Podcasts about les demoiselles

In this episode, our group discusses the Pablo Picasso painting Les Demoiselles d'Avignon; what was so specialabout it, why it shocked viewers, and how it ultimately transformed 20th-century art. We break down the painting's bold use of fractured forms, its controversial depiction of the human body, and the way Picasso pulled from African and Iberian influences to completely rewrite the rules of representation. We also look at the intense reactions it sparked when it was first shown, why even Picasso's fellow artists were unsettled by it, and how the work paved the way for Cubism and modern abstraction. By the end, we reflect on why this painting still matters today and what it reveals about the evolution of artistic expression.

durée : 00:06:35 - Le Masque et la Plume - par : Jérôme Garcin - Le célèbre film de Jacques Demy, mis en musique par Michel Legrand, est repris en comédie musicale à Paris, au Lido. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:49:05 - Le Masque et la Plume - par : Rebecca Manzoni - La dernière pièce écrite et mise en scène par Pascal Rambert, "Les Demoiselles de Rochefort" dans une mise en scène de Gilles Rico, "Un pas de côté" ou encore “Clown n'est pas un métier” avec Dany Boon, découvrez les critiques théâtre du Masque et la Plume. - invités : Anna Sigalevitch, Sandrine Blanchard, Fabienne Pascaud, Pierre Lesquelen - Anna Sigalevitch : Journaliste et auteure, Sandrine Blanchard : Journaliste française, Fabienne Pascaud : Journaliste chez Télérama, Pierre Lesquelen : Critique à I/O Gazette et Détectives sauvages, dramaturge et enseignant-chercheur - réalisé par : Stéphane LE GUENNEC Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

In this episode, our group explores what we believe is considered beautiful or ugly in art. Through paintings like Starry Night, and primarily Les Demoiselles d'Avignon we discuss whether or not we view them as “beautiful” or “ugly” as some may have. By digging deeper into the meaning of Picasso's Les Demoiselles d'Avignon, we give our own thought of this painting's own beauty. Maybe even forming your own meaning of what this painting is to you as you listen along.

In this episode, we discuss one of Pablo Picasso's most controversial pieces: Les Demoiselles d'Avignon. We go over the painting's history and the meaning we each understood from it. We also question whether beauty can be found in such a "vulgar" piece like this one. Join us as we explore an artwork that has changed art into what we know today!

In this episode, three students take a close look at The Studio in Avignon, checking out what it felt like when Picasso worked there back in 1907. Instead of just listing facts, they dig into how the messy attic, jammed with drawings and carvings inspired by African art, fueled the raw vibe of Les Demoiselles d'Avignon. While one focuses on why it shocked people and the fear, another ties it to influence and exploitation, whereas the third links it to the depiction of the women. Because each sees things differently, their chat blends old records, outside influences, and gut reactions to show how the artwork shook up its time. Since the space was so packed with ideas and objects, it ended up sparking a total shift in how artists approached work during the 1900s.

In this episode, we explore Pablo Picasso's painting named Les Demoiselles d'Avignon. Our group discusses why Picasso was so hesitant to show the painting to the public. We will be also mentioning and revising over the several details and features that made it distinct throughout its time. Join us in our pursuit to discover why context truly matters in regards to understanding art.

In this Episode, we look into Picasso's art piece Les Demoiselles d'Avignon and dug deep into his decision to not show this painting to the public for awhile. It seems quite strange for one of the best and most influential artists of all time. Our group discusses the motives behind his decision and what exactly this painting that made him reach that decision. Looking into its context, themes, and style to understand Picasso. Join us as we explore what this painting has to offer about Picasso and the world in general (both past and present).

In this episode, we take a deep dive into one of the most controversial paintings in modern art and uncovering questions about sexuality and beauty. Our group explores the history of Les Demoiselles d'Avignon and the scandal that kept it hidden for over a decade. Along the way, we question Picasso's use of African aesthetics and the cultural influence. Join us for a conversation full of discussion and curiosity. Piano Concerto no. 2 - Mvt. 3, Intermezzo by Sergei Prokofiev

In this episode we explore Picasso's Les Demoiselles d'Avignon, We discuss its radical style, cultural influences, and the tension between distortion and aesthetic truth. we also will examine the artist's intentions and the reactions of his contemporaries among other things, Join us for a thoughtful conversation about art, culture, and the power of perspective.

In this episode, we talk about Pablo Picasso's Les Demoiselles d'Avignon and why it shocked so many people when it was created. We explore how the painting breaks old ideas of beauty, uses new shapes and angles, and helped inspire the style we call Cubism. Our group also discusses Picasso's interest in African masks and the cultural question that come with that influence. Join us as we look at why this paining stills feels bold, powerful, and ahead of time.

In this episode, our group discusses the Pablo Picasso painting Les Demoiselles d'Avignon; what was so specialabout it, why it shocked viewers, and how it ultimately transformed 20th-century art. We break down the painting's bold use of fractured forms, its controversial depiction of the human body, and the way Picasso pulled from African and Iberian influences to completely rewrite the rules of representation. We also look at the intense reactions it sparked when it was first shown, why even Picasso's fellow artists were unsettled by it, and how the work paved the way for Cubism and modern abstraction. By the end, we reflect on why this painting still matters today and what it reveals about the evolution of artistic expression.

durée : 00:01:49 - Les 80'' - par : Nicolas Demorand - Florence Paracuellos propose un sujet qui va vous ravir ou vous agacer pour la journée. Ça fait presque 60 ans que ça dure, 60 ans, qu'on adore ou qu'on déteste, Les Demoiselles de Rochefort, ce film bonbon qui n'a jamais perdu sa saveur. France Musique consacre un podcast à son histoire. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

