Podcasts about manet

Si tenemos que contestar a la pregunta "¿cuál es el pintor más popular del siglo 19?", la mayoría nombraríamos a Cezanne, Manet o Van Gogh. Algunos dirían que fue Goya o Delacroix. Sin embargo, el más famoso de todos en aquellos años fue alguien al que hoy muy pocos conocemos: William-Adolphe Bouguereau. Por eso el Artesano; Pablo Ortiz de Zárate, nos explica qué ocurrió para al que los grandes pintores consideraban el maestro cayera en el olvido, pasara de moda. La lección de hoy fue Bouguereau y lo es para todos: una musa, no es solo una musa. 

In Part 2 of our Impressionism series, we leave the floating world of Japan behind and step into the bustling studios, salons, and sun-drenched riverbanks of 19th-century France. This time, we meet the artists who dared to defy the rules (Monet, Morisot, Manet, Degas, Renoir, Cassatt) and the dealer, Paul Durand-Ruel, who bet everything on their vision. We'll explore how these painters broke with tradition to capture the modern world around them…and how their movement spread, against all odds, to American collectors, museums, and artists. ______ New episodes every month. Let's keep in touch! Email: artofhistorypod@gmail.com Instagram: @artofhistorypodcast

Welcome to ohmTown. The Non Sequitur News Show is held live via Twitch and Youtube every day. We, Mayor Watt and the AI that runs ohmTown, cover a selection of aggregated news articles and discuss them briefly with a perspective merging Science, Technology, and Society. You can visit https://www.youtube.com/ohmtown for the complete history since 2022.Articles Discussed:Big Bang goes Boomhttps://www.ohmtown.com/groups/mobble/f/d/the-big-bang-theory-is-wrong-and-the-new-theory-is-somehow-even-stranger/Mattel deals with OpenAI for Toyshttps://www.ohmtown.com/groups/hatchideas/f/d/mattel-signs-first-of-its-kind-deal-with-openai-to-bring-chatgpt-to-iconic-toys/Manet stitched Togetherhttps://www.ohmtown.com/groups/mobble/f/d/manet-cut-this-painting-in-half-150-years-ago-now-the-two-sides-are-back-together-for-a-rare-reunion/Dogs with Jobshttps://www.ohmtown.com/groups/four-wheel-tech/f/d/west-virginias-busiest-airport-employs-two-border-collies-to-keep-the-runway-clear-of-birds-and-wildlife/Smells like a new Achievementhttps://www.ohmtown.com/groups/mobble/f/d/nirvana-smells-like-teen-spirit-just-hit-a-milestone-weve-never-seen-in-grunge-music-and-may-never-see-again/Wizard of Oz at Vegas Spherehttps://www.ohmtown.com/groups/roundersgear/f/d/tickets-on-sale-for-wizard-of-oz-at-vegas-sphere/Strange New Worlds ends at Season 5https://www.ohmtown.com/groups/technologytoday/f/d/star-trek-strange-new-worlds-will-end-with-a-truncated-fifth-season/Quantum Mechanics Celebrates All the Birthdayshttps://www.ohmtown.com/groups/greenagram/f/d/happy-birthday-quantum-mechanics-i-got-a-ticket-to-the-ultimate-physics-party/Right to Repair Lawsuit with John Deerehttps://www.ohmtown.com/groups/four-wheel-tech/f/d/john-deere-must-face-second-right-to-repair-lawsuit/Egyptian Blue, an Ancient Synthetic Pigment

Le cyber, est-ce virtuel, immatériel ou matériel ? De quelles façons la  couche matérielle du cyber est-elle un champ d'affrontement géopolitique entre acteurs étatiques mais aussi non étatiques ? Pourquoi la couche logicielle du Cyber est-elle l'enjeu de l'expression des rivalités de puissance étatique comme non étatique ? Comment pouvons-nous comprendre la géopolitique des infrastructures  numériques ? Dans le cyber, l'État est-il un acteur disqualifié ? Avec Florian Manet, Colonel de la gendarmerie nationale. Il commande le volet opérationnel du Commandement du Cyberespace du Ministère de l'Intérieur.  Planisphère est une émission de RND et RCF, produite par Pierre Verluise, reprise sur Diploweb.com avec en bonus une synthèse rédigée https://www.diploweb.com/Planisphere-La-geopolitique-resiste-t-elle-au-cyber-Avec-F-Manet.html  Enregistrement le 23/09/2024

B.A. Shapiro's The Lost Masterpiece can be preordered on Amazon HERE.Berthe Morisot was a female Impressionist painter active in Paris during the second half of the 19th century. She exhibited her work alongside famed Impressionist artists Monet, Degas, and Renoir, among others, and was the only woman to be included in the first major show of Impressionist art in 1874. Despite the many limitations she faced as a female artist of her time, Morisot established herself as an integral member of the Impressionist group. She also modeled for a number of paintings by Manet, and though she was married to his brother, many believe that Manet and Morisot were engaged in a long-run secret affair.B.A. Shapiro is a New York Times best selling author. In 2013, she was awarded the New England Book Award for Fiction for her novel, The Art Forger. Over her impressive career as an author, she has written both novels and screenplays, as well as a non-fiction self help book. Be sure to follow ArtMuse on Instagram & TikTok. Donate to ArtMuse HERE.ArtMuse is produced by Kula Production Company.Today's episode was written by host Grace Anna.There are accompanying images, resources and suggestions for further reading on the ArtMuse website and Instagram.

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Join me for conversation with Dr. Jaleh Mansoor (Associate Professor of Art History in the Department of Art History, Visual Art, and Theory, University of British Columbia) about her book Universal Prostitution and Modernist Abstraction: A Counterhistory (Duke University Press, 2025). Our discussion brought us to topics like the artists' muse, the modern laborer, and other figures precariously suspended between the object/subject dialectic. In Universal Prostitution and Modernist Abstraction, Dr. Mansoor provides a counternarrative of modernism and abstraction and a reexamination of Marxist aesthetics. Mansoor draws on Marx's concept of prostitution—a conceptual device through which Marx allegorized modern labor—to think about the confluences of generalized and gendered labor in modern art. Analyzing works ranging from Édouard Manet's Olympia and Georges Seurat's The Models to contemporary work by Hito Steyerl and Hannah Black, she shows how avant-garde artists can detect changing modes of production and capitalist and biopolitical processes of abstraction that assign identities to subjects in the interest of value's impersonal circulation. She demonstrates that art and abstraction resist modes of production and subjugation at the level of process and form rather than through referential representation. By studying gendered and generalized labor, abstraction, automation, and the worker, Mansoor shifts focus away from ideology, superstructure, and culture toward the ways art indexes crisis and transformation in the political economic base. Ultimately, she traces the outlines of a counterpraxis to capital while demonstrating how artworks give us a way to see through the abstractions of everyday life. This episode was hosted by Asia Adomanis, a PhD student in the Department of History of Art at Ohio State. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Jaume Segalés habla de la exposición Proust y las artes y entrevista a la autora de Querida culpa: gracias, pero adiós."Proust y las artes" El Museo Nacional Thyssen-Bornemisza (Paseo del Prado, 8) dedica una cuidada exposición a Marcel Proust, una de las figuras literarias más relevantes de los siglos XIX y XX. Podemos verla hasta el 8 de junio. Una muestra que profundiza en la relación entre el Arte y la personalidad, la vida y el trabajo del ilustre escritor parisino que, a su vez, tuvo una gran repercusión en otras disciplinas como la Filosofía o la Historia del Arte. Las ideas estéticas que Proust desarrolla en sus escritos, los ambientes artísticos, monumentales y paisajísticos que le rodearon (especialmente el de la capital francesa durante la Tercera República) articulan el recorrido. Se compone de pinturas de, entre otros, Manet, Renoir, Monet, Rembrandt, Vermeer, Van Dyck, Watteau y Turner; una escultura de Antoine Bourdelle; diseños de moda de Mariano Fortuny y otros creadores coetáneos; y una selección de manuscritos y libros de Proust. Una selección lograda gracias a los préstamos de entidades colaboradoras de gran renombre como la Biblioteca Nacional de Francia y la Biblioteca del Ateneo de Madrid, así como los Museos: Louvre, d'Orsay y de Histoira de París, la Maurits-hauss de La Haya, el Rijksmuseum de Ámsterdam, el Städel de Fráncfort y la National Gallery de Washington. Entrevistamos al comisario de la exposición, Fernando Checa."Querida culpa: gracias, pero adiós" Una guía para liberar el peso emocional y vivir con plenitud. Entrevistamos a la autora, Sonia Rico, periodista, coach certificada, instructora de yoga, máster en Programación Neurolingüística (PNL) y terapeuta en kinesiología emocional. El libro expone cómo soltar la culpa, como acto de amor propio, a través de relatos conmovedores, testimonios reales y herramientas prácticas, para transformar la culpa en un motor de aprendizaje y crecimiento. La autora nos recuerda que la culpa no es un enemigo, sino una señal que nos invita a mirar hacia adentro, a identificar las creencias que ya no nos sirven y a liberarnos de las interpretaciones y expectativas tóxicas que nos impiden avanzar.Sección lingüística "Dicho Queda" Carlota Izquierdo Gil (Instagram: @cigservicioslinguisticos) nos habla sobre el origen del término "pokemon".

