87080/ Besucht uns auf Instagram: www.instagram.com/immuseum.podcast
A film-worthy art heist that happened right in Vienna's Kunsthistorisches Museum, what art in Vienna you absolutely can't miss out on, what's it been like running one of the most important art museums in the world over the course of the pandemic – we discuss all of this and more with the fascinating storyteller of an art historian, Sabine Haag. Warning: Her love for art is incredibly infectious during this episode. What specifically do we talk about? + The Kunsthistorisches Museum's greatest hits + Sabine's tips on what art not to miss in Austria + The museum robbery that happened at the Kunsthistorisches museum + Why it's great to go to a museum with a child + Breaking down the intimidating vibe art gives off + A beginner's guide on how to approach art as you should – simply open and curious And much more... This podcast is powered by viennawurstelstand.com Do follow the Kunsthistorisches Museum on Instagram Like us to have somebody specific on the podcast? Hit us up on IG at @viennawurstelstand Review our show here if you liked it! Even a few words count!
Daniel Uchtmann präsentiert uns heute in der Kunstkammer des Kunsthistorischen Museum Wien ein goldenes Schiff aus dem 16.Jahrhundert. Das Schiff ist aber nur Fassade für einen unglaublich komplexen Mechanismus, der sich in seinem Inneren befindet und wohl die ein oder andere kaiserliche Runde zum Johlen gebracht hat. https://www.khm.at/objektdb/detail/87073/
The Rothko Chapel presented a livestream lecture and conversation with art historian Sheldon Nodelman and Christopher Rothko. In 1997, Nodelman authored Rothko Chapel Paintings: Origin, Structure, Meaning, where he explored the Rothko Chapel as "a masterpiece of twentieth century art and incontestably the greatest work of pictorial installation to date, both dauntingly complex and enigmatic." The quarter century that has elapsed since the publication of Nodelman's book on the Chapel paintings has allowed for further reflection and the emergence of some new evidence regarding Mark Rothko's design and creative process that promotes a fuller estimation of its achievement. Of particular importance is a new understanding of the second of the three painting design phases that culminated in the finished work. This revelation is not only impressive but also enables a better appreciation of the leap of inspiration that resulted in what we know as the Rothko Chapel today. About the presenters Sheldon Nodelman is Emeritus Professor of the History of Art at the University of California, San Diego. He received his B.A., M.A. and Ph.D degrees from Yale University. Before joining the Visual Arts faculty at UCSD, he taught at Bryn Mawr College, Princeton University and Yale. His research fields include Classical Greek and Roman art--especially Roman sculptured portraiture, the twentieth century avant-garde, and art historical theory and method. Prominent among his published works is the major critical study so far of the Rothko Chapel paintings. He is currently pursuing two parallel investigations of the work of Marcel Duchamp. Christopher Rothko, the second of Mark and Mary Alice Rothko's two children, is a psychologist, writer and for the last thirty years, the custodian of the Rothko legacy. He is editor of his father's book of philosophical writings, The Artist's Reality. His book of essays, Mark Rothko from the Inside Out, was published in 2015 by Yale University Press. Dr. Rothko has helped prepare more than two dozen Rothko exhibitions at museums and galleries around the globe and is co-curator of the recent Rothko exhibition at the Kunsthistorisches Museum, Vienna. He is Past Chair of the Rothko Chapel Board and is currently head of the Opening Spaces Project, guiding the restoration of the Chapel and enhancement of its campus.
Welcome to the Instant Trivia podcast episode 214, where we ask the best trivia on the Internet. Round 1. Category: It's All About "U" 1: The playground bully will stop twisting vour arm as soon as you "say" this--or so he says. uncle. 2: Dairy farmers say thanks for this mammary gland of bovines. udders. 3: Arthur Godfrey was known for playing this instrument of the South Seas. a ukulele. 4: "Red, Red Wine" and "Here I Am" are hit songs by this reggae-pop group. UB40. 5: This Greek god was the father of the Titans. Uranus. Round 2. Category: World Museums 1: I visited the national museum founded by King Rama V in this city and all I got was this lousy Thai-shirt. Bangkok. 2: The Musee d'Orsay in Paris was built in the Gare d'Orsay, an old one of these. a railway station. 3: This museum founded back in 1835 contains the gold coffin of Tutankhamen. the Egyptian Museum. 4: Works by Venetian masters Titian and Tintoretto are in this other "V" city's Kunsthistorisches Museum. Vienna. 5: During its remodeling it moved "The Night Watch" from the Main Hall to the new Philips Wing. the Rijksmuseum. Round 3. Category: The 1820s 1: On October 27, 1822 a 280-mile section of the Erie Canal opened between Rochester and this capital. Albany. 2: In 1822 Friedrich Buschmann obtained a patent for this instrument also known as a squeezebox. an accordion. 3: In 1825 this Scottish botanist discovered the coniferous evergreen now named for him in the Pacific NW. David Douglas. 4: Although it was founded in 1821, this Montreal university didn't open until 1829. McGill. 5: He was about 70 when he published his "American Dictionary of the English Language" in 2 volumes in 1828. (Noah) Webster. Round 4. Category: Shrew-Ed 1: Continent where you'd find the shrews Crocidura nigeriae and Crocidura tansaniana. Africa. 2: Canadian province where you'll most likely spot Trowbridge's shrew, which enjoys Douglas fir seeds. British Columbia. 3: The Southeastern shrew inhabits the marshy U.S. region that got this uninviting name from Col. William Byrd. the Great Dismal Swamp. 4: The Mt. Malindang shrew and the Palawan tree shrew are native to this country. the Philippines. 5: It would be "serendip"itous to see a Kelaart's long-clawed shrew, as it lives only on this island. Sri Lanka. Round 5. Category: Presidential Library Addresses 1: 4079 Albany Post Road, Hyde Park, New York. Franklin D. Roosevelt. 2: 1000 Beal Avenue, Ann Arbor, Michigan. Gerald Ford. 3: Columbia Point, Boston, Massachusetts. John F. Kennedy. 4: 2313 Red River Street, Austin, Texas. Lyndon B. Johnson. 5: 210 Parkside Drive, West Branch, Iowa. Herbert Hoover. Thanks for listening! Come back tomorrow for more exciting trivia!