La mezzo-soprano Marine Chagnon est l'invitée du Journal du Classique. Elle chante actuellement le rôle de Solange Garnier dans Les Demoiselles de Rochefort actuellement au Théâtre du Lido à Paris.Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 02:28:26 - France Musique est à vous du samedi 11 octobre 2025 - par : Gabrielle Oliveira-Guyon - Ce samedi, découvrez un programme varié avec Liszt, Berlioz, mais aussi la « Chanson des jumelles » de Michel Legrand, extraite du film Les Demoiselles de Rochefort, sans oublier d'autres œuvres, et d'autres artistes comme le batteur Fabrice Moreau. Un voyage musical à ne pas manquer ! - réalisé par : Emmanuel Benito Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:27:13 - Les Midis de Culture - par : Marie Labory - Au programme du débat critique aujourd'hui, pour terminer la semaine en chanson, la comédie musicale : "Les Demoiselles de Rochefort" une adaptation du film iconique de Jacques Demy au Théâtre du Lido & le théâtre musical "Hamlet / Fantômes" revisite l'oeuvre de Shakespeare au Théâtre du Châtelet - réalisation : Laurence Malonda - invités : Marie Sorbier Productrice du "Point Culture" sur France Culture, et rédactrice en chef de I/O; Zoé Sfez Productrice de La Série musicale sur France Culture

durée : 00:17:42 - Les Midis de Culture - par : Marie Labory - Impossible d'oublier "Les Demoiselles de Rochefort", ces héroïnes colorées qui chantaient et dansaient, rêvant du grand amour. Après le succès des "Parapluies de Cherbourg" et de "Peau d'Ane", Jean‑Luc Choplin présente l'iconique comédie musicale de Michel Legrand et Jacques Demy au Théâtre du Lido. - réalisation : Laurence Malonda - invités : Marie Sorbier Productrice du "Point Culture" sur France Culture, et rédactrice en chef de I/O; Zoé Sfez Productrice de La Série musicale sur France Culture

durée : 00:25:26 - Marine Chagnon, mezzo-soprano - C'est au Lido de Paris que résonne la chanson des jumelles nées sous le signe des Gémeaux ! Marine Chagnon y interprète le rôle de Solange dans cette adaptation des "Demoiselles de Rochefort" de Demy et Legrand. Rencontre avec une mezzo qui passe avec allégresse de l'opéra à la comédie musicale. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 00:21:38 - L'invité de 8h20 - Le film culte de Jacques Demy se réinvente au théâtre du Lido, sur les Champs-Elysées à Paris. La pièce sera jouée pour la première fois sur scène le 2 octobre prochain. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

durée : 03:00:32 - Le 6/9 - À 7h50 : Rachid Benzine, chercheur associé au Fonds Ricœur, islamologue et romancier, auteur de “L'homme qui lisait des livres” (Julliard). À 8h20 : Les demoiselles de Rochefort, à l'occasion de la comédie musicale à partir du 2 octobre au Lido. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

C'est pour l'usage limité des Demoiselles de Saint-Cyr, protégées par Mme de Maintenon, que Racine a écrit Esther, puis Athalie. Les intrigues de cour allaient en décider autrement… Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Rubrique:nouvelles Auteur: noelle-roger Lecture: Christiane-JehanneDurée: 20min Fichier: 18 Mo Résumé du livre audio: Deux sœurs, âgées, vivent dans la demeure familiale, pensent y finir leurs jours. Elles reçoivent et soignent leur intérieur malgré des difficultés financières. Nouvelle émouvante qui clôt ce Recueil, « Au Seuil de l'invisible ». Cet enregistrement est mis à disposition sous un contrat Creative Commons.

Imaginez une armée nocturne, dévalant les forêts des Pyrénées, armée de faux, de bâtons, de fusils parfois. Ce ne sont pas des soldats, ni des brigands… mais des paysans déguisés en femmes, en jupons et bonnets. Leur nom ? Les Demoiselles. Et leur révolte, l'une des plus saisissantes de la France du XIXe siècle.Tout commence en 1829, dans le département de l'Ariège, au cœur des montagnes. Cette année-là, le gouvernement de Charles X adopte une nouvelle loi forestière. L'État centralise les droits d'usage des forêts, interdisant aux populations locales l'accès libre au bois, à la chasse, au pacage. Or, pour les paysans ariégeois, ces ressources sont vitales. Les forêts sont leur banque, leur garde-manger, leur réserve de chauffage et de matériaux.Privés de ces droits ancestraux, ils entrent en résistance. Mais pas à visage découvert. Dans une stratégie aussi symbolique qu'efficace, les insurgés se griment en femmes : robes, corsages, foulards, parfois même maquillage. Ils adoptent ainsi le nom de "Demoiselles".Ce travestissement a un double effet. D'un côté, il désarme symboliquement l'adversaire, tournant en ridicule les gendarmes et gardes forestiers. De l'autre, il renforce la cohésion du groupe, dans une mise en scène à la fois grotesque et terrifiante. La nuit, des centaines d'hommes se rassemblent dans les bois, masqués, hurlant des chants de guerre ou frappant aux portes des fonctionnaires forestiers pour les menacer, les humilier, voire les expulser.La révolte se propage vite. De 1829 à 1832, les Demoiselles mènent une guérilla rurale intense. Plus de 300 incidents sont recensés, certains très violents. Gendarmes, ingénieurs forestiers, percepteurs : tous deviennent des cibles.Mais malgré les arrestations, les condamnations, et même l'envoi de troupes, l'État ne parvient jamais à éteindre complètement la révolte. Car elle repose sur une solidarité communautaire profonde. Les villages couvrent les insurgés. Les femmes, cette fois les vraies, les soutiennent, les ravitaillent, les cachent. Et puis, comment faire la différence entre un simple paysan et une Demoiselle, une fois la robe tombée ?Finalement, l'État plie. Dans les années 1840, une série de concessions sont faites sur la gestion forestière. La révolte s'essouffle, mais le mythe reste.Aujourd'hui encore, dans l'Ariège, le souvenir des Demoiselles perdure. À la fois mouvement de contestation sociale et geste de théâtre politique, elles sont restées dans l'histoire comme une preuve que même dans les coins les plus reculés, le pouvoir peut être défié… en robe. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Yeni bölümde yasaklar üzerine konuşuyoruz. Pek çok yasakla kuşatıldığımız bir dönemden geçerken nasıl ilişkileniyoruz yasaklarla? Yasak neyi yasaklar, nasıl bir söylem üretir? Arzuyla ilişkisi nedir? Yaratıcılığı nasıl besler? Kitapların ve filmlerin yardımıyla anlamaya çalışıyor, akıl yürütüyoruz.Bölümde adı geçen tüm kitap ve filmlerin listesini ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@1kitap1film.us⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ instagram hesabımızda bulabileceğinizi hatırlatalım.Bu bölüme sponsor olarak bizi destekleyen ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vitruta⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠'ya katkılarından ötürü çok teşekkür ederiz. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vitruta.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠'dan yapacağınız alışverişlerde, 1kitap1film kodu ile indirimsiz ürünlerde %20 indirim avantajından faydalanabilirsiniz. ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠vitruta.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠'dan yapacağınız alışverişlerde geçerli olacak 1kitap1film özel avantaj kodunu, ürünü sepete ekledikten sonra çıkan sayfadaki “hediye kartı veya indirim kodu” alanına ödeme işlemi öncesinde tanımlayabilirsiniz.Kapak görseli: Pablo Picasso, Les Demoiselles d'Avignon (1907)