What do a cutthroat artistic rivalry, a mysterious murder, a modern-day art world enigma, and the most jaw-droppingly expensive painting ever sold have in common? They're all wrapped into Part 2 of our Art Mysteries Through History series—premiering TOMORROW at 7pm! (Heads up: no episode tonight.)You don't need to know Monet from Manet to get hooked on this one. It's packed with drama, crime, and some seriously wild twists. We'll be back to our spooky stories next week—but trust us, you won't want to miss this detour.#art #arthistory #michelangelobuonarroti #leonardodavinci #caravaggio #truecrimecommunity #truecrimestories Make sure to subscribe and follow! Listen now on Amazon, Apple Podcast, and Spotify Facebook, Instagram, Youtube = @sirensofthesupernatural Tiktok = @supernaturalsirens Send us your stories and questions at sirensofthesupernatural@gmail.com Stay Spooky!Show Sources:https://chei.ucsd.edu/data-support-theory-on-location-of-lost-leonardo-da-vinci-painting/https://news.artnet.com/art-world/the-hunt-leonardo-da-vinci-battle-anghiari-mural-2447125https://www.mprnews.org/story/2012/03/12/lost-mural-leonardo-da-vincihttps://youtu.be/XTDcqiZnt9M?si=CWcpiZ6PYw_1usqZhttps://news.artnet.com/art-world/scientists-solve-mystery-salvator-mundi-orb-1745037https://www.smithsonianmag.com/smart-news/new-documentary-delves-sale-salvator-mundi-180978431/https://www.britannica.com/story/why-is-the-salvator-mundi-called-the-worlds-most-controversial-painting#:~:text=These%20issues%20include%20the%20Salvator,inadequately%20restored%20and%20heavily%20overpainted.https://www.everand.com/book/769253745/The-Last-Leonardo-The-Secret-Lives-of-the-World-s-Most-Expensive-Paintinghttps://news.artnet.com/market/timeline-salvator-mundi-went-45-to-450-million-59-years-1150661https://worldart.news/2023/06/18/salvator-mundi-a-bone-of-contention-prominent-art-restorer-speaks-out/https://www.technologyreview.com/2020/01/02/102309/a-virtual-version-of-da-vincis-mystery-glass-orb-has-helped-explain-its-weirdness/https://www.biography.com/artists/caravaggio-italian-painter-criminal-murdererhttps://www.thecollector.com/was-caravaggio-a-murderer/https://www.thecollector.com/how-did-caravaggio-die/https://www.caravaggio.org/biography.jsp

Today:Patty Talahongva discusses her new film for Frontline, documenting climate devastation in Alaska for native communities; and the cultural impacts of forced relocation, first at direct hands of the American government, and now at the hands of its inability to deal with climate change.Then, it's our favorite Hancock NH resident, author and naturalist Sy Montgomery on boozy chimps caught on camera getting loaded off of fermented breadfruit. 

On this episode we try Loch Lomond 18 Year  while talking about yodeling on a roller coaster, drinking some warm milk, a nighttime turkey bacon sandwich with an ice cream chaser, you've never see an 18 year old great dane, picking cinnamon rolls out of a flyer, Pumpernickel bread, older but not better, pudding versus puddin', splitting a pottery class in two, quality versus quantity, perfection fatigue, learning through failure, the exploratory nature of creation, weighing your creative endeavors against all those that you feel are perfect, is genuine a better pursuit, time constraints produce better and authentic outcomes, texts from Hans Zimmer, Travelogue 2, Monet fights Manet, and the folly of perfection.  Support Us On Patreon: https://www.patreon.com/DrepandStone We'd love to hear from you! https://linktr.ee/DrepandStone Don't forget to subscribe! Music by @joakimkarudmusic Episode #290

Today's episode is the first of three this week with the theatre director and writer Dominic Dromgoole, exploring revolutionary events in the world of art and theatre, starting with the opening of the Salon des Refusés in Paris in May 1863. How did the Emperor Napoleon end up sponsoring such a counter-cultural event? Why did it provoke such public outrage and astonishment? And in what ways did Manet's Le Déjeuner sur l'herbe revolutionise what was possible in the creation and consumption of modern art? A new edition of our newsletter is out now with guides to the events of the Paris Commune and much more. Sign up to get it every fortnight https://www.ppfideas.com/newsletters Next time: Ubu Roi w/Dominic Dromgoole Learn more about your ad choices. Visit megaphone.fm/adchoices

Nous sommes le 3 mars 1875, à Paris. C'est ce jour-là qu'est créée, sur la scène de l'Opéra-Comique, « Carmen », l'œuvre, en quatre actes, de Georges Bizet, l'un des compositeurs les plus reconnus de la période romantique, sur un livret d'Henri Meilhac et Ludovic Halévy, adapté d'une nouvelle de Prosper Mérimée. L'action se passe à Séville et dans ses environs, au début du XIXe siècle. Carmen, qui exerce l'activité de cigarière (elle fabrique des cigarettes à la main), est une jeune bohémienne a l'âme fougueuse. Elle séduit les hommes et provoque des bagarres. Emprisonnée, elle promet son amour au brigadier Don José afin s'évader. Mais une fois libre, elle oublie le soldat et tombe sous le charme du torero Escamillo. « Carmen » est bien une histoire d'amour et de sang. Aujourd'hui, l'opéra de Bizet est l'un des plus joués au monde. A l'époque de sa création, la réception fut mitigée : une partie de la critique et du public relevèrent son côté scabreux. On commente abondamment les femmes fumant la cigarette sur les planches, la représentation d'un monde de la corrida aussi festif que mortifère, un homme tuant son ancienne maîtresse sous les yeux des spectatrices et des spectateurs, la profusion et la richesse des décors et des costumes qui offrent une vision, à la fois, fantasmée et réaliste de l'Espagne. Et puis, on prend parti : pour ou contre Célestine Galli-Marié, interprète hors normes de la scandaleuse gitane, se déhanchant et amadouant les mâles, en jouant de son regard et de sa voix. Ainsi « Carmen » s'inscrit-elle dans l'histoire des arts et de leurs scandales retentissants, elle est imprégnée de la culture visuelle et littéraire de son temps où l'on croisent Manet, Courbet, Zola et Dumas. Quelles ont été les conditions de la naissance de l'opéra de Bizet ? Peut-on reconstituer les images vues par le public des années 1870 ? En quoi l'œuvre est-elle une rupture dans la manière de raconter les histoires sur scène ? Revenons, aujourd'hui, à Carmen … Avec les Lumières de : Hervé Lacombe, professeur de musicologie à l'Université Rennes 2. « Carmen à sa création – Une andalouse âpre et fauve » ; Actes Sud. Sujets traités : Carmen, Georges Bizet, opéra, Henri Meilhac, Ludovic Halévy, Prosper Mérimée, Séville , bohémienne, Célestine Galli-Marié, Manet, Courbet, Zola Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/5936 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : L'Histoire Continue: https://audmns.com/kSbpELwL'heure H : https://audmns.com/YagLLiKEt sa version à écouter en famille : La Mini Heure H https://audmns.com/YagLLiKAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

durée : 00:13:42 - L'humoriste Laura Calu le 12 avril à 20h30 au Centre Culturel M. Manet à Bergerac