Beatrice Paolozzi Strozzi"Il corpo e l'anima"Da Donatello a MichelangeloScultura italiana del RinascimentoMilano, Castello Sforzesco: 21 luglio - 24 ottobre 2021https://www.milanocastello.it/Ospitata nelle sale del Musée du Louvre di Parigi fino al 21 giugno scorso, apre al pubblico domani 21 luglio sino al 24 ottobre nelle Sale Viscontee del Castello Sforzesco la mostra “Il Corpo e l'Anima, da Donatello a Michelangelo. Scultura italiana del Rinascimento”, promossa e prodotta da Comune di Milano-Cultura, Castello Sforzesco, Musée du Louvre e realizzata grazie a Civita Mostre e Musei, con il sostegno di Fondazione Cariplo.Un affondo su oltre sessant'anni di storia dell'arte, dal ritorno di Donatello a Firenze nel 1453 fino alla morte dei più perfetti interpreti del Rinascimento, Leonardo e Raffaello, scomparsi rispettivamente nel 1519 e nel 1520. Sessant'anni durante i quali i maestri del Rinascimento hanno scavato la materia per far emergere “i moti dell'anima”, i tormenti e le tensioni, i palpiti, per rendere ancora più viva l'emozione. Sessant'anni di opere strappate al marmo, modellate nella terracotta, intagliate nel legno, fuse nel bronzo, in un percorso che trova il suo apice nella “Pietà Rondanini”, sulla quale Michelangelo lavorò fino alla sua morte, avvenuta nel 1564.Il percorso è stato studiato e progettato congiuntamente da Musée du Louvre e Castello Sforzesco, in particolare da Marc Bormand, conservatore al dipartimento delle sculture del Louvre; Beatrice Paolozzi Strozzi, direttrice del Museo del Bargello dal 2001 al 2014; e Francesca Tasso, conservatrice responsabile delle Raccolte Artistiche del Castello Sforzesco di Milano.Le 120 opere esposte provengono dai più importanti musei del mondo: dal Metropolitan Museum di New York al Kunsthistorisches Museum di Vienna, dal Museo Nacional del Prado di Madrid al Museo Nazionale del Bargello di Firenze, dal Victoria&Albert Museum di Londra alla “Her Majesty the Queen Elisabeth II from the British Royal Collection”, oltre che, naturalmente, dal Musée du Louvre e dalle raccolte civiche del Castello Sforzesco.Accompagna la mostra un prestigioso catalogo scientifico edito in italiano e francese a cura di Officina Libraria, vincitore del Prix du catalogue d'exposition 2021.IL POSTO DELLE PAROLEascoltare fa pensarehttps://ilpostodelleparole.it/
In dieser Episode trifft Alexander Giese Jacqueline Kornmüller, die Entwicklerin und Regisseurin von „Ganymed“ zum Gespräch. Das inzwischen schon seit zehn Jahren im Wiener Kunsthistorischen Museum gastierende interdisziplinäre Format verbindet Meisterwerke der Malerei mit literarischen, schauspielerischen und musikalischen Darbietungen und eröffnet dadurch vielseitige Neuinterpretationen. Kornmüller erzählt von der Genese des Projekts, den damit einhergehenden Herausforderungen sowie den Highlights aus der langjährigen Laufzeit. Auch ihr neues Projekt in der St. Petersburger Eremitage wird vorgestellt. Kontakt: redaktion@gieseundschweiger.at Website: https://www.gieseundschweiger.at/de/ Redaktion: Fabienne Pohl, Lara Bandion; Musik: Matthias Jakisic; Sprecherin: Sarah Scherer; Grafische Gestaltung: Studio Riebenbauer Link zur Website: https://ganymed.khm.at/ Link zur Website: https://ganymed.khm.at/ Link zum Blog mit Fotos und Hintergrundinformationen: https://www.gieseundschweiger.at/de/blog/im-gespraech-mit-jacqueline-kornmueller-ganymed-in-power
In this episode of the PRS Global Open Keynotes Podcast, Julio Wilson Fernandez MD discusses the many links plastic surgery has with art and practical examples of its reverberation in aesthetic and reconstructive plastic surgery procedures. In particular, he discusses the benefits that flow from plastic surgeons having a greater appreciation of sculpture and drawing. This episode discusses the following PRS Global Open article: “The Legacy of Art in Plastic Surgery” by Julio Wilson Fernandez Read it for free on PRSGlobalOpen.com: https://bit.ly/PlasticSurgeryArt Dr. Fernandez is a plastic surgeon and artist from Curitiba, Brazil. He is also a Consultant Plastic Surgeon for “The Modelling Course for Surgeons,” at Kunsthistorisches Museum, Wien, Austria. Your host, Dr. Damian Marucci, is a board-certified plastic surgeon and Associate Professor of Surgery at the University of Sydney in Australia. #PRSGlobalOpen; #KeynotesPodcast; #PlasticSurgery; Plastic and Reconstructive Surgery- Global Open
In this episode of the PRS Global Open Keynotes Podcast, Julio Wilson Fernandez MD discusses the many links plastic surgery has with art and practical examples of its reverberation in aesthetic and reconstructive plastic surgery procedures. In particular, he discusses the benefits that flow from plastic surgeons having a greater appreciation of sculpture and drawing. This episode discusses the following PRS Global Open article: “The Legacy of Art in Plastic Surgery” by Julio Wilson Fernandez Read it for free on PRSGlobalOpen.com: https://bit.ly/PlasticSurgeryArt Dr. Fernandez is a plastic surgeon and artist from Curitiba, Brazil. He is also a Consultant Plastic Surgeon for “The Modelling Course for Surgeons,” at Kunsthistorisches Museum, Wien, Austria. Your host, Dr. Damian Marucci, is a board-certified plastic surgeon and Associate Professor of Surgery at the University of Sydney in Australia. #PRSGlobalOpen; #KeynotesPodcast; #PlasticSurgery; Plastic and Reconstructive Surgery- Global Open
Hören Sie jeden Abend ausgewählte KURIER Artikel der Morgenausgabe schon als Podcast. Ob entspannt vorm Schlafengehen, beim Frühstückskaffee oder auf dem Weg zur Arbeit. Immer bestens informiert mit der neuen Audio-Ausgabe des KURIER. Da haben Sie unsere Geschichten im Ohr. Helft bitte mit, dass wir diesen Podcast und andere KURIER-Podcasts noch besser machen. Alle Infos auf kurier.at/podcastumfrage. Abonniert unseren Podcast auch auf Apple Podcasts, Spotify, FYEO oder Google Podcasts und hinterlasst uns eine Bewertung, wenn euch der Podcast gefällt. Mehr Podcasts gibt es unter www.kurier.at/podcasts
Continuing our theme of materials, in this episode we welcome Ella Muir (@ellabrookmuir) to the technecast! She shares her research on the study of history through clothing as a form of material culture, the commonality of clothing as a form of communication and how, in the face of historic sumptuary laws and modern-day restrictions, clothing was and remains the single most powerful way in which we materially express ourselves to the world. Clothing in the early modern period was inherently bound up in ideas around status: access to the most sumptuous of materials and richest of hues was controlled by strict legislation, limiting what could and could not be worn by the lower echelons of society. Amidst the vigorous, global economic expansion of the sixteenth century, ideas of nationhood and foreignness began, for the first time, to be attributed to the production, selling and wearing of clothing. This was a world in which a person's worth could ostensibly be gleaned from what they wore. Ella considers the garments created for, worn by, and observed on the queens of England and France between 1515–1547, at a pivotal point in the history of the two warring nations. Most female consorts came from foreign lands to be wed, and with them they brought the customs, cultures, and communities of their homelands. These women occupied a unique space within the paradigm of the period, and nowhere was this duality more conspicuous than in their attire. Notions of nationhood, inherently bound up in clothing, demonstrably differed for these queens, who had close personal ties to their motherlands and allegiances to allies scattered across the continent. Subsumed and yet segregated by nature of their position, how—if at all—did these royal women intersect and interact with one another, and how did they use material culture to “speak” on their behalf? Who, in essence, clothed a 16th-century queen? This work seeks to illuminate the varying ways in which royal clothing was observed and understood throughout society, and the practical challenges inherent in locating, gathering, and elucidating a cohesive record of those whose voices elude the written record. Ella demonstrates how dependent perceptions of sartorial symbolism were upon the lived experience of the beholder, thus expanding our understanding of queenly clothing beyond the constructions, creations and confines of the royal court and its discerning eye. Ella Brook Muir is a postdoctoral candidate at the University of Roehampton, researching queenly clothing in England and France during the 16th century. Her work explores the creation and construction of royal image through dress and other forms of material culture at a pivotal point in Anglo-French relations, focussing particularly on the various ways that sartorial symbolism was observed and interpreted throughout society. This research is funded by a scholarship from the Arts and Humanities Research Council's techne programme. Our image features a close-up on the blackwork embroidery featured in Hans Holbein's portrait of Jane Seymour, c.1536-37, Kunsthistorisches Museum. Royalty free music from www.FesliyanStudios.com Thanks very much to Ella for speaking with us and sharing her research, and to techne for their ongoing support! We'd love to hear what you think of this episode - you can tweet us at @technecast. Please consider rating, reviewing and sharing this podcast so we can continue to share the incredible research that our guests are doing. If you would like to submit an abstract for an episode of the technecast, please get in touch with us at technecaster@gmail.com Thanks for listening! See you next time, where we'll be presenting two special episodes on the theme of 'futures' as part of techne's annual congress. The technecast is run by Julien Clin (@ClinJulien) and Polly Hember (@pollyhember).