durée : 00:05:19 - C'est une chanson - par : Frédéric Pommier - A l'occasion des 40 de l'ouverture de sa maison de couture parisienne, deux shows auront lieu au Palais de Chaillot les 4 et 5 avril. Au micro de Frédéric Pommier, la créatrice Fifi Chachnil évoque son affection pour Les Demoiselles de Rochefort et la chanson "Nous voyageons de ville en ville".

Derrière le nom "French With Panache", il y a Nathan et Violaine, journalistes de formation et maintenant spécialistes du français étrangère. Ils transmettent leur passion pour l'enseignement

durée : 00:21:11 - « Les Demoiselles de Rochefort » - En 1967, Michel Legrand compose la bande-originale du film "Les Demoiselles de Rochefort", 3ème collaboration entre le compositeur et le réalisateur Jacques Demy.

durée : 01:28:22 - « Lady Be Good » , 100 ans ! - par : Laurent Valière - Pour cette dernière 42e rue de l'année, nous célébrons le centenaire d'une comédie musicale qui a lancé la vague du Jazz Age à Broadway et la carrière de George Gershwin. Avec aussi une interview de Lin-Manuel Miranda qui raconte la composition de "Mufasa".

Il était une fois un musicien de 86 ans resté toute sa vie un enfant, un enfant du classique et du jazz, qui a fait tourner les moulins de nos cœurs. David Hertzog Dessites célèbre, dans son documentaire «Il était une fois Michel Legrand», le génie du compositeur qui n'a eu de cesse de se réinventer jusqu'à sa mort. Né en 1932, Michel Legrand se distingue par des prédispositions précoces : il se met au piano à 4 ans, intègre le Conservatoire de Paris à 11, et connaît un grand succès dès ses 24 ans avec le disque I Love Paris vendu à plus de 8 millions d'exemplaires.L'amoureux du jazz formé à la musique classique devient un arrangeur que les maisons de disques et les chanteurs et chanteuses s'arrachent. Puis Michel Legrand se retrouve aspiré par la Nouvelle Vague qui déferle sur le cinéma : Jean-Luc Godard, Jean-Paul Rappeneau et surtout Jacques Demy font appel à lui.Michel Legrand signe les bandes originales des films de Demy : Les parapluies de Cherbourg, Les Demoiselles de Rochefort et Peau d'Âne. Le succès de ces comédies musicales à la française lui ouvre les portes de Hollywood. Il y gagnera trois Oscars, dont un pour la chanson «Les moulins de mon cœur» composée pour L'Affaire Thomas Crown.Le documentaire «Il était une fois Michel Legrand» revient sur ce parcours exceptionnel, mêlant images d'archive et interviews exceptionnelles ainsi que la captation du dernier concert de Michel Legrand, celui de la Philharmonie de Paris en décembre 2018. Ce film a été présenté en sélection au festival de Cannes dans la section Cannes classic.Avec vous, nous reviendrons sur la vie et l'œuvre de ce génie de la musique, rendu célébrissime par ses bandes originales de films comme Les demoiselles de Rochefort, Les parapluies de Cherbourg, L'affaire Thomas Crown ou Yentl.À l'affiche également de notre cinéma, une rencontre avec la réalisatrice syrienne Hala Alabdalla célébrée par les Rencontres du cinéma documentaire de Montreuil.Musiques : Michel Legrand (Les moulins de mon cœur, Legrand Jazz, Yentl), Matthieu Boogaerts Ma jeunesse.

durée : 00:03:48 - Capture d'écrans - par : Eva Roque - Elles ont porté les couleurs du sport français au niveau européen dans les années 70. Les basketteuses du club de Clermont-Ferrand - le CUC - sont le sujet d'un documentaire remarquable à voir sur L'équipe. Quand le basket devient un objet d'émancipation et de liberté !

Dans son zapping, Dimitri Vernet revient sur les événements politiques de la semaine.