Follow me aboard bus 164 as I venture to Argenteuil, the picturesque suburb that captivated Impressionist painters like Monet, Caillebotte, and Manet. While heading to a kung-fu competition, I discover the scenic routes along the Seine where Claude Monet lived for five years and created dozens of masterpieces. I share glimpses of the famous Argenteuil bridge that still stands today while appearing in museums worldwide, and my excitement to visit Monet's house with its recreated boat-studio. This episode explores practical French vocabulary about movement with the versatile verb "passer" and the essential pronoun "y". Perfect for intermediate French learners passionate about art history who want to experience authentic everyday French beyond Paris's tourist sites. www.onethinginafrenchday.com  

In the early hours of March 18, 1990, two men dressed as police officers entered Boston's Isabella Stewart Gardner Museum and walked out with over $500 million worth of art. The crime scene was bizarre. The guards were found tied up in the basement. The stolen pieces included masterpieces by Rembrandt, Vermeer, Manet, and others—none of which have ever been recovered.In part one of this two-part series, Joel and Steph dive into the events of that night, exploring how the theft unfolded, what was taken, and why this remains the most valuable art heist in modern history. They explore the strange choices made by the thieves, the details left behind, and the early theories that gripped the public and baffled investigators.Come follow us on all the apps@framedthepod@joeldavid_b@cheersthanxalotWant to watch the episode? Come on over to YouTube to see the chaos: https://www.youtube.com/@Framedthepodcast Hosted on Acast. See acast.com/privacy for more information.

Benmont Tench is the keyboardist and a founding member of Tom Petty and the Heartbreakers. That's reason enough to listen to this podcast. I've interviewed other icons—Duff McKagan, Johnny Marr, and Jerry Harrison, to name a few—and they all have one common thread: a voracious appetite for art in all its forms. They consume books, movies, paintings, poetry, sculptures, you name it. Artists with longevity know that to create art, you have to constantly consume it.Tench is no exception. “The more I read, the more chance I have to get inspired because I'm opening myself up to language. But I'm inspired by all art; I'm even inspired by looking out the window. It all comes in, and it all shows up in my writing,” he says.  When I asked Tench if he favors any certain medium, his response was simple: “From Milton to Milton Bradley.” He's also the first songwriter I've interviewed to cite both Manet and the Steve Martin movie Dead Men Don't Wear Plaid as inspiration.Tench's solo album The Melancholy Season is out now. Send us a text