TORCH Book at Lunchtime webinar on Porcelain: Poem on the Downfall of my City by Durs Grünbein, translated by Professor Karen Leeder. Book at Lunchtime is a series of bite-sized book discussions held weekly during term-time, with commentators from a range of disciplines. The events are free to attend and open to all. About the book: Porcelain is a book-length cycle of forty-nine poems written over the course of more than a decade that together serve as a lament for Durs Grünbein's hometown, Dresden, which was destroyed in the Allied firebombing of February 1945. The book is at once a history and “declaration of love” to the famed “Venice on the Elbe,” so catastrophically razed by British bombs; a musical fusion of eyewitness accounts, family memories, and stories, of monuments and relics; the story of the city's destiny as seen through a prism of biographical enigmas, its intimate relation to the “white gold” porcelain that made its fortune and reflections on the power and limits of poetry. Published in English for the first time, this translation by Professor Karen Leeder marks the seventy-fifth year anniversary of the firebombing. Panel includes: Professor Karen Leeder is a Professor of Modern Languages at Oxford University and a Fellow of New College, Oxford. She has published widely on modern German culture and is a prize-winning translator of contemporary German literature, most recently winning the English PEN award and an American PEN/Heim award for her translation of Ulrike Almut Sandig. She was a TORCH Knowledge Exchange Fellow with the Southbank Centre from 2014-15 and she currently works with MPT, Poet in the City, and The Poetry Society on her project Mediating Modern Poetry. Durs Grünbein was born on 9 October 1962 in Dresden. He is one of the most important and internationally powerful German poets and essayists. After the opening of the Iron Curtain, he traveled through Europe, Southeast Asia, and the United States. He was a guest of the German Department of New York University and The Villa Aurora in Los Angeles. He has received numerous awards for his work, including the Georg Büchner Prize, the Friedrich Nietzsche Prize, the Friedrich Hölderlin Prize and the Polish Zbigniew Herbert International Literary Award. His books have been translated into several languages. He lives in Berlin and Rome. Edmund de Waal is an internationally acclaimed artist and writer, best known for his large-scale installations of porcelain vessels, often created in response to collections and archives or the history of a particular place. His interventions have been made for diverse spaces and museums worldwide, including The British Museum, London; The Frick Collection, New York; Ateneo Veneto, Venice; Schindler House, Los Angeles; Kunsthistorisches Museum, Vienna and V&A Museum, London. De Waal is also renowned for his bestselling family memoir, The Hare with Amber Eyes (2010), and The White Road (2015). His new book, Letters to Camondo, a series of haunting letters written during lockdown was published in April 2021. He was made an OBE for his services to art in 2011 and awarded the Windham-Campbell Prize for non-fiction by Yale University in 2015. Born 1964 Nottingham. He lives and works in London. Professor Patrick Major is Professor of History at the University of Reading, where he is also an associate of the East German Studies Archive. His research interests are primarily the political, social and cultural history of divided Germany in the Cold War. He has published on the rise and fall of the Berlin Wall and Hollywood's depictions of 'bad Nazis' and 'good Germans', and is currently researching the bombing of Berlin in the Second World War.
TORCH Book at Lunchtime webinar on Porcelain: Poem on the Downfall of my City by Durs Grünbein, translated by Professor Karen Leeder. Book at Lunchtime is a series of bite-sized book discussions held weekly during term-time, with commentators from a range of disciplines. The events are free to attend and open to all. About the book: Porcelain is a book-length cycle of forty-nine poems written over the course of more than a decade that together serve as a lament for Durs Grünbein's hometown, Dresden, which was destroyed in the Allied firebombing of February 1945. The book is at once a history and “declaration of love” to the famed “Venice on the Elbe,” so catastrophically razed by British bombs; a musical fusion of eyewitness accounts, family memories, and stories, of monuments and relics; the story of the city's destiny as seen through a prism of biographical enigmas, its intimate relation to the “white gold” porcelain that made its fortune and reflections on the power and limits of poetry. Published in English for the first time, this translation by Professor Karen Leeder marks the seventy-fifth year anniversary of the firebombing. Panel includes: Professor Karen Leeder is a Professor of Modern Languages at Oxford University and a Fellow of New College, Oxford. She has published widely on modern German culture and is a prize-winning translator of contemporary German literature, most recently winning the English PEN award and an American PEN/Heim award for her translation of Ulrike Almut Sandig. She was a TORCH Knowledge Exchange Fellow with the Southbank Centre from 2014-15 and she currently works with MPT, Poet in the City, and The Poetry Society on her project Mediating Modern Poetry. Durs Grünbein was born on 9 October 1962 in Dresden. He is one of the most important and internationally powerful German poets and essayists. After the opening of the Iron Curtain, he traveled through Europe, Southeast Asia, and the United States. He was a guest of the German Department of New York University and The Villa Aurora in Los Angeles. He has received numerous awards for his work, including the Georg Büchner Prize, the Friedrich Nietzsche Prize, the Friedrich Hölderlin Prize and the Polish Zbigniew Herbert International Literary Award. His books have been translated into several languages. He lives in Berlin and Rome. Edmund de Waal is an internationally acclaimed artist and writer, best known for his large-scale installations of porcelain vessels, often created in response to collections and archives or the history of a particular place. His interventions have been made for diverse spaces and museums worldwide, including The British Museum, London; The Frick Collection, New York; Ateneo Veneto, Venice; Schindler House, Los Angeles; Kunsthistorisches Museum, Vienna and V&A Museum, London. De Waal is also renowned for his bestselling family memoir, The Hare with Amber Eyes (2010), and The White Road (2015). His new book, Letters to Camondo, a series of haunting letters written during lockdown was published in April 2021. He was made an OBE for his services to art in 2011 and awarded the Windham-Campbell Prize for non-fiction by Yale University in 2015. Born 1964 Nottingham. He lives and works in London. Professor Patrick Major is Professor of History at the University of Reading, where he is also an associate of the East German Studies Archive. His research interests are primarily the political, social and cultural history of divided Germany in the Cold War. He has published on the rise and fall of the Berlin Wall and Hollywood's depictions of 'bad Nazis' and 'good Germans', and is currently researching the bombing of Berlin in the Second World War.