C'est l'été, l'occasion de revoir Les demoiselles de Rochefort, à notre prochain cinema club... ou sans raison particulière ! Ce grand classique de Jacques Demy n'a pas fini de nous étonner et de nous enchanter. On essaie de comprendre ce qui fait sa réussite, son charme et sa profondeur. Plus d'info : https://allthatjazzpodcast.wordpress.com/2024/07/10/cinema-club-les-demoiselles-de-rochefort/

When it comes to works of art, “Picasso” is synonymous with brilliance and innovation. Spanish painter and sculptor Pablo Picasso is famously known for spearheading the Cubist movement during the 20th century art revolution. What most people don't know is that Picasso was heavily inspired by Africans and the African diaspora. One of his most famous works, Les Demoiselles d'Avignon, depicts a striking resemblance to African masks and sculptures, which has our hosts asking, “Does Picasso owe Black people?” We're also chatting about the history of braids. See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

The Daily Quiz - Art and Literature Today's Questions: Question 1: In which story does the schoolboy "Piggy" star? Question 2: Which author wrote 'Madame Bovary'? Question 3: In a 2001 novel by Neil Gaiman, what is the secret about Mr. Wednesday? Question 4: Which author wrote 'Kidnapped'? Question 5: The painting "Les Demoiselles d'Avignon" by Pablo Picasso is a part of which art movement? Question 6: Which author wrote 'The War of the Jewels'? Question 7: Which book contains the character 'Atticus Finch'? Question 8: Which author wrote 'Waiting for Godot'? Question 9: Which author wrote 'The Adventure of the Red-Headed League'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:03:12 - La chanson de Frédéric Fromet - par : Frédéric FROMET - On parle de la montée de l'extrême droite, mais ils n'ont pas beaucoup de chanteurs. Ça pourrait être marrant, un chanteur qui s'appellerait Michel Legrand Remplacement. Une prestation à la guitare signée Frédéric Fromet sur un air de "La Chanson des Jumelles" du film "Les Demoiselles de Rochefort".

durée : 00:03:12 - La chanson de Frédéric Fromet - par : Frédéric FROMET - On parle de la montée de l'extrême droite, mais ils n'ont pas beaucoup de chanteurs. Ça pourrait être marrant, un chanteur qui s'appellerait Michel Legrand Remplacement. Une prestation à la guitare signée Frédéric Fromet sur un air de "La Chanson des Jumelles" du film "Les Demoiselles de Rochefort".

durée : 00:10:00 - Les Nuits de France Culture - par : Albane Penaranda - Si ça vous chante - Le poète qui a baptisé les demoiselles d'Avignon : André Salmon (1ère diffusion : 16/08/2013)

The Le Random team of ⁠thefunnyguys⁠, Peter Bauman (⁠Monk Antony⁠) and Conrad House (⁠Nemo Cake⁠) spoke to special guest and acclaimed gallerist Kate Vass about a whirlwind ⁠one hundred years of generative art history (1850-1949)⁠,the Modern Era. This episode corresponds with: ⁠Generative Art Timeline: Chapter 2 10 Significant Modern Era Moments (Covered in the talk)⁠ The Great Exhibition of London Lights Early Spark of the Arts & Crafts Movement (1851) Modern art Begins: Manet's Work Rejected by Paris Salon (1863) + Cézanne's Mont Sainte-Victoire Series (1870-1906) Les Demoiselles d'Avignon by Picasso kicks off Cubism (1907) The Ten Biggest, No 7 by Hilma af Klint (1907) Tatlin and Rodchenko Found Constructivism and Malevich Stages the 0.10 Exhibition with Black Square. (1915) Walter Gropius Founds Bauhaus (1919) Marcel Duchamp and Man Ray Create Rotary Glass Plates (1920) Gunta Stölzl Named Director of Bauhaus Weaving Workshop (1927) Birth of digital computing: Konrad Zuse Completes the Z3 (1941) + ENIAC (1945) 10. Cybernetics Is Born: Norbert Wiener's Cybernetics + Claude Shannon's "A Mathematical Theory of Communication.” (1948)

Claudette Johnson talks to Ben Luke about her influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped her life and work. Johnson, who was born in 1959 in Manchester, UK, and now lives in London, has created some of the most powerful figurative art of recent years. Working primarily in what she has called the “very small, twisted space offered to Black women”, she uses drawing and painting together in works that are bold yet sensitive, imposing in scale and intimate in their handling. She subverts the conventions of portraiture in her dramatic approach to composition and pose and in foregrounding the figure's presence in the viewer's space rather than establishing the context in which they are depicted. As a result, she confronts the historic invisibility, distortion and denial of Black subjects, and particularly Black women, in art. She discusses her discovery of Picasso's Les Demoiselles d'Avignon at university and how it has proved both inspirational and problematic. She reflects on the huge importance of Lubaina Himid to her early career and the recent resurgence in her work. She recalls the impact of Toni Morrison's fiction on her subject matter. And she eulogises Paula Rego's approach to pastels, a key element in her work. Plus she answers our usual questions, including the ultimate: what is art for?Claudette Johnson: Presence, The Courtauld, London, 29 September-14 January 2024; Women in Revolt! , Tate Britain, 8 November-7 April 2024; The Time is Always Now, National Portrait Gallery, 22 February-19 May 2024. She has a solo presentation at The Barber Institute in Birmingham, UK, opening in late March and is taking on a commission from Art on the Underground in London, scheduled for November 2024.For web article: Hosted on Acast. See acast.com/privacy for more information.