IN HOC PROGRAMMA’ ‘DE WHEELOCK 6th , Ed. capite quarto, paginis 24-34: de nominibus et adiectivis neutris ex secunda declinatione, de verbo “sum” modo indicativo tempore praesente, et de nominibus et adiectivis cum “sum” vel praedicativis’ ‘SEQUIMUR’ [QUIA “NUNTII IN LINGUA LATINA” ‘INSTRUMENTUM’ ‘AD LATINUM DISCENDUM ET DOCENDUMQUE’ ‘EST’]. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET ITALICA’ ‘*AUDIS’! CIVITAITS VATICANAE STATU. MILLIA CONGREGATI IN ROMA PRO PAPAM PRECANTUR. // ‘PAPA FRANCISCUS, OCTOGINTA OCTO ANNOS NATUS’, ‘PNEUMONIA ET INSUFFICIENTIA RENALI’ ‘IN VALETUDINARIO’ ‘A QUARTO DECIMO DIE FEBRUARII MENSE’ ‘*MANET’ . // “PNEUMONIA EST CONTAGIO PULMONIS CHRONICA PLERUMQUE BACTERIIS, VIRIS ET FUNGIS CREATUR. // INSUFFICIENTIA RENALIS EST MORBUS RENIUM CHRONICUS AMISSIONE FUNCTIONUM RENALIUM PROGREDIENTE CAUSA” (EX VICIPAEDIA). // ‘*MEDICI’ ‘CURAM’ ‘*HABENT’ ET ‘PONTIFICEM’ ‘*IUVANT’. // ‘HUMANI ET BONI’ ‘SUNT’. SENTENTIAS ANTIQUAS AUDI: “OFFICIUM ME VOCAT” ET “SALVE, O AMICE; VIR BONUS ES” (MEDICI HOC DICERE POSSUNT). {De Wheelock 6th Ed. 17 Capite 4, Paginis 24-34. In hoc nuntio inveni: ¿Quot nomina et adiectiva in secunda declinatione in neutro genere invenis (saltem 1), quae sunt? ¿Verba ‘sum’ in modo indicativo tempore praesente invenis (saltem 2), quot? ¿Nomina et adiectiva cum ‘sum’ vel praedicativa invenis, quae sunt? ¿Lexicon (saltem 4) et sententias (saltem 2) ex capite 4 invenis, quae sunt?}. UCRAINA. TRANSLATIO A SAID RAYMUNDO DELGADO VERSAM EST. ‘*MAGNUM BELLUM INTER RUSSIAM ET UCRANIAM, [‘*QUOD’ ‘CONFLICTUS TRAGICISSIMUS NOSTRAE AETATIS’ ‘*EST] ‘POST TRES ANNOS BELLI ET QUADRINGENTA MILIA MORTORUM’ ‘*FINEM HABERE VIDETUR’. // SED ‘*CALIX AMARISSIMUS’ ‘*MINISTRATUR’ . // [‘*QUI’ ‘EX CONCESSIONIBUS ERGA MOSCUAM, EX IMMENSIS RECLAMATIONIBUS CIVITATUM FOEDERATARUM AMERICAE ET EX EUROPAE RIDICULO’ ‘*COMPOSITUS EST’]. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA ET ANGLICA’ ‘*AUDIS’! RES PUBLICA FOEDERATA GERMANIAE. TRANSLATIO A CASANDRA FREIRE VERSAM EST. ‘*MERZ’ ‘MONITUM “A -EF- DE”, [‘*ID’ ‘* EST’ ‘OPTIO ALTERA PRO GERMANIA’,]’ ‘*DEDIT’ , [‘DUM’ ‘*ILLE’ ‘COITIONEM “ES- PE-DE”, [‘*ID’ ‘*EST’ ‘FACTIO SOCIALIS 18 DEMOCRATICA GERMANIAE’]’, ‘*AESTIMAT’]. // ‘*FRIDERICUS MERZ’ ‘*DIXIT’ , [‘*DUPLICATIONEM SUBSIDII AD FACTIONI EXTREMA DEXTRA ELECTIONIBUS FOEDERATIBUS GERMANIAE "SUPREMUM MONITUM"’ ‘*FUISSE’ [AD ‘*FACTIONES PRINCIPALES’ PATRIAE EFFICACITER ‘*DUCERE’]]’, [DUX GERMANIAE VICTOREM SOCIETATEM CONSERVATIVAM]. // ‘DIE LUNAE’ [POSTQUAM ‘*COITIO FACTIONIS UNIO DEMOCRATICA CHISTIANA GERMANIAE, [‘*ID’ ‘*EST’ ‘”CE- DE- U”], ET FACTIONIS UNIO SOCIALIS CHISTIANA BAVARIENSIS, [‘*ID’ ‘*EST’ “CE- ES-U”]’, PRIMUM LOCUM ‘*HABUIT’]’ , [CUM VIGINTI OCTO PUNCTUM QUINQUE CENTESIMAE SUFFRAGII], ‘*VIR’ [‘*QUI’ ‘IN VESTIGIO’ ‘*FACTUS EST’ ‘CANCELLARIUS GERMANICUS PROXIMOS PARTES CENTRALES’] ‘*DIXIT’ [AUCTUM SUBSIDII ‘*SERVANDUM EST’ FACTIONEM ANTI- IMMIGRATIONIS ALTERNATIVAE PARTIS GERMANIAE’, [‘*ID’ ‘*EST’ “A- EF-DE”]]. // “*A- EF- DE” ‘PLUS QUAM VIGINTI CENTESIMAE SUFFRAGIORUM’ ‘*CONSECUTUS FUIT’ ‘*HOC’ ‘CIRCA’ , ‘*DUPLICATUS EST’ ‘ELECTIONIBUS ANTE TRIENNIUM’ ‘*ILLE’ AUTEM IN , NEGOTIATIONIBUS NON ‘*ERIT’, [UT COALITIO REGIMEN OB "MURUM INCENDIARIUM" (ANGLICE "FIREWALL") ‘INTER FACTIONES PRINCIPALES ET EXTREMAM DEXTRAM’ ‘*FORMETUR’]. ‘DIE LUNAE, ‘*ALICIA WEIDEL’ “A- EF- 19 DE” CO-DUX [RECUSATIONEM MERZ [UT ‘*COALESCERET ‘CUM “A-EF-DE” "CLAUSUM DEMOCRATICUM"] ‘*FUISSE’] ‘*DECLARAVIT’ . // ‘*MERZ’ AUTEM ‘*PARAT’ ‘NOVUM REGIMEN’ ‘CUM FACTIO SOCIALIS DEMOCRATICA GERMANIAE (“ES-PE-DE”)‘, ‘*FACTIO’ ‘CANCELLARII OLAUS SCHOLZ’ . GAZA URBS ET REGIO PALESTINAE. GAZA, PALESTINA: ARMISTITIUM (ID EST BELLUM DETINERE) COMMOVETUR. // ‘ISRAEL’ ‘SEXENTOS VIGINTI CAPTIVOS PALESTINENSES’ ‘PRO QUATTUOR HEBRAEIS’ ‘EXSOLVERE’ ‘CONVENIT’. // ‘ISRAEL’ ‘CONTRA CAEREMONIAS INFAMES’ ‘*QUESTUS EST’ . HAEC CAEREMONIAE, MALAE ET STULTAE SUNT. // SENTENTIAM ANTIQUAM AUDI: “SI PERICULA SUNT VERA, INFORTUNATUS ES”. {De Wheelock 6th Ed. Capite 4, Paginis 24-34. In hoc nuntio inveni: ¿Quot nomina et adiectiva in secunda declinatione in neutro genere invenis (saltem 1), quae sunt? ¿Verba ‘sum’ in modo indicativo tempore praesente invenis (saltem 1)? ¿Nomina et adiectiva cum ‘sum’ vel praedicativa invenis (saltem 1), quae sunt? ¿Lexicon et sententias antiquas (saltem 1) ex capite 4 invenis, quae sunt?}. HONGCONGO. HONGCONGO. OPPOSITIO FACTIO SE VANESCIT. // ‘HONGCONGI OPPOSITIO FACTIO POLITICA’ ‘SE IPSAM’ ‘*VANESCIT’. // ‘HOC’, ‘TAMQUAM’ 20 ‘FINALEM ICTUM’ ‘A REGIMEN’ ‘AD POLITICAM LIBERTATEM’ ‘*DESCRIBITUR’. // HAEC VERO RERUM CONDICIO MALA ET PERICULOSA ET SINE REMEDIO EST ET AD EXITIUM CONDUCIT. // SENTENTIAM ANTIQUAM LEGE: “INFINITUS EST NUMERUS STUTLTORUM” {De Wheelock 6th Ed. Capite 4, Paginis 24-34. In hoc nuntio inveni: ¿Quot nomina et adiectiva in secunda declinatione in neutro genere invenis (saltem 1, credo…), quae sunt? ¿Verba ‘sum’ in modo indicativo tempore praesente invenis (saltem 2)? ¿Nomina et adiectiva cum ‘sum’ vel praedicativa invenis (saltem 1), quae sunt? ¿Lexicon (saltem 3) et sententias antiquas (saltem 1) ex capite 4 invenis, quae sunt?}. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET GALLICA’ ‘*AUDIS’! CIVITATIBUS FOEDERATAE AMERCAE. TRANSLATIO A SAID RAYMUNDO DELGADO VERSAM EST. CIVITATES FOEDERATAE AMERICAE. // EMMANUEL MACRON IN MISSIONE IMPOSSIBILI. // ‘*EMMANUEL MACRON ET DONALDUS TRUMP’ ‘DIE VICESIMO QUARTO FEBRUARII’ ‘IN VASINGTONIA’ ‘*CONVENERUNT’. // ‘*PRIMA SALUTATIO OFFICIALIS’ ‘CAPITIS EUROPAE’ ‘POST RELECTIONEM (VEL RURSUS ELECTIO) MAGNATIS REPUBLICANI’ ‘*FUIT’. // [‘*HOC’ ‘AD CAPITULATIONEM CORAM RUSSIA’ ‘IN QUAESTIONE UCRANICA’ ‘*VITARE’] ET 21 [‘AD CAUTIONES SECURITATIS PRO KIOVIAE’ ‘IN CASU CESSATIONIS PUGNARUM’ ‘*STATUERE’]. ‘*TRUMP’ ‘NEGATIONEM CLARAM’ ‘*NON EMISIT’. //. ‘*ILLE ‘*ITERAVIT’: [‘*PRIORITATEM PRO CIVITATIBUS FOEDERATIS AMERICAE’ ‘AUXILUM OECONOMICUM’ ‘UCRANIAE CONCESSI’ ‘*RECUPERARE EST’. INDONESIA. TRANSLATIO A FERNANDA SOLÍS VERSAM EST. INDONESIA. // ‘CAPUT (VEL PRIMA URBS REIPUBLICAE)’ ‘UNO DIE AEDIFICARE NON POTEST. // ‘CAPUT PRIMUM ‘INDONESIAE AB JAKARTAM AD NUSANTARAM ‘TRANSMOVET. // ‘NUSANTARA URBS AEDIFICATA EX NIHILO ‘EST. // ‘TRASLATIO ‘BENE PROGREDIOR ‘PRAETER MORAS’ . ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET HISPANICA’ ‘*AUDIS’! MEXICO. MEXICOPOLIS. // DOMINATIONEM TUENDAM. // ‘CLAUDIA *SHEINBAUM PARDO, MEXICI PRAESES EX ANNO DOMINI BIS MILLESIMO VICESIMO QUARTO’, ‘PRAETERITA HEBDOMADA’, ‘REFORMATIONEM’ ‘PRO LEGE PRIMARIA REI PUBLICAE’ ‘CONTRA INTERVENTUS ALIENA’ ‘*PROPOSUIT’ . // ‘HOC RESPONSIO’ ‘CONTRA AMERICAE 22 DESIGNATIONEM’ ‘DE TURMA TERRORISTA’ ‘EX SEX CHARTELIS MEXICANIS’ ‘EST’ . // ‘INTER HOS CHARTELLOS’, ‘SINALOA’ ET ‘JALISCO NOVA GENERATIO’ ‘SUNT’. // ‘HAEC’ ‘FENTANILII GENERIS OPIORUM COMMERCIUM’ ‘IN AMERICANO CONTINENTE’ ‘GUBERNANT’. // ‘*SHEINBAUM’ ‘*DIXIT’ [‘OBOEDENTIAM’ ‘PRO’ VASINGTONIA’ ‘NON ACCEPTARE’]. // SENTENTIAM ANTIQUAM AUDI: “MALI SUNT IN NOSTRO NUMERO ET DE EXITIO BONORUM VIRORUM COGITANT. BONOS ADIUVATE; CONSERVATE POPULUM ROMANUM” {De Wheelock 6th Ed. Capite 4, Paginis 24-34. In hoc nuntio inveni: ¿Quot nomina et adiectiva in secunda declinatione in neutro genere invenis (saltem 1), quae sunt? ¿Verba ‘sum’ in modo indicativo tempore praesente invenis (saltem 2), quae sunt? ¿Nomina et adiectiva cum ‘sum’ vel praedicativa invenis? ¿Lexicon (saltem 2) et sententias antiquas (saltem 1) ex capite 4 invenis, quae sunt?}. CANADA. OTTAVIA VULGO OTTAWA, CANADA. // IRA CONTRA CIVITATES FOEDERATAE AMERICAE. // ‘CANADENSES’ ‘COMMERCIALEM EXCOMUNICATIONEM’ (ANGLICE “BOYCOTT”) ‘CONTRA BONA AMERICANA’ ‘PROPTER VINDICATAM’ ‘CONTRA TRUMP VECTIGALIA’ ‘FACIUNT’. // TRUMP MINACIA EX VIGINTI QUINQUE CENTESIMIS INCREMENTO IN VECTIGALIBUS EST. // 23 SED ‘OCTOGINTA QUINQUE CENTESIMAE EX CANADENSIBUS’ ‘NUNC’ ‘BONA CANADENSIA PRO BONIS AMERICANIS’ ‘*EMUNT’ . // CERTE, TRUMP NIHIL DONUM FACIT NEC CURAM PRO CANADA HABET, SED IN BELLO COMMERCIALE IUVATUR. // VERA MALA CONDICIO EST. // SENTENTIAM ANTIQUAM AUDI: “NON BELLA EST FAMA FILII TUI”. {De Wheelock 6th Ed. Capite 4, Paginis 24-34. In hoc nuntio inveni: ¿Quot nomina et adiectiva in secunda declinatione in neutro genere invenis (saltem 2, credo…), quae sunt? ¿Verba ‘sum’ in modo indicativo tempore praesente invenis (saltem 1), quae sunt? ¿Nomina et adiectiva cum ‘sum’ vel praedicativa invenis? ¿Lexicon (saltem 5) et sententias antiquas (saltem 1) ex capite 4 invenis, quae sunt?}. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET LUSITANA’ ‘AUDIS’! BRASIL. TRANSLATIO A NADIA MUNGÍA VERSA EST. ‘*OZEMPIC’ ‘INTER ‘MERCATURARUM OPERATIONEM MAGNAM’ ‘*EST’ . // ‘IN BRASILIA’ ‘*COMMERCIUM CLANDESTINUM’ ‘*CRESCIT’ . // ‘*PAULOPOLIS’ ‘EPICENTRUM’ ‘*EST’ . // ‘*PHARMACEUTICAS ET AUTOCINETA ONERARIA’ ‘SCOPI CONSUETI’ ‘*SUNT’ . BIRMANIA. 24 BANCOCO VEL ANGELOPOLIS, THAILANDIA. // MILLIA PERSONAE REDEMPTAE EX BIRMANIA. // ‘THAILANDIA’ ‘AD SEPTEM MILLIA PERSONAS QUAS NUNDINANTES FUERUNT REDIMENDUM’ ‘A ABIRMANIA’ ‘COEPIT’ . // ‘*THAILANDIA’ ‘ELECTRICAM VIM ET STATIONES BENCINARIA’ ‘CREPUIT’ [UT ‘VICTIMAS’ ‘REDIMAT’]. LEXICON LEXICON EX “MILLIA CONGREGATI… ”: Nomina: • amicus – friend • annus – year • bacterium – bacterium • congestio – gathering • creatio – creation • curatio – care, treatment • dies – day • fungi – fungi (plural, but kept for context) • homo – human • insufficientia – insufficiency, failure • medicus – doctor • mensis – month • millia – thousands • morbus – disease • officium – duty, office • papa – pope • pneumonia – pneumonia • pontifex – pontiff • precatio – prayer • pulmo – lung 25 • ren – kidney • Roma – Rome • sententia – saying, sentence • vir – man • valetudinarium – hospital • vicipaedia – Wikipedia • virus – virus • vocatio – calling Adiectiva: • bonus – good • chronicus – chronic • congregatus – gathered • humanus – human • natus – born • octoginta octo – eighty-eight • plerumque – mostly, generally • progrediens – progressing • renal – renal Verba: • audio – I hear • creo – I create • habeo – I have • iuvo – I help • maneo – I remain, stay • possum – I can • precor – I pray • sum – I am • vocor – I am called LEXICON EX “GAZA, PALESTINA… ” Nomina: • armistitium – armistice • caeremonia – ceremony • captivus – captive, prisoner • Gaza – Gaza 26 • Hebraeus – Hebrew • infortunatus – unfortunate person • Israel – Israel • Palestina – Palestine • periculum – danger • sententia – saying, sentence • sexcenti viginti – six hundred twenty • veritas – truth Adiectiva: • infamis – infamous • infortunatus – unfortunate • malus – bad, evil • stultus – foolish • verus – true Verba: • commoveor – I am moved/disturbed • convenio – I agree • exsolvo – I release, pay • queror – I complain • sum – I am LEXICON EX “HONGCONGO… ” Nomina: • exitium – destruction, ruin • factio – party, faction • ictus – blow, strike • Hongcongo – Hong Kong • libertas – freedom • numerus – number • oppositio – opposition • politica – politics • regimen – government • remedium – remedy, solution • rerum condicio – state of affairs • stultus – fool 27 Adiectiva: • finalis – final • infinitus – infinite, endless • malus – bad, evil • periculosus – dangerous • politicus – political • sine remedio – without remedy Verba: • describor – I am described • eo – I go • sum – I am • vanesco – I vanish, disappear LEXICON EX “MEXICOPOLIS… ” Nomina: • America – America • annus – year • chartellus – cartel • commercium – trade, commerce • continent – continent • designatio – designation • dominatio – domination • exitium – destruction, ruin • fentanyl genus opiorum – fentanyl-type opioids • gubernatio – governance • hebdomada – week • interventus – intervention • Jalisco Nova Generatio – Jalisco New Generation • lex – law • Mexico – Mexico • Mexicopolis – Mexico City • numerus – number • oboedentia – obedience 28 • oppidum – city, town • populus – people, nation • praeses – president • reformatio – reform • res publica – republic • responsio – response • Sheinbaum Pardo – Sheinbaum Pardo • Sinaloa – Sinaloa • turma – group, team • Vasingtonia – Washington Adiectiva: • alienus – foreign • bonus – good • malus – bad • Mexicanus – Mexican • primarius – primary • publicus – public Verba: • accipio – I accept • adiuvo – I help • cogito – I think • conservo – I preserve • est – (he/she/it) is • guberno – I govern • oboedio – I obey • propositum – I propose • sum – I am LEXICON EX “OTTAVIA… ” Nomina: • America – America • bellum – war • bona – goods • Canada – Canada • Canadenses – Canadians 29 • centesima – percent • commercium – trade, commerce • condicio – condition, situation • civitas – state • cura – care, concern • donum – gift • excommunicatio – excommunication, boycott • fama – reputation • filius – son • incrementum – increase • ira – anger • minacia – threat • Ottavia (Ottawa) – Ottawa • Trump – Trump • vectigal – tax, tariff • vindicatio – retaliation Adiectiva: • Americanus – American • bonus – good • commercium – commercial • malus – bad • verus – true • octoginta quinque – eighty-five • viginti quinque – twenty-five Verba: • emeo – I buy • facio – I do, make • habeo – I have • iuvor – I am helped • sum – I am SI NUNTII IN LINGUA LATINA TRADUCTOR ESSE VOLUERIS, QUAESO LITTERAM ELECTRONICAM AD lpesquera@up.edu.mx 30 MITTAS’. If you would like to collaborate as a translator in Nuntii in Lingua Latina, please send an email to lpesquera@up.edu.mx