Heute stehen wir mit Daniel Uchtmann in der Gemäldegalierie des Kunsthistorischen Museums in Wien. Er zeigt uns das Bild eines Kaisers, das gleichzeitig sehr traditionell und sehr modern ist. https://www.khm.at/objektdb/detail/617/
Heute begrüßt uns Rotraut Krall in der ehrwürdigen Kunstkammer des Kunsthistorischen Museums in Wien. Dort wartet schon eine kleine Silberskulptur auf uns, die manche Dinge auf den Kopf stellt. https://www.khm.at/objektdb/detail/87293/
Edmund de Waal is an internationally acclaimed artist and writer, best known for his large-scale installations of porcelain vessels, often created in response to collections and archives or the history of a particular place. His interventions have been made for diverse spaces and museums worldwide, including The British Museum, London, The Frick Collection, New York and the Kunsthistorisches Museum, Vienna. His memoir, The Hare with Amber Eyes, won the RSL Ondaatje prize and the Costa Biography Award, was named as one of the books of the decade by the Sunday Times and of the 21st century by the Guardian. It was the Independent Bookseller Book of the Decade and has been translated into 29 languages. In 2015 he was awarded the Windham-Campbell prize for non-fiction by Yale University. The White Road, a journey into the history of porcelain, was published to great acclaim in 2015. His new book is Letters to Camondo. 5x15 brings together five outstanding individuals to tell of their lives, passions and inspirations. There are only two rules - no scripts and only 15 minutes each. Learn more about 5x15 events: 5x15stories.com Twitter: www.twitter.com/5x15stories Facebook: www.facebook.com/5x15stories Instagram: www.instagram.com/5x15stories
Comment les malades étaient représentés dans la peinture néerlandaise du XVIIème siècle ? Passion Modernistes RSS jQuery(document).ready(function($) { 'use strict'; $('#podcast-subscribe-button-498 .podcast-subscribe-button.modal-60b4074ae3e61').on("click", function() { $("#secondline-psb-subs-modal.modal-60b4074ae3e61.modal.secondline-modal-498").modal({ fadeDuration: 250, closeText: '', }); return false; }); }); Portrait Laura Pennanec’h Dans cet épisode Laura Pennanec’h vous raconte parle de représentations des maladies, de la peinture néerlandaise du XVIIème siècle et de l’histoire du genre. Depuis 2017 elle prépare une thèse sur le sujet « Réseaux de savoirs genrés autour du corps malade dans la peinture hollandaise du XVIIe siècle » au Centre Alexandre-Koyré (EHESS), sous la direction de Christian Jacob et Rafael Mandressi. A partir d’une centaines de tableaux, elle étudie comment des peintres nés ou formés à Leyde qui a vu se développer une école de peintres, « les peintres précieux« , qui ont beaucoup représentés les malades et les médecins. Parmi ses peintres, elle étudie notamment Gérar Dou, Frans van Mieris l’Ancien et Jan Steen. Une représentation genrée de la maladie Gerard Dou (Leyde, 1613 – Leyde, 1675), La femme hydropique, (De waterzuchtige vrouw), 1663, huile sur panneau de bois, (86 cm x 68 cm), Paris, Musée du Louvre. La thèse de Laura Pennanec’h entend mettre en lumière les réseaux de savoirs genrés enserrant les corps malades tels qu’ils furent dépeints dans la Hollande du XVIIe siècle. Cela permet d’établir d’abord une histoire des corps malades tels qu’ils ont été peints à l’époque en prenant pour entrée les variations iconographiques produites par le sexe des malades représentés. Il s’agit également de faire une histoire de l’insertion des tableaux dans un territoire donné, une histoire des circulations des motifs et des thèmes iconographiques entre les images et entre les peintres afin d’étudier ce que ces circulations disent de la culture visuelle des artistes, de leurs relations personnelles, de leurs sociabilités. Comparer avec l’histoire des sciences Parallèlement, l’utilisation d’un corpus textuel (médical comme artistique) permet de resituer les tableaux par rapport aux discours écrits sur la maladie, sur les relations entre hommes et femmes, sur les modalités de figuration des corps. Si elles ne sont pas prises pour centre, les intentions des acteurs — peintres, médecins — sont néanmoins intégrées dans un raisonnement qui souligne l’importance du cadre personnel, social et intellectuel dans lequel ils évoluaient, donnant à voir, d’une certaine manière, une sociologie rétrospective de ce qui existait à l’époque. En ce sens, Laura multiplie les échelles d’analyse, en se concentrant tour à tour sur les lieux (faculté de médecine, maison particulière, atelier de peintre), les individus (peintres, médecins, chirurgiens, malades), les objets et les pratiques (visite médicale, saignée, pose de ventouses, observation des urines). Pour en savoir plus sur le sujet de l’épisode, Laura vous conseille de lire : Frans van Mieris l’Ancien (Leyde, 1635 – Leyde, 1681), La visite du médecin ou La malade d’amour (Het bezoek van de arts of De zieke vrouw), 1657, huile sur cuivre, (34 cm x 27 cm), Vienne, Kunsthistorisches Museum. Sur la peinture néerlandaise du xviie siècle :Une synthèse dense mais efficace : Haak, Bob. The Golden Age: Dutch Painters of the Seventeenth Century. Londres: Thames and Hudson, 1984. Une référence plus récente qui permet de repenser la notion de « siècle d’or » : Blanc, Jan. Le siècle d’or hollandais : une révolte culturelle au XVIIe siècle. Paris, France: Citadelles & Mazenod, 2019. Sur la médecine et les savoirs sur le corps au xviie siècle : Un manuel à destination d’étudiants en histoire de la médecine (et avec une visite du médecin de Jacob Toorenvliet, peinte en 1666, en première de couverture !) : Elmer, Peter, éd. The Healing Arts: Health, Disease and Society in Europe, 1500-1800. Manchester: Manchester University Press, 2004. Un ouvrage sur la circulation des savoirs dans les Provinces-Unies : Cook, Harold J. Matters of Exchange: Commerce, Medicine, and Science in the Dutch Golden Age. New Haven: Yale University Press, 2007. Le frontispice de la Genees-Oeffening de Paul Barbette, graveur anonyme, vers 1670. Sur les femmes dans la peinture néerlandaise du xviie siècle : Un ouvrage synthétique : Franits, Wayne E. Paragons of Virtue: Women and Domesticity in Seventeenth-Century Dutch Art. Cambridge: Cambridge University Press, 1993. LE texte de référence sur les représentations de femmes malades : Dixon, Laurinda S. Perilous Chastity: Women and Illness in pre-Enlightenment Art and Medicine. Ithaca: Cornell University Press, 1995. Dans cet épisode vous avez pu entendre les extraits des œuvres suivantes : Constantijn Huygens – Pathodia Sacra: Multi dicunt animae meae Jan Pieterszoon Sweelinck – Fantasia Cromatica Anthoni van Noordt – Psaume 2, pour orgue Dalida – Je suis malade Si cet épisode vous a intéressé vous pouvez aussi écouter : Épisode 15 – Isabelle et les médecins à Paris au XVIIIème siècle Épisode 14 – Axel et le peintre Watteau Épisode 12 – Paul-Arthur et les épidémies au XVIIIème siècle Épisode 3 – Johana et les sages-femmes en Alsace Ce très beau générique a été réalisé par Julien Baldacchino (des podcasts Stockholm Sardou, Radio Michel, Bulle d’art…) et par Clément Nouguier (du podcast Au Sommaire Ce Soir).