durée : 00:35:00 - Les Nuits de France Culture - par : Philippe Garbit - Au printemps 1907, le collectionneur et marchand d'art Daniel-Henry Kahnweiler ouvre sa galerie d'art. Il se souvient du choc quand il voit pour la première fois "Les Demoiselles d'Avignon" dans l'atelier de Picasso. D'autres témoins de cette époque racontent leurs impressions. - invités : Daniel-Henry Kahnweiler Écrivain, collectionneur et marchand d'art; Fernande Olivier

durée : 00:10:00 - Les Nuits de France Culture - par : Albane Penaranda - Par Sophie Nauleau - Réalisation Nathalie Salles

"Les Demoiselles d'Avignon" by Pablo Picasso is a seminal work of art that marks a turning point in the history of modern art. Its innovative approach to perspective, use of symbolism and allegory, and influence on the development of Cubism and other modern art movements make it a touchstone of 20th-century art history. The painting remains a testament to Picasso's revolutionary vision and enduring legacy, and its significance in the canon of modern art is undisputed. --- Support this podcast: https://podcasters.spotify.com/pod/show/vidalsocial/support

durée : 00:58:52 - Cabaret 42ème rue : Le Châtelet Musical Club ; Gaby Deslys ; Les Demoiselles - par : Laurent Valière - En direct et en public du Carreau du Temple à Paris, avec les trois spectacles : Le Châtelet Musical Club #5 - Gaby Deslys - Les Demoiselles. - réalisé par : Fabien Fleurat

Jake and Phil discuss Aldous Huxley's "Meditation on El Greco", and Picasso's Les Demoiselles d'Avignon. The Manifesto: Aldous Huxley - "Meditation on El Greco" https://cooperative-individualism.org/huxley-aldous_meditation-on-el-greco-pleasure-that-comes-from-ignorance.pdf The Art: Picasso - Les Demoiselles d'Avignon https://www.moma.org/collection/works/79766?sovreferrer=theme&themeid=5135

This week's episode is a roundtable discussion about our evolving relationships with art. Maggie kicks us off with Picasso's 1907 painting Les Demoiselles d'Avignon. Tristan leads a discussion about his complicated relationship with Benvenuto Cellini's 16th-century sculpture, Perseus with the Head of Medusa. Cam rounds things out with his journey of finding, outgrowing, and rediscovering Shakespeare's Hamlet. Subscribe to our Substack here: https://substack.com/secondbreakfastpod Feedback & Theories: secondbreakfastpod@gmail.com Instagram / TikTok / YouTube: @secondbreakfastpod Cam's Work: https://www.cameronfucile.com/

This week's show covers the southern part of the Côte de Beaune, south of Meursault. In this part of the Côte de Beaune you will find some of the most famed, stunning Chardonnay on earth. We start with a recap of episode 455 to tie these two shows together. Then we work our way through the southern half of the Côte de Beaune and the most famed Chardonnays in the world from the Montrachet family of vineyards. Like the first show, this is quite a download and we try to provide a structure for understanding this study in terroir, which sets us up well to do deeper dives on other parts of Bourgogne so we can understand the villages even better.   As in the first show, we don't need much in the notes besides this wonderful map from the Vins de Bourgogne site, but I'll throw a few things down here just for recap.   Here are the show notes: We discuss the pricing of Burgundy and why wines are so expensive. We talk about the difference between Burgundy and Napa that was sparked by a conversation on Patreon. Here is the podcast I talk about with Laurent Delaunaywhere we address some of the pricing issues. We talk a bit about the negociant system and the secondary market before moving to the communes.   _____________________________ This show covers the southern communes of the Côte de Beaune only, from Blagny to Marange    Blagny (Blaeh-NE  -- Pinot Noir) Between Puligny-Montrachet and Meursault, Blagny is a small village appellation with red wines exclusively of Pinot Noir. The majority of wine is classified as Premier Cru. Whites are permitted to be Meursault or Puligny-Montrachet, but not Blagny – since white is often better here, Blagny is not well-known because the name is only for red Blagny has steeper vineyards than most spots in Burgundy and they are at higher altitudes 340- 400 metres/1,116 -1,312 ft vineyards. In the past, vignerons didn't want to make wine in the village because it was too cool, but with climate change it is becoming more popular Blagny's Pinot is like red fruit, black fruit, sandalwood, and spice. With age which it needs because tannins can be strong, leather, pepper, cocoa, licorice, earthy, gamy notes appear.   St. Aubin: (Pinot Noir and Chardonnay) Aubin is between Chassagne-Montrachet and Puligny-Montrachet, but it does not lie on the main Côte d'Or escarpment, but rather in a valley west of Chassagne. In warmer years, this cooler climate area does well, especially the top Premier cru En Remilly, Murgers des Dents de Chien (means teeth of the dog -due to the sharp stones there) and La Chatenière Aubin grows a majority of white (Chardonnay), and the best sites arecloser to Puligny and Chassagne. Common notes are white flowers, lime, flint, chalk, mineral, almond, hazelnut, orange, mineral, and cinnamon. St. Aubin blanc can be sharp in youth or can be full – depending on vintage, terroir and producer. With age the wine is more like beeswax and honey and marzipan. Whites can age up to 10 years. The Pinot Noir is has black fruit with spice and cocoa notes. The wine can be tannic in youth but becomes softer and more herbal with 5-8 years.     Puligny-Montrachet & Chassagne-Montrachet (with Meursault, termed the "Côte des blancs" or “the slope of the "whites" Puligny-Montrachet  (Chardonnay and Pinot Noir) A very small vineyard area (95 ha/235 acres) of nearly all Chardonnay –the terroir is complex in Puligny. The hillside has many different limestone, marl, and alluvial soils. The slopes face east and southeast. Four Grands Crus of Montrachet are located in the borders of Puligny.  Top Premiers Crus: Le Cailleret, Les Pucelles, Les Demoiselles, Les Combettes, Folatières The Chardonnay is known for floral, mineral, marzipan, hazelnut, lemongrass, croissant, honey, lemon curd, limeade, peach, and green apple aromas and flavors. Producers traditionally use oak fermentation and aging but the flavors are restrained. We discuss the Grands Crus, all in the southern part of the appellation: Bâtard-Montrachet (10.27 ha/25.38 acres, shared with Chassagne) and Bienvenues-Bâtard-Montrachet (3.43 ha/8.48 acres, all in Puligny) are lower down the hill from Montrachet. The wines are honeyed and minerally, but less rich than Le Montrachet and Chevalier-Montrachet Le Montrachet (9.59 ha/ 23.7 acres, shared with Chassagne) is considered the best white wine on earth. The Grand Cru is from the ideal mid-slope. The wines are (apparently) elegant with powerful fruit, minerality, smoke, toasty aromas and flavors. Bottles start at about US$600/bottle Chevalier-Montrachet (7.48 ha/18.48 acres, only in Puligny) is nearly as good as Le Montrachet, lying at a higher elevation, with less clay Photo Credit: BIVB  Chassagne (Chardonnay and Pinot Noir) Chassagne is one of the largest communes in the Cote d'Or with 761 acres/308 ha – Chardonnay is 70% of production and Pinot Noir is 30%. With complex soils, there is a range of quality and flavor in the village wines. The Chardonnay has pronounced mineral, white flower (verbena, honeysuckle), toasted almonds, toast (from oak), and fresh butter. The wine can be like peach in riper years. They are full but always have a backbone of acidity. The Pinots are fruity with black fruit, strawberry briar, and earth notes. It is soft but has tannin and needs time to mellow. There are 55 Premier crus of varying quality, since most of the steep slopes are for Premier Crus and Grands Crus of Chardonnay, much of the Village wine on the flatter areas is Pinot Noir Grands Crus: Shared with Puligny: Bâtard Montrachet, Le Montrachet Criots-Bâtard-Montrachet: 100% in Chassagne -- 1.57 ha/3.88 acres, very small production   From the Bourgogne Website: To remember their names, here is the story they offer: The Seigneur of Montrachet set off on a crusade, entrusting his virgin daughter to his favorite Chevalier (knight). In his absence, what happened, happened, and a child was born illegitimately. On his return from the Crusades, the Seigneur discovered this Bâtard (bastard), who started to cry when he saw him. The Seigneur then said: “Criots-Bâtard!” (The bastard cries!). But he was a good man, and welcomed the child into the family with these words: “Bienvenues-Bâtard-Montrachet” (Welcome, Bastard of Montrachet).     Santenay  (Pinot Noir and Chardonnay) This is the last major village of the Côte d'Or and makes nearly all red wine, only 1/8 is Chardonnay. The orientation is still eastern and southern but here there is a shift to more southerly facing vineyards, still with limestone and clay. Santenay's Pinot Noir is earthy, with dark flower notes like rose petals, violet, red fruit and licorice. It can have lighter tannin, is acidic, and is a great intro to Burgundy that we can sort of afford. The Chardonnay is minerally and floral with great acidity, and a trace of nuts and spice. 