IN HOC PROGRAMMA’ ‘DE WHEELOCK 6th , Ed. capite tertio, paginis 17-23: de nominibus et adiectivis omnibus casibus ex secunda declinatione, de appositione, et de verborum ordine in oratione vel sententia’ ‘SEQUIMUR’ [QUIA “NUNTII IN LINGUA LATINA” ‘INSTRUMENTUM’ ‘AD LATINUM DISCENDUM ET DOCENDUMQUE’ ‘EST’]. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET GALLICA’ ‘*AUDIS’! CIVITATES FOEDERATAE AMERICAE ET RUSSIA CONTRA EUROPAM ET UCRAINAM. 14 TRANSLATIO A FERNANDA SOLÍS VERSAM EST. ‘*CIVITATES FOEDERATAE AMERICAE ET *RUSSIA ‘COLLOQUIA’ ‘DE UCRANIA’ , ‘SINE KIOVIA NEQUE UNIONE EUROPAEA ‘*INEUNT’ . // ‘*EUROPA PERTURBATA ‘*EST’ ‘QUIA DEFENSIONEM SUAM SINE AMERICA ‘COGITARE’ ‘INDIGET’ . AEGYPTO. TRANSLATIO AB ALISSA SOUZA VERSAM EST. ‘*CAIRUS’ ‘SUUM CONSILIUM’ ‘PRO GAZA’ ‘*PARAT’. // ‘*NATIONES ARABICAE’ ‘SUAS OPTIONES’ ‘IMPROVISO IMPETU’ ‘A DONALDO TRUMP, CIVITATUM FOEDERATAE AMERICAE PRAESIDE,’ ‘CAPTAE’ ‘*PRAEPARANT’. //. ‘*AEGYPTUS’ ‘CONSILIUM’ ‘DE REFICIENDO HOC TERRITORIO PALAESTINENSI’ ‘CUM ARGENTARIA MUNDANA’ ‘*EXCOLIT’. {De Wheelock 6th Ed. Capite 3, Paginis 17-23. In hoc nuntio inveni: ¿Quot nomina et adiectiva in secunda declinatione invenis, quae sunt? ¿1 vel plures appositionem invenis? ¿Verborum ordo in orationes vel sententias adaequatus est? ¿Lexico ex capite 3 invenis?}. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET ITALICA’ ‘*AUDIS’! CIVITAITS VATICANAE STATU. ‘PAPA *FRANCISCUS’ ‘IN VALETUDINARIO’ ‘AD ANALYSES FACENDUM’ ‘*EST’ . // ‘*FRANCISCUS, PAPA ECCLESIAE CATHOLICAE ROMANAE 15 A TERTIO DECIMO DIE MARTIIS MENSE ANNO DOMINI BIS MILLÉSIMO DECIMO TERTIO,’ ‘IN VALETUDINARIO’ ‘*MANET’ [QUIA ‘ANALYSES’ ‘MORBOS MULTIPLICES’ ‘*OSTENDUNT’]. {De Wheelock 6th Ed. Capite 3, Paginis 17-23. In hoc nuntio inveni: ¿Quot nomina et adiectiva in secunda declinatione invenis, quae sunt? ¿1 vel plures appositionem invenis? ¿Verborum ordo in orationes vel sententias adaequatus est? ¿Lexico ex capite 3 invenis?}. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET GERMANICA ‘*AUDIS’! TRANSLATIO AB ALISSA SOUZA VERSAM EST. UCRAINA. BELLATOR SOLITARIUS. // [CUM ‘*RUSSIA’ ‘URAINAM’ ‘*INVADEBAT’], ‘*VLADIMIRUS ZELENS’KYJ, UCRAINAE PRAESES’ ‘BELLUM DOMINATOR’ ET , ‘QUOMODO WINSTON CHURCHILL’ ‘PUTATUS EST’. // ‘ID EST: FORTIS ET FIRMUS’ . // ‘NUNC VERO’ ‘DONALDUS , TRUMP, DENUO CIVITATUM FOEDERATAE AMERICAE PRAESES’ , ‘EUM’ ‘RELIQUIT’. // ‘*ZELENS’KYJ’ ‘IPSE SIT’ ‘IAM *NESCIT’ . {De Wheelock 6th Ed. Capite 3, Paginis 17-23. In hoc nuntio inveni: ¿Quot nomina et adiectiva in secunda declinatione invenis, quae sunt? ¿1 vel 2 appositiones invenis, quae sunt? ¿Verborum ordo in orationes vel sententias adaequatus est? ¿Lexico ex capite 3 invenis?}. 16 IN ORBE TERRARUM. ‘*AGE’, ‘ORBEM TERRARUM’ ‘*DIVIDAMUS’. // ‘FOEDUS’ INTER ‘TRUMP, ITERUM C-F-A PRAESES A DIE VICESIMO MENSE IANUARII HOC ANNO’ , ET ‘PUTIN, ITERUM FOEDERATIONIS RUSSICAE PRAESES A ANNO BIS MILLESIMO DUOCESIMO’ , UCRAINAM AESTUAT ET SOCIA CONCUTIT. // ¿‘INTER EOSNE’ ‘EUROPAE PACEM ET FUTURUM’ ‘*DECIDENT’? {De Wheelock 6th Ed. Capite 3, Paginis 17-23. In hoc nuntio inveni: ¿Nomina et adiectiva in secunda declinatione invenis? ¿2 appositiones invenis, quae sunt? ¿Verborum ordo in orationes vel sententias adaequatus est? ¿Lexico ex capite 3 invenis?}. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET HISPANICA’ ‘*AUDIS’! MEXICO. MEXICOPOLIS. ‘AEROPLANA NON GUBERNATA SPECULATORIAS. // ‘TRUMP *REGIMEN’ ‘SEDIS CENTRALIS EXPLORATORIAE’ ‘AEROPLANA NON GUBERNATA SPECULATORIAS, ID EST , VEL VEHICULUM AERIUM EXPLORANS SINE GUBERNATOR, ’ ‘AD NARCOTICORUM CULINAS IN MEXICO INVENIENDUM’ ‘*UTUNTUR’. {De Wheelock 6th Ed. Capite 3, Paginis 17-23. In hoc nuntio inveni: ¿Quot nomina et adiectiva in secunda declinatione invenis? ¿1 appositiones invenis, quae 17 sunt? ¿Verborum ordo in orationes vel sententias adaequatus est? ¿Lexico ex capite 3 invenis?}. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET RUSSICA’ ‘AUDIS’! TRANSLATIONES A SAID RAYMUNDO DELGADO VERSA SUNT. TRUMP ADVERSUS ZELENSKY. '*TRUMP' 'APROBATIONEM ZELENSKII' 'AD QUATTUOR PARTES EX CENTUM CECIDIT' '*DIXIT'. // 'ESTNE HOC VERUM?' // '*ORATIO DONALD TRUMP' 'ERGA UCRANIAM ET ERGA VOLODYMYR ZELESNKY, UCRAINAE PRAESES,' MAGIS HOSTILIS' '*FIT'. // '*TRUMP, DUX CIVITATIUM FOEDERATAE AMERICAE,' 'DIE DUODEVIGINTI FEBRUARII MENSE' '*ITERAVIT': 'SECUNDUM SUA SENTENTIAM', '*ELECTIONES PRAESIDENCIALES' 'IN UCRANIA IN MOMENTO FUTURO PROXIMO' '*HABENDAE ESSE'. // 'SECUNDUM TRUMP': ('HOC DICERE' '*NON PLACET') '*VALOR APROBATIONIS ZELENSKY' QUTUOR PARTES EX CENTUM TANTUM' '*EST'. {De Wheelock 6th Ed. Capite 3, Paginis 17-23. In hoc nuntio inveni: ¿1 vel plures appositionem invenis? ¿Verborum ordo in orationes vel sententias adaequatus est?}. DENUO TRUMP ADVERSUS ZELENSKY. -"*EGO' 'STATUM' 'VENDERE NON *POSSUM."- // '*ZELENSKY' ['CUR PROPOSITIONEM CIVITATIUM 18 FOEDERATAE AMERICAE' 'DE OPIBUS MINERALIBUS' '*REIECIT']' *EXPLICAVIT'. // ET '*ZELENSKY' 'AD TRUMP', ['*QUI' 'ELECTIONES' 'IN UCRANIA' ' *PETIVIT']' *RESPONDIT'. // -"SI '*ALIQUIS' 'ME MUTARE' 'HOC TEMPORE' '*VULT', TUNC: ['*HOC' '*NON EFFICIET']. // PRAETEREA '*CORRUPTIO INFORMATIONIS' 'DE CASU VALORIS APROBATIONIS' 'A RUSIA' '*PROVENIT'.- // '*ADMINISTRATIO TRUMP' 'SUAM ATTITUDINEM ERGA RUSSIAM' '*LENIVIT'. // 'BELLUM '*NON APELLAT', SED 'CONTENTIONEM'. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET SINENSIS PINYIN’ ‘*AUDIS’! TRANSLATIONES A CASANDRA FREIRE VERSA SUNT. SINIS. ‘DIE QUATTUORDECIM FEBRUARII’ ‘*COLLOQUIUM’ ‘SUCHEI ANNI BIS MILLESIMO VICESIMO QUINTO’ ‘PROMOTIONIS PROGRESSIONIS ET INNOVATIONIS INTELLIGENTIAE ARTIFICIALIS’ ET ‘*COLLOQUIUM’ ‘POTESTATIS NOVAE INDUSTRIALIZATIONIS ARTIFICIALIS INTELLIGENTIAE’ ‘*EVENERANT’ . // ‘IN THEMATE’ ‘*TRACTANDO’ "*INTELLEGENTIA ARTIFICIALIS’ ET ‘BONA *QUALITAS’ ‘NOVUM FUTURUM’ ‘*DUCIT", ‘PLUS QUAM CENTUM’ ‘*EXEMPLA’ ‘[UT ROBOTA HUMANOIDES, [ID EST ROBOTUM CORPUS SIMILIS HOMINI], RATIONES MODERATORUM 19 INTELLIGENTIUM] ET ‘* EXEMPLARIA VIRTUALIUM INTERACTIVORUM’ [CUM MAGNA-SCALAE INTERACTIVA AI, [ ID EST INTELLEGENTIA ARTIFICIALIS]] ‘*REVELATI SUNT’ . {De Wheelock 6th Ed. Capite 2, ¿Nomen ex prima declinatione invenis quod quadruplex apparet?