Lauréate du Prix Raymond Leblanc, Maurane Mazars publie son roman graphique «Tanz !», aux éditions Le Lombard. Une histoire colorée d'apprentissage de la danse et de la vie. Maurane Mazars est une surdouée de la nouvelle bande dessinée francophone. Il y a deux ans, elle recevait le Prix Rodolphe Töpfler de la ville de Genève pour «Acouphène», sa première réalisation toute en noir et blanc qui nous parlait d’un jeune artiste – un violoncelliste - à un tournant de sa vie, entre apprentissage de son art et apprentissage de la vie. Elle a ensuite reçu à Bruxelles le prix Raymond-Leblanc, du nom du fondateur du journal Tintin, pour un projet tout en couleurs qui parlait aussi d’un jeune artiste, un danseur cette fois-ci, à un tournant de sa vie, entre apprentissage de son art et apprentissage de la vie. Le projet s’appelait «Tanz !», il est devenu un roman graphique publié aux éditions du Lombard. Reportage : Antoine Pecqueur s'est rendu, en Turquie, à l'occasion de l'inauguration, ce jeudi 3 décembre 2020, de la nouvelle salle de concert de la capitale, Ankara. Premier complexe de ce type et de cette ampleur à voir le jour dans le pays. Au menu de ce Café Gourmand : - Sarah Tisseyre a parcouru les pages de «Willis from Tunis, 10 ans et toujours vivant !». Un recueil qui fête le dixième anniversaire du chat Willis de la courageuse dessinatrice, Nadia Khiari. Son célèbre personnage au regard perçant, commente avec humour l’actualité récente de la Tunisie et du monde arabe. - Fanny Bleichner s'est intéressée à l’adaptation par Fido Nesti de «1984» de George Orwell sous forme de roman graphique publiée par Grasset - Isaure Hiace s'est rendue au Musée d’histoire de l’art (Kunsthistorisches Museum de Vienne en Autriche) qui met à l’honneur Beethoven dans une exposition originale, où l’œuvre du compositeur est mise en perspective avec celle d’autres artistes majeurs. - Alain Pilot a rencontré le groupe français mythique Le peuple de l'herbe. Ils reviennent avec un 9ème album intitulé «After Dusk».
Slovakia Today, English Language Current Affairs Programme from Slovak Radio
Umberto Eco in Louvre, Wes Anderson in Kunsthistorisches Museum, Vienna and Michal Hvorecký in LGPMB. Pohoda festival streamed live also via RSI.
Das Kunsthistorische Museum zählt zu den bestbesuchten Sehenswürdigkeiten in Wien. Das Museum legt auch Wert auf Angebote für Menschen mit Behinderung. Www.khm.at --- Send in a voice message: https://anchor.fm/claudia-rendla/message
The Cover of Tomas Vincente's book THE FACELESS GOD (Theion Publishing) In this "Season Finale" there is not only a finale, but also a premiere! This is the first time that Dr. Tomas Vincente, author of the book "The Faceless God", has agreed to appear on a podcast, and we are very happy to have him! And he will also explain why so far he was reluctant to do so. In his highly acclaimed work Dr. Vincente establishes hitherto unexplored connections between the European lore of the Witches’ Sabbath and the archaic fertility cult of the ram-headed Banebdjedet, a totemistic representation of Osiris in his netherworld aspect – Osiris as the Black Sun. It is the daemon of the depths, the Faceless God, who serves as the bridge between these two esoteric currents. If you want to by his book, please click HERE Tomas Vincente (the faceless Tomas...) visiting the Egyptian collection of the "Kunsthistorisches Museum" (Museum of the History of Art) in Vienna, Austria Music played in this episode Once again, one of our listeners has offered us some of his creations to accompany this episode: Richmond, Virginia’s Timothy Hawks performs as ambient instrumentalist ZDJ. Hawks originally began making music in various punk and metal bands, and continues to do so in the gothic-punk band Horse Culture. His lifelong interest in meditative drone and ambient music led him to experiment with the creation of guitar-based soundscapes early in his writing processes. Hawks began seeking solo shows and releasing drone-sketches to his personal SoundCloud in 2015. In mid-2018, limited run tape label, Furious Hooves, approached Hawks about releasing an album of solo material. Recording sessions from March to August 2019 in the mountains of Southwest Virginia led to this release, 'Heliopause'. 'Heliopause' is Hawks’ first release as ZDJ. It explores sounds and textures ideal for grounded contemplation. The album is as much influenced by stories of and experiments with occult rituals as it is by ambient and experimental artists Dedekind Cut, Chihei Hatakeyama, Kelly Moran, and William Basinski – as impacted by space exploration as it is by meditation and internal knowledge – 'Heliopause' is a fractal representing the magnificently grandiose infinity of the tangible and the spiritual. These tracks with the contemplative music are too long to be presented in full length during the podcast. But I thought it would be really good to introduce you to this music and therefore play six minutes each of three tracks of that first release "Heliopause" 1) AUGUST 25, 2012 2) AETHYR CRY 3) BIRD PAINTED WITH BLUESTONE Find the full album on Bandcamp or listen to it on Spotify Intro and Outro Music especially written and recorded for the Thoth-Hermes Podcast by Chris Roberts
Dans ce nouvel épisode, nous plongeons dans les sphères de la sapiosexualité en associant nourritures et arts graphiques, genre tout ce qui est tableaux, cadres, photos, gravures, estampes... Tous ces trucs, quoi. Evidemment, nous ne pouvions pas entreprendre ce vaste sujet seuls, en tant que non sachants. Nous accueillons donc notre invitée, Alyx Taounza-Jeminet, historienne de l'art, avec qui nous analysons les contenus esthétiques et gastronomiques. Dans cet épisode, nous parlons de faim, d'échange colombien, de gâteaux-livres, d'absinthe, de Suède, de Flandres, de protestantisme, de bambochades, d'empattement, de péché originel, d'hyperréalisme américain et d'organes en melons et concombre. Notre corpus d'oeuvres : Le repas de noce, de Pieter Brueghel dit l'Ancien (c. 1525-1569), c. 1568, huile sur bois, exposé au Kunsthistorisches Museum, Vienne (Autriche) Vertumne, de Giuseppe Arcimboldo (c. 1527-1593), 1590, huile sur toile, exposé au Château de Skokloster, Håbo (Suède) La marchande de fruits et légumes, de Louise Moillon (c. 1610-1696), 1630, huile sur toile, exposé au Musée du Louvre, Paris (France) Le Boeuf écorché, de Rembrandt (c. 1606-1669), 1655, huile sur bois, exposé au Musée du Louvre, Paris (France) Le repas frugal, de Pablo Picasso (1881-1973), 1904, estampe, exposé au Musée d'Art moderne de Paris, Paris (France) Candy counter 1969, de Sharon Core (née en 1965), 2004, épreuve chromogénique, exposé au Musée Guggenheim, New York (Etats-Unis) Et Alyx nous a laissé une bibliographie si d'aventure le sujet des relations entre nourriture et art vous intéresse et que vous voulez l'approfondir : Kenneth Bendiner, Food In Painting: From The Renaissance To The Present, Reaktion Books, 2004 Silvia Malaguzzi, Boire et Manger: Traditions et symboles, Hazan, 2006 Magalie Latry, Confrontations artistiques et féministes aux hiérarchies du genre, thèse de doctorat sous la direction de Pierre Sauvanet, Universite Michel de Montaigne - Bordeaux III, soutenue le 18 juin 2018 Allison Deutsch, Culinary Metaphor, Materiality, and Constructions of Gender in French Painting and Art Criticism, 1865-1890, thèse de doctorat sous la direction de Tamar Garb et Mechthild Fend, University College London, soutenue en 2016 Mark Clintberg, The Artist's Restaurant: Taste and the Performative Still Life, thèse de doctorat sous la direction de Johanne Sloan, Concordia University, soutenue le 15 septembre 2013 Bartholomew F. Bland et Michael Botwinick, I WANT Candy: The Sweet Stuff in American Art, Hudson River Museum, 2007 Sous la direction de Bertrand Marquer et Eléonore Reverzy, La cuisine de l'œuvre au XIXe siècle - Regards d'artistes et d'écrivains, Presses Universitaires de Strasbourg, 2019 Frédériques Desbuissons, Yeux ouverts et bouche affamée : le paradigme culinaire de l'art moderne (1850-1880), in Sociétés & Représentations 2012/2 (n°34) Jeannine Guérin Dalle Mese, Le Bibliothécaire, le Cuisinier et le Jardinier, ou Arcimboldo l'ambigu, in Italies n°4, 2000 La Grosse Bouffe est un podcast dédié au manger et au boire.Les nouveaux épisodes sortent tous les 21 du mois. Retrouvez La Grosse Bouffe sur Ausha, Apple Podcast et toutes les autres plateformes de téléchargement de podcasts. Vous pouvez également nous suivre et glisser en DM sur Twitter à @la_grossebouffe, et nous écrire à lagrossebouffepodcast@gmail.com
When the Nazis took Vienna in 1938, myth has it that Hitler went straight to the Kunsthistorisches Museum to seize one of its most valuable treasures. From there, the details get even more bizarre and farfetched.