   Maranges MAHR-ohnjhze (Pinot Noir and Chardonnay) This is where a total shift takes place and the Côte de Beaune terroir changes. In Maranges, the hills face south and southwest and the slopes become gentler, soils break down and become more of a patchwork. Gentler slopes, more heat and heavy clay lead to dark, rich wines (they were used as vins de médecin, to beef up the wines of the Côte de Nuits in bad years, so they never focused much on their own quality). Maranges is located in a different administrative department, Saône-et-Loire, where the Côte Chalonnaise lies. It's made up of three villages of Cheilly-lès-Maranges, Dezize lès-Maranges and Sampigny-lès-Maranges The Pinot Noir is fuller and darker with red preserves, black cherry, earth, licorice, pepper, and less nuance. The wines have smooth tannin, medium acidity and are similar to those of the Côte Chalonnaise. The Chardonnay is floral with minerals and honey, it is an easy drinking wine.   We hope you enjoyed the two part series on the Côte de Beaune. Lots to learn and this is just the start.     Photo Credit: BIVB  _______________________________________________________________ Thanks to our sponsors this week: Wine Spies uncovers incredible wines at unreal prices - on every type of wine in a variety of price points. It's not a club and there's no obligation to buy. Sign up for their daily email and buy what you want, when you want it. They have a build-a-case option, so you can mix and match wines while enjoying free shipping on every purchase. Visit www.winespies.com/normal you'll get $20 credit to use on your first order! Check them out today!   If you think our podcast is worth the price of a bottle or two of wine a year, please become a member of Patreon... you'll get even more great content, live interactions and classes!  www.patreon.com/winefornormalpeople   To register for an AWESOME, LIVE WFNP class with Elizabeth go to: www.winefornormalpeople.com/classes