}. SINIS. ‘NOVAE INCLINATIONES, NOVA LOCA, NOVAE POTENTIAE’: ‘NOVI *MERCATUS’ ‘NOVUM VIGOREM OECONOMIAE SINENSIS ‘*DEMONSTRANT’ . // ‘PRIMO VER ‘*FESTO’ , [HOC DECLARANTE MUNDI HEREDITATIS] ‘*IUCUNDIUS EST’ ET ‘*MERCATUS NOVI ANNI’ ‘IN FLUMINE MERIDIANO’ ‘*VIVIDISSIMUM EST’. {De Wheelock 6th Ed. Capite 3, Paginis 17-23. In hoc nuntio inveni: ¿Quot nomina et adiectiva in secunda declinatione invenis, quae sunt? ¿Aliqua appositio invenis, quae est? ¿Verborum ordo in orationes vel sententias adaequatus est? ¿Lexico ex capite 3 invenis?}. LEXICON LEXICON EX “CIVITATES FOEDERATAE AMERICAE ET RUSSIA CONTRA EUROPAM ET UCRAINAM”… Nomina • America – America • Colloquia – Talks, negotiations • Civitates – States • Defensionem – Defense • Europa – Europe 20 • Foederatae – Allied (as a substantive: Allied States) • Kiovia – Kyiv • Russia – Russia • Unione – Union • Ucrania – Ukraine Adiectiva • Perturbata – Disturbed, troubled Verba • Cogito – I think, consider • Indigeo – I need, lack • Ineo – I enter, begin • Sum – I am LEXICON EX “AEGYPTO”… Nomina • Aegyptus – Egypt • Argentaria – Bank • Cairus – Cairo • Civitatum (genitivo plural de Civitas) – States • Consilium – Plan, decision • Foederatae – Allied (as a substantive: Allied States) • Gaza – Gaza • Impetu (ablativo de Impetus) – Attack, momentum • Mundana – World (as an adjective meaning "global") • Nationes – Nations • Optiones – Options, choices • Palaestinensi – Palestinian (adjective) • Praeses – President • Territorium – Territory Adiectiva 21 • Arabicae – Arabic • Captae – Captured, seized • Suas – Their own • Suum – Their own Verba • Excolo – I develop, cultivate • Paro – I prepare • Praeparo – I make ready, prepare LEXICON EX “CIVITAITS VATICANAE STATU”… Nomina • Analyses – Examinations, tests • Ecclesia – Church • Franciscus – Francis • Menses – Month • Morbos (acusativo plural de Morbus) – Diseases • Papa – Pope • Valetudinarium – Hospital Adiectiva • Catholica – Catholic • Multiplices – Multiple • Romana – Roman • Tertius – Third Verba • Maneo – I remain, stay • Ostendo – I show, reveal • Sum – I am LEXICON EX “UCRAINA”… Nomina • Bellator – Warrior • Bellum – War • Civitates – States 22 • Dominator – Ruler, master • Praeses – President • Russia – Russia • Ucraina – Ukraine • Zelens’kyj – Zelensky Adiectiva • Firmus – Strong, firm • Fortis – Brave, courageous • Solitarus – Lonely, solitary Verba • Nescio – I do not know • Sum – I am LEXICON EX “IN ORBE TERRARUM”… Nomina • Foederatio – Federation • Foedus – Treaty, alliance • Futurum – Future • Orbis – World, globe • Pax – Peace • Praeses – President • Russia – Russia • Socia – Ally • Ucraina – Ukraine Adiectiva • Russica – Russian Verba • Aestuo – I am in turmoil, I am agitated • Decido – I decide • Divido – I divide • Concutio – I shake, I disturb LEXICON EX “MEXICO”… Nomina • Aeroplanum – Airplane 23 • Culina – Kitchen (in this context: drug lab) • Mexico – Mexico • Regimen – Government • Sedes – Headquarters, seat • Vehiculum – Vehicle Adiectiva • Centralis – Central • Exploratorius – Exploratory, reconnaissance • Speculatorius – Surveillance, spy Verba • Invenio – I find, discover • Utor – I use (takes the ablative) LEXICON EX “TRUMP ADVERSUS ZELENSKY.”… Nomina • Aprobatio – Approval • Civitates – States • Dux – Leader • Electiones – Elections • Mensis – Month • Oratio – Speech, discourse • Praeses – President • Sententia – Opinion, judgment • Ucraina – Ukraine • Valor – Value Adiectiva • Foederatus – Allied • Futurus – Future • Hostilis – Hostile • Presidentialis – Presidential • Proximus – Near, close Verba • Dico – I say, speak • Fio – I become, happen 24 • Habeo – I have • Itero – I repeat • Placeo – I please, am agreeable • Sum – I am LEXICON EX “DENUO TRUMP ADVERSUS ZELENSKY.” Nomina • Administratio – Administration • Aprobatio – Approval • Bellum – War • Civitas – State • Contencio – Conflict, dispute • Corruptio – Corruption • Electio – Election • Informacio – Information • Minerale – Mineral • Opes – Resources, wealth • Russia – Russia • Status – State, condition • Valor – Value Adiectiva • Foederatus – Allied • Hoc – This • Suus – His, their own Verba • ApeIlo – I call, name • Efficio – I accomplish, achieve • Explico – I explain • Lenio – I soften, alleviate • Possum – I am able, I can • Provenio – I come forth, arise • Reicio – I reject • Respondeo – I reply, answer • Vendo – I sell 25 • Volo – I want, wish LEXICON EX “SINIS” … Nomina • Colloquium – Conference, discussion • Dies – Day • Exemplum – Example • Futurum – Future • Innovatio – Innovation • Intelligentia – Intelligence • Potestas – Power • Progressio – Progress • Promotio – Promotion • Qualitas – Quality • Ratio – System, method • Robotum – Robot • Themata – Theme, subject Adiectiva • Artificialis – Artificial • Humaniformis – Humanoid • Industrialis – Industrial • Interactivus – Interactive • Novus – New Verba • Duceo – I lead • Revelo – I reveal • Tracto – I handle, discuss LEXICON EX “SINIS” … Nomina • Economia – Economy • Flumen – River, stream • Hereditas – Heritage, inheritance • Mercatus – Market 26 • Mundi – World (genitive singular of Mundus) • Potentia – Power, potential • Vigor – Strength, vigor • Ver – Spring (season) Adiectiva • Novus – New • Sinensis – Chinese • Iucundus – Pleasant, enjoyable • Vividissimus – Very vivid, most vivid Verba • Demonstrato – I demonstrate • Vivo – I live SI NUNTII IN LINGUA LATINA TRADUCTOR ESSE VOLUERIS, QUAESO LITTERAM ELECTRONICAM AD lpesquera@up.edu.mx MITTAS’. If you would like to collaborate as a translator in Nuntii in Lingua Latina, please send an email to lpesquera@up.edu.mx