Binaural recording - listen with headphones! Generative soundscape based on a two-dimensional random walk between four binaural soundscapes, recorded on Nov 7th, 2019 in Vienna at Kunsthistorisches Museum (exhibition "Caravaggio & Bernini") and the Italian Cultural Institute (finissage Andreas Lunghi "TACET" with Karlheinz Essl's sound installation "Checkin' my Shrutis"). 1) Kunsthistorisches Museum, Saal IV (Caravaggio) 2) Kunsthistorisches Museum, Kunstkammer 3) Italian Cultural Institute: sound walk 4) Italian Cultural Institute: exhibition space
L’invité : Anthony Hostein, directeur d’études à l’EPHE Antonio de Pereda y Salgado, Vanitas (1634). Vienne, Kunsthistorisches Museum. Le thème : la numismatique, son histoire, ses apports à l’étude de l’antiquité La discussion : Comment est née la numismatique comme discipline, bien avant d’autres branches du savoir historique, à partir de la Renaissance (1’30) Commentaire de tableaux : … Continue reading "75. Numismatique antique, avec Anthony Hostein"
Ein Forum für den Kaiser und seine Sammlungen In dieser Episode betrachten Fritzi und Edith den Ringabschnitt vor der Hofburg. Im Sinne des Historismus hätte hier ein Kaiserforum entsehen sollen. Was zur tatsächlich gestaltet und gebaut wurde, sind die Neue Burg, der Heldenplatz und das Burgtor sowie die beiden großen Museen, das Kunsthistorische und das Naturhistorische Museum, in denen die Habsburgischen Sammlungen untergebracht wurden. Kunsthistorisches Museum Naturhistorisches Museum Neue Burg: Österreichische Nationalbibliothek Haus der Geschichte Weltmuseum
Por qué el Museo del Prado es único en el mundo I Demos (2019-01-27) Con motivo del Bicentenario del Museo Nacional del Prado (1819-2019) construído por Juan de Villanueva máximo exponente del Neoclasicismo español, el programa dedica un homenaje a este museo único en el mundo que ya existía antes de nacer. Sus pinturas de la Colección Real, ya estaban colgadas en los diversos palacios reales españoles durante trecientos años, de ahí su riqueza. Tenemos la mayor colección del mundo de El Bosco y de Tiziano en el Museo del Prado, favoritos de los reyes Felipe II, Carlos V y Felipe IV. A Felipe II y Felipe IV le gustaban las pinturas de mujeres desnudas. En su "Galería del Medio Día", Felipe II se retiraba a la siesta contemplando esas mujeres. Los pintores Veláquez y Goya fueron los pintores del rey de España. Velázquez fue el maestro de Alonso Cano, amigo de Zurbarán, Rivera y Murillo está presente en sus pinceladas. Se mencionan otros museos importantes del mundo como el Kunsthistorisches Museum de Viena y su Colección de la Casa de Habsburgo. Obras de Pieter Bruegel El Viejo, el más importante pintor holandés del siglo XVI. "Los cazadores en la nieve" (1565), "La Torre de Babel" (1563). El Metropolitan Museum of Ar de Nueva York, el Museo del Hermitage de San Petersburgo, fundado por Catalina la Grande, el British Museum, la National Gallery de Londres, el Museo del Louvre, antes llamado "Museo Napoleón" con trofeos de guerra, el espejo de sus conquistas. Hay novecientos dibujos de Goya en el Museo del Prado. Picasso, sin duda es una reencarnación de Goya. "Tengo tres maestros Velazquez, Rembrandt y la naturaleza" apuntaba Francisco de Goya y Lucientes. Manet, el pintor pre-impresionista tuvo una depresión en 1867 y estuvo varios días en el museo del Prado, allí se enamoró de la pintura española. A Velázquez lo llamaría "el pintor de los pintores". Realizó cuatro versiones de los fusilamientos de 3 de mayo. En el Museo del Prado las colecciones de Velázquez y Goya son espectaculares. Son museos como escuela de genios. Han intervenido: D. José Luis Escobar y Dª Pilar Baselga. Equipo Técnico: Equipo de medios
Hannah lädt ihre Freunde Max und Joni zur Bruegel-Schau ins Kunsthistorisches Museum in Wien ein - als die drei unversehens in ein mysteriöses Abenteuer fallen! Die Forscher-WG!
Several years ago, the Kunsthistorisches Museum in Vienna, Austria began inviting artists to sift through the museum’s more than 4 million objects and create exhibitions filtered through the artist’s own unique point of view. Recently, the museum asked Wes Anderson, the Oscar-nominated director of “The Grand Budapest Hotel” and “The Royal Tenenbaums”, and his partner, acclaimed designer, writer, and illustrator, Juman Malouf, to take on the same gargantuan task. They ended up choosing 423 objects for the show. 350 had never before been publicly shown. We sat down for a transatlantic chat with Kunsthistorisches Museum curator, Jasper Sharp to talk about the show, how it came together, and much more.
In deze aflevering van de 'Pompidou'-podcast hernemen we het interview van Chantal Pattyn met Manfred Sellink en Jeroen Olyslaegers over de grote Brueghel-retrospectieve in het Kunsthistorisches Museum in Wenen, uitgezonden op 4 oktober 2018 in Pompidou.
. Museum directors from USA, Austria and Britain look at the challenges of displaying their collections for new audiences. Anne McElvoy's guests include Michael Govan, Director of the Los Angeles County Museum of Art LACMA, Sabine Haag, Director, Kunsthistorisches Museum, Vienna and Hartwig Fischer, Director of the British Museum. Recorded with an audience at the Royal Institution in London as one of the events for the 2018 Frieze London Art Fair. Find our playlist of discussions about the Visual Arts https://www.bbc.co.uk/programmes/p026wnjl Producer: Torquil MacLeod.
In het Kunsthistorisches Museum in Wenen loopt de grootste tentoonstelling ooit over Pieter Bruegel. In deze Pompidou-podcast praat Chantal Pattyn erover met Manfred Sellink en Jeroen Olyslaegers.