Mandy tells Caelan and Hoots all about the many loves of this infamous painter and womanizer.Follow Respect the Dead on Twitter or Instagram and sign up on our Patreon Here!Episode Links:Picasso: https://www.biography.com/.image/t_share/MTY2NTIzNTAyNjgwMDg5ODQy/pablo-picasso-at-his-home-in-cannes-circa-1960-photo-by-popperfoto_getty-images.jpg Fernade Oliver: https://www.blogmuseupicassobcn.org/wp-content/uploads/2018/04/Fernande-Oliver-01.jpg Eva Gouel: https://imgix.ranker.com/user_node_img/50084/1001670237/original/picasso-kidnapped-irene-lagut-before-she-left-him-for-another-woman-photo-u1?w=650&q=50&fm=pjpg&fit=crop&crop=faces Les Demoiselles d'Avignon painting: https://en.wikipedia.org/wiki/Fernande_Olivier#/media/File:Les_Demoiselles_d%27Avignon.jpg Olga: https://i.pinimg.com/originals/de/5d/c3/de5dc356e8853db0257a784c4a1f5159.jpg Marie-Therese Walter: https://4.bp.blogspot.com/-kcYcL7-X3G8/Tbiq6QQFOdI/AAAAAAAAafY/7icc78L_iSU/s1600/marie+the%25CC%2581re%25CC%2580se+walter.jpg Dora Maar: https://ilarge.lisimg.com/image/6483548/753full-dora-maar.jpg The Weeping Woman: https://www.abc.net.au/news/image/1531472-3x4-700x933.jpg Francoise Gilot: https://static01.nyt.com/images/2019/06/10/t-magazine/13tmag-francoise-slide-8I4B/13tmag-francoise-slide-8I4B-videoSixteenByNineJumbo1600.jpg Jacqueline: https://www.artsandcollections.com/wp-content/uploads/2019/05/Roque.jpg

The book, Old Masters and Young Geniuses shows there are two types of creators: experimental, and conceptual. Experimental and conceptual creators differ in their approaches to their work, and follow two distinct career paths. Experimental creators grow to become old masters. Conceptual creators shine as young geniuses. University of Chicago economist, and author of Old Masters and Young Geniuses, David Galenson – who I interviewed on episode 105 – wanted to know how the ages of artists affected the prices of their paintings. He isolated the ages of artists from other factors that affect price, such as canvas size, sale date, and support type (whether it's on canvas, paper, or other). He expected to find a neat effect, such as “paintings from younger/older artists sell for more.” But instead, he found two distinct patterns: Some artists' paintings from their younger years sold for more. Other artists' paintings from their older years sold for more. He then found this same pattern in the historical significance of artists' work: The rate at which paintings were included in art history books or retrospective exhibitions – both indicators of significance – peaked at the same ages as the values of paintings. When he looked closely at how painters who followed these two trajectories differed, he found that the ones who peaked early took a conceptual approach, while those who peaked late took an experimental approach. Cézanne vs. Picasso The perfect examples of contrasting experimental and conceptual painters are Paul Cézanne and Pablo Picasso. Paintings from Cézanne's final year of life, when he was sixty-seven, are his most valuable. Paintings from early in Picasso's career, when he was twenty-six, are his most valuable. A painting done when Picasso was twenty-six is worth four times as much as one done when he was sixty-seven (he lived to be ninety-one, and his biographer and friend called the dearth of his influential work later in life “a sad end”). A painting done when Cézanne was sixty-seven – the year he died – is worth fifteen times as much as one done when he was twenty-six. Cézanne, the experimenter Cézanne took an experimental approach to painting, which explains why it took so long for his career to peak. Picasso took a conceptual approach, which explains why he peaked early. Cézanne left the conceptual debates of Paris cafés to live in the south of France, in his thirties. He spent the next three decades struggling to paint what he truly saw in landscapes. He felt limited by the fact that, as he was looking at a canvas, he could only paint the memory of what he had just seen. He did few preparatory sketches early in his career, but grew to paint straight from nature. He treated his paintings as process work, and seemed to have no use for them when he was finished: He only signed about ten percent of his paintings, and sometimes threw them into bushes or left them in fields. Picasso, the conceptual genius Picasso, instead, executed one concept after another. He had early success with his Blue period and Rose period, then dove into Cubism. He often planned paintings carefully, in advance: He did more than four-hundred studies for his most valuable and influential painting, Les Demoiselles d'Avignon. One model described how he simply stared at her for an hour, apparently planning a series of paintings in his head, which he began painting the next day, without her assistance. Cézanne said, “I seek in painting.” Picasso said, “I don't seek; I find.” Cézanne struggled to paint what he saw, and Picasso said, “I paint objects as I think them, not as I see them.” Experimental vs. conceptual artists Here are some qualities that differ between experimental and conceptual artists: Experimental artists work inductively. Through the process of creation, they arrive at their solution. Conceptual artists work deductively. They begin with a solution in mind, then work towards it. Experimental artists have vague goals. They're not quite sure what they're seeking. Conceptual artists have specific goals. They already have an idea in their head they're trying to execute. Experimental artists are full of doubt. Since they don't already have the solution, and aren't sure what they're looking for, they rarely feel they've succeeded. Conceptual artists are confident. They know what they're after, so once they've achieved it, they're done, and can move on to the next thing. Experimental artists repeat themselves. They might paint the same subject over and over, tweaking their approach. Conceptual artists change quickly. They'll move from subject to subject, style to style, concept to concept. Experimental artists do it themselves. They're discovering throughout the process, so they rarely use assistants. Conceptual artists delegate. They just need their concept executed, so someone else can often do the work. Experimental artists discover. Over the years, they build up knowledge in a field, to invent new approaches. Conceptual artists steal. To a greater degree than experimental artists, they take what others have developed and make it their own. Other experimental & conceptual artists Some other experimental artists: Georgia O'Keeffe: She painted pictures of a door of her house in New Mexico more than twenty times. She liked to start off painting a subject realistically, then, through repetition, make it more abstract. Jackson Pollock: He said he needed to drip paint on a canvas from all four sides, what he called a “‘get acquainted' period,” before he knew what he was painting. Leonardo da Vinci: He was constantly jumping from project to project, rarely finishing. He incorporated his slowly-accrued knowledge of anatomy, optics, and geology into his paintings. Some conceptual artists: Georges Seurat: He had his pointillism method down to a science. He planned out his most-famous painting, Sunday Afternoon, through more than fifty studies, and could paint tiny dots on the giant canvas without stepping back to see how it looked. Andy Warhol: Used assistants heavily, saying, “I think somebody should be able to do all my paintings for me,” and “Why do people think artists are special? It's just another job.” Raphael: Who had a huge workshop of as many as fifty assistants, innovated by allowing a printmaker to make and sell copies of his work, and synthesized the hard-won methods of Leonardo and Michelangelo into his well-planned designs. Experimental & conceptual creators in other fields Galenson has found these two distinct experimental and conceptual trajectories in a variety of fields. This runs counter to the findings of Dean Simonton, who believes the complexity of a given field determines when a creator peaks. Galenson argues that the complexity of having an impact in a field changes, as innovations are made or integrated into the state of the art. Sculpture In sculpture, Méret Oppenheim had a conversation in a café with Picasso, and got the idea to line a teacup with fur. It became the quintessential surrealist sculpture, Luncheon in Fur, but it was totally conceptual. She continued to make art into her seventies, and never did another significant work. Constantin Brancusi spent a lifetime as an experimental sculptor. He said, “I don't work from sketches, I take the chisel and hammer and go right ahead.” He did his most famous work, Bird in Space, when he was fifty-two. Novels In novels, Mark Twain wrote The Adventures of Huckleberry Finn experimentally, in at least three separate phases, over the course of nine years. He finally published it when he was fifty. Hemingway's novels were conceptually driven, using his trademark dialog as one of his major devices. He picked up this technique and synthesized it from studying the work of Gertrude Stein, Sherwood Anderson, and Twain himself. When I talked to Galenson on episode 105, he explained the way to spot the difference between an experimental and a conceptual novel is to ask, “are the characters believable?” Conceptual novelists focus on plot, while experimental novelists focus on character. Poetry In poetry, Robert Frost, who spent his career trying to perfect how rhythms and stress patterns affected the meanings of words – so-called “sentence sounds” – wrote “Stopping by Woods on a Snowy Evening” when he was forty-eight. Ezra Pound developed his technique of “imagism” when he was twenty-eight, and had thought it through so well he published a set of formal rules. With this conceptual approach, he created the bulk of his influential poems before he was forty, despite living well into his eighties. Movies In film, Orson Welles created Citizen Kane when he was only twenty-six. The carefully-planned conceptual innovations in cinematography and musical score make it widely-regarded as the most influential film ever. Alfred Hitchcock didn't make his most-influential films until the final years of his life, as he was about sixty. He said, “style in directing develops slowly and naturally.” Are you an old master, or young genius? I really enjoyed Old Masters and Young Geniuses. I find this dichotomy of experimental versus conceptual approaches really helpful in understanding why, in general, some creative solutions come quickly, while others take months or years of searching. Do you have a choice in the matter? Galenson is careful to stress that you aren't either an experimental or conceptual creator – it's a spectrum, not a binary designation. But in case you're wondering if you can make yourself a conceptual creator, to become successful more quickly, Galenson says you can't. You might switch from a conceptual to an experimental approach, and find it works better for you, as did Cézanne, or you might try to go from experimental to conceptual and find it doesn't, as did Pissarro. But you can't change the way you think. He told me, “It's like trying to change your brain, and we don't know how to do that.” About Your Host, David Kadavy David Kadavy is author of Mind Management, Not Time Management, The Heart to Start and Design for Hackers. Through the Love Your Work podcast, his Love Mondays newsletter, and self-publishing coaching David helps you make it as a creative. Follow David on: Twitter Instagram Facebook YouTube Subscribe to Love Your Work Apple Podcasts Overcast Spotify Stitcher YouTube RSS Email Support the show on Patreon Put your money where your mind is. Patreon lets you support independent creators like me. Support now on Patreon »       Show notes: http://kadavy.net/blog/posts/old-masters-young-geniuses