Ich sammle schon seit Jahren Ideen für Aktivitäten mit meinen Kids in und rund um Wien. Diese gebe ich dir in diesem Podcast und in den Shownotes weiter! Ich hoffe, dass auch für dich und deine Kids etwas Neues dabei! Ich wünsche euch einen tollen Ferienstart! Alles Liebe, Gabi ;-) Die KinderuniKunst findet vom 2.- 6.7.2018 statt und es gibt noch einige Plätze, zu finden unter https://www.kinderunikunst.at/ Die Kinderuni für Kinder zwischen 7 und 12 Jahren - heuer vom 8.7. - 21.7.2018 - https://kinderuni.at/ Die Angebote für das Wiener Ferienspiel sind in diesem roten Heftchen zu finden, das die Kinder jedes Jahr am Ende des Schuljahres erhalten. Zu den meisten Aktivitäten muss man sich telefonisch anmelden! Museen in Wien wie das Naturhistorische Museum, Kunsthistorisches Museum, Leopold Museum, .... diverse Ausstellungen! Zoom - Kindermuseum - https://www.kindermuseum.at Wien-Spaziergänge - http://www.wienguide.at auch gibt es wunderbare Spazierrouten: https://www.wienzufuss.at/spazierrouten/ Schönbrunn - einen Tagesausflug wert... neben diversen Führungen und dem Kindermuseum im Schloss gibt es auch... Zoo - https://www.zoovienna.at Irrgarten - https://www.schoenbrunn.at/ueber-schoenbrunn/schlosspark/rundgang/irrgarten/ Schönbrunner Bad - https://www.schoenbrunnerbad.at Wandern mit Kindern - viele Ideen gibt es dafür in der Broschüre der NÖ-CARD - https://www.niederoesterreich-card.at Kinder lieben es, zu sammeln - Wanderpässe offiziell oder selbst gebastelt! ;-) Rax & Schneeberg - https://www.raxalpe.com/de/die-rax-seilbahn & https://www.schneebergbahn.at Franz-Ferdinand-Hütte: http://www.franz-ferdinand-huette.at/Franz_Ferdinand/Willkommen.html Kammersteiner - Hütte: http://www.kammersteinerhuette.at Salzstanglwirt: http://www.salzstanglwirt.at Myrafälle - http://www.myrafaelle.at Ötschergräben - der Grand Canyon Österreichs - https://www.mostviertel.at/oetschergraeben Grüner See in der Steiermark - https://www.steiermark.com/de/steiermark/ausflugsziele/gruener-see_p8101 Burg Kreuzenstein - http://www.kreuzenstein.com Burg Forchtenstein mit dem Forfel-Festival an den Wochenenden im Juli - https://www.forchtenstein.at Burg Liechtenstein - https://www.burgliechtenstein.eu/de/home.html Wasserspielplätze in Wien: Wasserturm - https://www.wien.gv.at/umwelt/parks/anlagen/wasserspielplatz-wasserturm.html Donauinsel - https://www.wien.gv.at/umwelt/parks/anlagen/wasserspielplatz.html Kletterparks nahe Wien: Gänsehäufel - https://www.hochseilklettergarten.at Kahlenberg - https://www.waldseilpark-kahlenberg.at Purkersdorf - https://www.kletterpark.at Motorikpark - http://www.motorikpark-wien.at Familypark in St. Margarethen am Neusiedlersee - https://www.familypark.at/freizeitpark/ 'Piratentherme in Bad Schallerbach' - https://www.eurothermen.at/bad-schallerbach/therme/ Draisinenfahrt im Burgenland - http://www.draisinentour.at oder auch im Weinviertel - http://www.weinvierteldraisine.at Radumrundung des Neusiedlersees - https://www.neusiedlersee.com/de/tour/9/neusiedler-see-radweg.html Eselwanderungen in der Südsteiermark - https://www.eselwandern.at im Waldviertel - https://www.eselwanderungen-waldviertel.at am Schottenhof in Wien 14 - https://schottenhof.at/angebote/eselwanderung/ in Weidling - http://www.eselranch.at im Mariazellerland - http://www.eselreich.at Besuch in Riegersburg: Zotter Schokoladenmanufaktur - https://www.zotter.at/de/startseite.html Die Riegersburg ist eine toll erhaltene Burg mit grandioser Aussicht, Falkenshow,... - http://veste-riegersburg.at Dinos lebensgroß in der Natur findest du im Styrassicpark - http://www.styrassicpark.at gute Essige und auch Führungen gibt es bei Gölles - https://www.goelles.at Ich wünsche dir viele tolle, gemeinsame Momente mit deinen Kindern, denn das sind die wahren Meilensteine im Leben! Alles Liebe, Gabi ;-)
Richard Wright (artist, Glasgow) & Jasper Sharp (Curator of Modern and Contemporary Art, Kunsthistorisches Museum, Vienna) in conversation at Frieze Masters 2013
Author Sarah Waters has followed her gothic novel The Little Stranger with her first play which is also a ghost story that aims to spook audiences. She discusses working with experimental theatre-maker Christopher Green to devise a play in which all is not as it seems. Mike Scott of The Waterboys discusses the band's new album Modern Blues, and explains why it was important for the band to record it in Nashville. Dawn Walton, Director of Eclipse Theatre Company and Tom Morris, Artistic Director of the Bristol Old Vic, give their response to today's speech by Peter Bazalgette, Chair of Arts Council England, in which he urges racial diversity and inclusion across the board in arts institutions. Two new documentaries lift the lid on the action behind the scenes at two of the world's most well-known art museums - the National Gallery in London and the Kunsthistorisches Museum in Vienna. Sarah Crompton asks whether museums and galleries make good subjects for films. Presenter: John Wilson Producer: Olivia Skinner.
The Hofburg Palace's "Treasure Room" contains the best jewels on the Continent. This clip showcases the Imperial Crown, Imperial Cross, and a unicorn horn. At www.ricksteves.com, you'll find money-saving travel tips, small-group tours, guidebooks, TV shows, radio programs, podcasts, and more on this destination.
The Hofburg Palace's "Treasure Room" contains the best jewels on the Continent. This clip showcases the Imperial Crown, Imperial Cross, and a unicorn horn. At www.ricksteves.com, you'll find money-saving travel tips, small-group tours, guidebooks, TV shows, radio programs, podcasts, and more on this destination.
Finestre sull'Arte - il primo podcast italiano per la storia dell'arte
Basterebbero solo i cinque aggettivi usati da Giorgio Vasari nelle sue Vite (animoso, fiero, vivace, prontissimo e terribilissimo) per descrivere l'indole e l'arte di Benvenuto Cellini, che fu probabilmente il primo artista della storia dell'arte a creare da solo il mito di se stesso: notissima è la sua autobiografia. Uomo dal carattere violento (commise alcuni omicidi), capace di forti passioni sia verso le donne sia, soprattutto, verso gli uomini (fu più volte accusato di sodomia), ma soprattutto capace di un'arte estremamente raffinata, dovuta in gran parte alla sua iniziale formazione come orefice, Benvenuto Cellini è stato il più raffinato ed elegante scultore manierista. Non sono molte le opere che di lui ci sono rimaste, ma sono tutte opere di altissimo livello: con la puntata di oggi e con Ilaria e Federico scopriamo uno dei più discussi, bizzarri, stravaganti e geniali artisti della storia dell'arte italiana.
Finestre sull'Arte - il primo podcast italiano per la storia dell'arte
Basterebbero solo i cinque aggettivi usati da Giorgio Vasari nelle sue Vite (animoso, fiero, vivace, prontissimo e terribilissimo) per descrivere l'indole e l'arte di Benvenuto Cellini, che fu probabilmente il primo artista della storia dell'arte a creare da solo il mito di se stesso: notissima è la sua autobiografia. Uomo dal carattere violento (commise alcuni omicidi), capace di forti passioni sia verso le donne sia, soprattutto, verso gli uomini (fu più volte accusato di sodomia), ma soprattutto capace di un'arte estremamente raffinata, dovuta in gran parte alla sua iniziale formazione come orefice, Benvenuto Cellini è stato il più raffinato ed elegante scultore manierista. Non sono molte le opere che di lui ci sono rimaste, ma sono tutte opere di altissimo livello: con la puntata di oggi e con Ilaria e Federico scopriamo uno dei più discussi, bizzarri, stravaganti e geniali artisti della storia dell'arte italiana.
Das Wiener Kunsthistorische Museum eröffnet seinen Ausstellungsreigen im Theseus Tempel mit dem Künstler Ugo Rondinone. Ein Künstlerinterview von CastYourArt.
The Viennese Kunsthistorisches Museum shows in its second exhibition at the re-opened Theseus Temple a work by the Belgian artist Kris Martin. An artist interview by CasYourArt.
Between mythical creatures and human forms, between dream and nightmare, we find ourselves in a world where life crawls and insects swarm: Welcome to the land of the Blue Hour.
Hofburg di Vienna - Appartamenti imperiali, Museo di Sisi, Museo delle argenterie
Dopo il fidanzamento a Ischl, Sisi fa ritorno in Baviera, dove iniziano immediatamente i preparativi per le nozze. Fra l‘altro Sisi viene preparata al futuro ruolo di imperatrice d‘Austria. Nel frattempo, crescono in Sisi il disagio e la paura della corte viennese. Ella si rende conto che con il suo fidanzamento nella splendida cornice di Bad Ischl ha varcato il palcoscenico della storia, rinunciando per questo alla sua libertà personale. Soltanto pochi abiti di Elisabetta si sono conservati fino ad oggi. Fra questi figura il celebre vestito che Elisabetta indossava durante la festa di addio al nubilato. Ne vedete qui una copia. L‘originale si trova nel Kunsthistorisches Museum, ma per motivi di conservazione non può più essere esposto. Elisabetta indossava quest‘abito insolito probabilmente in occasione del ballo d‘addio alla vigilia della sua partenza per Vienna. Sono interessanti soprattutto le decorazioni orientali sulla stola, su cui, accanto al simbolo del sultano, è ricamata un‘iscrizione in arabo che tradotta vuol dire: „O mio signore, che sogno magnifico“. www.hofburg-wien.at | Download Tour-Guide (PDF)© by Schloß Schönbrunn Kultur- und Betriebsges.m.b.H.
Between mythical creatures and human forms, between dream and nightmare, we find ourselves in a world where life crawls and insects swarm: Welcome to the land of the Blue Hour.
At their peak of power in the 1500s, the Habsburg family ruled Austria, Germany, northern Italy, the Netherlands, and even Spain. And Vienna's Kunsthistorisches (Art History) Museum offers great art from throughout the realm. The Italian collection is particularly strong. For more information on the Rick Steves' Europe TV series — including episode descriptions, scripts, participating stations, travel information on destinations and more — visit www.ricksteves.com.
At their peak of power in the 1500s, the Habsburg family ruled Austria, Germany, northern Italy, the Netherlands, and even Spain. And Vienna's Kunsthistorisches (Art History) Museum offers great art from throughout the realm. The Italian collection is particularly strong. For more information on the Rick Steves' Europe TV series — including episode descriptions, scripts, participating stations, travel information on destinations and more — visit www.ricksteves.com.
Irene Andessner’s self-dramatizations are revivals of historical personalities that utilize memory as a source of reactivation.
“The chamber of curiosities at the Kunsthistorisches Museum Vienna, one of the most important chambers worldwide, will reopen in 2012.
Birnen als Tränensäcke, ein Maiskolben das Ohr. Ein Interview mit Sylvia Ferino, Kuratorin des Kunsthistorischen Museums in Wien, über den Renaissancemaler Giuseppe Arcimboldo.
Birnen als Tränensäcke, ein Maiskolben das Ohr. Ein Interview mit Sylvia Ferino, Kuratorin des Kunsthistorischen Museums in Wien, über den Renaissancemaler Giuseppe Arcimboldo.
National Gallery of Australia | Audio Tour | George.W.Lambert Retrospective
This painting presents a group of people in a reflected image. They stand in the low-beamed living-room of Belwethers, a cottage in the village of Cranleigh. The former country cottage of Mrs Halford, Lambert’s patron and friend, had been taken over by her daughter Mary and her son-in-law Sir Edmund Davis after her death in 1915. Sir Edmund stands at the window in the background; his wife, dressed in black, sits at the table; a maid serves tea; Amy Lambert, dressed in blue, stands; Sir Edmund’s sister-in-law Amy Halford sits with her hands on her lap; and the artist looks out of the image in the foreground. The oak beams in the ceiling take up half the picture and become, in the reflection, curved instead of straight lines, causing the design to flow in a circle – disturbing the very solidity of the room. It is a jewel-like piece of painting, with the lustre of a looking-glass, in which Lambert explored the distinction between how things appear in the picture or in a mirror, or how they are in life itself. He placed the artist within the painting on a separate plane from the other people within the scene, and showed him ignoring them and looking out to the viewer – observing the entire scene through a convex mirror. His hand thrusts forward, without a brush, spread wide as it would when distorted in a mirror. In 1916 Lambert visited Cranleigh, Surrey, when his son Constant became seriously ill with osteomyelitis while he was a scholarship pupil at Christ’s Hospital school in Horsham, West Sussex. (Cranleigh is situated halfway between Guildford and Horsham.) Constant’s condition was so grave that Lambert and Amy moved to Cranleigh to be near him. To pass the time, and determined not to give way to brooding over his sick son, Lambert painted The convex mirror , the reflection of a room in this cottage. Yet Lambert captured some of his sadness at the death of Mrs Halford (who acted as a grandmother to his children) and his anxiety over his son’s illness, as well as the universal unease and apprehension created by the First World War, in the way he presented the world through a convex mirror – disturbed and distorted. Lambert carefully constructed the painting, drawing the lines of the beams and other structural elements onto the wood panel before commencing the painting. He used fine brushes to convey the scene. In addition to his masterful depiction of the illusion of a room viewed through a convex mirror, he also captured a soft light coming through the windows and lighting up the tablecloth and the cane chair. Lambert saluted the sixteenth-century Italian mannerist painter Parmigianino’s illusionist tour-de-force, Self-portrait in a convex mirr or 1523–24 (Kunsthistorisches Museum, Vienna) in this painting. Like Parmigianino Lambert painted his work by looking at himself (and the others in the room) in a curved mirror and then recreating the effect. As in Parmigianino’s work, he captured the way the mirror widens the scene, enlarging everything nearby and making everything distant seem further away. But most significantly, like the Italian master, he created a display of virtuosity. Many artists have included a convex mirror in their work, such as van Eyck in The Arnolfini portrait 1434 (National Gallery, London) in which the mirror probably reflects the painter himself; Quentin Massys in The moneylender and his wife 1514 (Musée du Louvre, Paris), which reflects the artist and the outer world into the picture; and Caravaggio in Martha and Mary Magdalene c.1598 (Detroit Institute of Arts, Michigan), in which the artist used the mirror to enable Martha to reproach Mary for her vanity. The mirror device was fashionable at the turn of the century, and frequently used by artists such as William Orpen. Orpen depicted himself reflected in a convex mirror on the wall behind his subjects in both The mirror 1900 (Tate, London) and A Bloomsbury family 1907 (Scottish National Gallery of Modern Art, Edinburgh) – a device Orpen borrowed from van Eyck’s TheArnolfini portrait , which he would have known in the National Gallery. Likewise, genteel interiors, universes of the private individual, were popular subjects during this period, particularly in the exhibitions of the New English Art Club. In this work, Lambert depicted mistresses and maids, and the daily domestic ritual of tea. He depicted people reading and reflecting in the comfort of familiar surroundings. He also showed the master looking out the window and the wider world beyond. And he presented sun coming through the windows and lighting up the interior. Thea Proctor wrote in The Home on 1 July 1930 that The convex mirror ‘has the exquisite finish of the Dutch Masters, and shows that a present-day artist could also paint small things in a large manner’.
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