Picasso shifted his point of view while working on Les Demoiselles d'Avignon. This perspective change shows in the painting. In fact, he fragmented the figures into ambiguous planes. This gives viewers a sense of looking at them from several angles. We get a combination of views within a single scene. For instance, the woman at the bottom right squats. Her legs face away from us. But this same woman's head looks straight at us. This serves as the most extreme example of ambiguity. Read LadyKflo's collected works and learn about more masterpieces with a click through to LadyKflo's site. https://www.ladykflo.com/category/masterpieces/ Checkout her socials too: https://www.instagram.com/ladykflo/ https://twitter.com/ladykflo

Following the German occupation of France in 1940, French women moved deftly into the jobs and roles left by their male compatriots—even the role of soldier. One of the more notable such female soldiers was Lt. Sonia Vagliano, who was part of a team of young French women attached to a US First Army unit that arrived in Normandy two weeks after D-Day. From 1943 to 1945, Vagliano followed her unit from Normandy to Paris, through Belgium, and finally into Germany, where they cared for 41,000 total displaced persons and prisoners of war.She published a memoir of her experiences under the title Les Demoiselles de Gaulle. Vagliano not only described her experiences in rich detail—from caring for thousands of refugees in the worst possible conditions to defusing landmines and being kidnapped, shot at, torpedoed, and bombed—she also recounted the major events of the war in Europe, including the liberation of Paris, the Battle of the Bulge, and finally, the liberation of the concentration camps. Spending five weeks at Buchenwald repatriating the 21,000 remaining prisoners, she is a unique witness to the transition period between the camp's liberation and its transferal to Russian oversight in July 1945. She saw firsthand "to what extremes the human imagination can go in its search for the most cruel methods of torture."Today's guest, Martha Noel Evans, is translator of Vagliano's memoir into English under the title Lieutenant Sonia Vagliano: A Memoir of the World War II Refugee Crisis. We discuss both the dare devil escapades and the sobering reality of a wartime account