The Daily Quiz - Art and Literature Today's Questions: Question 1: Which author wrote 'The Da Vinci Code'? Question 2: The painting "Olympia" by Édouard Manet is a part of which art movement? Question 3: Which author wrote 'The Adventures of Sherlock Holmes'? Question 4: Which artist painted "Three Musicians" Question 5: Which author wrote 'The Adventure of the Speckled Band'? Question 6: Which book is the 7th book of the Harry Potter series? Question 7: Which author wrote the novel "Northanger Abbey"? Question 8: Which author wrote 'Moby-Dick'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

7/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1871 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

5/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 SIEGE OF PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

6/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 SIEGE OF PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

8/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS  https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

GOOD EVENING: The show begins in Malibu and the Palisades where an atmospheric river...  1870 FRANCO-PRUSSIAN WAR CBS EYE ON THE WORLD WITH JOHN BATCHELOR FIRST HOUR 9:00-9:15 #PACIFICWATCH: Atmospheric river strikes @JCBliss 9:15-9:30 LANCASTER REPORT: Bird flu strikes Jim McTague, former Washington Editor, Barrons @MCTagueJ Author of "Martin and Twyla Boundary Series" 9:30-9:45 SCOTUS: Independent boards cannot be fired without cause Richard Epstein, Civitas 9:45-10:00 DOJ: Civil suit against NY Attorney General and Governor Richard Epstein, Civitas SECOND HOUR 10:00-10:15 #GAZA: What is the Arab plan? Cliff May, FDD 10:15-10:30 #CA: Gavin Newsom bides his time for 2028 Bill Whalen, Hoover 10:30-11:00 SPACEX Rescuing the stranded on ISS Starbase rising Bob Zimmerman, BehindtheBlack.com THIRD HOUR 11:00-12:00 Extended discussion of "Paris in Ruins: Love, War, and the Birth of Impressionism" Sebastian Smee, Author The birth of Impressionism during the "Terrible Year" Focus on Manet, Morisot, and the siege of Paris FOURTH HOUR 12:00-12:15 #GAZA: Free to go Sadanand Dhume, WSJ 12:15-12:30 #ITALY: The rains of Elba Lorenzo Fiori 12:30-12:45 #ISRAEL: Tiered review and necessary arms Bradley Bowman, FDD 12:45-1:00 UKRAINE: Terror attack on Chernobyl Henry Sokolski, NPEC

1/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

2/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

3/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionism

4/8: Paris in Ruins: Love, War, and the Birth of Impressionism Hardcover – September 10, 2024 by  Sebastian Smee  (Author) 1870 PARIS https://www.amazon.com/Paris-Ruins-Love-Birth-Impressionism/dp/1324006951/ref=sr_1_1?dib=eyJ2IjoiMSJ9.0LrrcogTAXmGjiJTXHGqcmh6tG316iU_qBRT5krAjbY8X2w9audnxQy7kzk7OLkh_2lSbQ2ybUZGAqxzqsV7SIXXh__kEnq4cHn6QdDz3Vu5xuCtROqvHYC4bnq-Wd16OQ0xBFKI0YF5Q12M2HxhsXNW0KzxEvl3JkXmjEm-lB835FTP4AOXbZmDkXRwFFwP8JAim1mTpk-tRD1mx2eyRyT4izNxH2zOMi6vWoub4fk.sBKL5PJ8cK_YQQ9SXWo2jUROfRmEzorpra10Qr1m--0&dib_tag=se&qid=1739487181&refinements=p_27%3ASebastian+Smee&s=books&sr=1-1 From the summer of 1870 to the spring of 1871, famously dubbed the “Terrible Year” by Victor Hugo, Paris and its people were besieged, starved, and forced into surrender by Germans―then imperiled again as radical republicans established a breakaway Commune, ultimately crushed by the French Army after bloody street battles and the burning of central Paris. As renowned art critic Sebastian Smee shows, it was against the backdrop of these tumultuous times that the Impressionist movement was born―in response to violence, civil war, and political intrigue. In stirring and exceptionally vivid prose, Smee tells the story of those dramatic days through the eyes of great figures of Impressionism. Édouard Manet, Berthe Morisot, and Edgar Degas were trapped in Paris during the siege and deeply enmeshed in its politics. Others, including Pierre-August Renoir and Frédéric Bazille, joined regiments outside of the capital, while Claude Monet and Camille Pissarro fled the country just in time. In the aftermath, these artists developed a newfound sense of the fragility of life. That feeling for transience―reflected in Impressionism's emphasis on fugitive light, shifting seasons, glimpsed street scenes, and the impermanence of all things―became the movement's great contribution to the history of art. At the heart of it all is a love story; that of Manet, by all accounts the father of Impressionism, and Morisot, the only woman to play a central role in the movement from the start. Smee poignantly depicts their complex relationship, their tangled effect on each other, and their great legacy, while bringing overdue attention to the woman at the heart of Impressionis

GOOD EVENING.  The show begins in Ukraine waiting on more details of the negotiations between Washington and Moscow... 1898 Brussels # CBS EYE ON THE WORLD WITH JOHN BATCHELOR ## FIRST HOUR **9:00-9:30** #UKRAINE: No ceasefire before talks - Anatol Lieven, Quincy Institute **9:30-9:45** #SCALAREPORT: While Europe slept - Chris Riegel CEO, Scala.com @Stratacache **9:45-10:00** #QUANTUM REPORT: Breakthrough at Oxford - Brandon Weichert, Center for National Interest ## SECOND HOUR **10:00-10:15** #PRC: Billionaire Communists - Grant Newsham, "When China Attacks" **10:15-10:30** #CANADA: Off-put by POTUS remarks - Conrad Black, National Post **10:30-11:00** #POTUS: Tax cuts and the discontents - John Cochrane, Hoover ## THIRD HOUR **11:00-12:00** Extended discussion of "Paris in Ruins: Love, War, and the Birth of Impressionism" - Sebastian Smee, Author - Discussion of Impressionism's birth during the Franco-Prussian War - Focus on Manet, Morisot, and other key Impressionists ## FOURTH HOUR **12:00-12:15** #PRC: FENTANYL: Follow the money - Elaine Dezenski, FDD **12:15-12:30** #MRMARKET: DOGE isn't sufficient for the debt - Veronique De Rugy, Mercatus **12:30-12:45** #HOTEL MARS: Endgame SLS - Eric Berger, Ars Technica - David Livingston, SpaceShow.com **12:45-1:00** #HOTEL MARS: Endgame ROSCOSMOS - Eric Berger, Ars Technica - David Livingston, SpaceShow.com

"PREVIEW: PARIS: Art critic Sebastian Smee, author of 'Paris in Ruins,' explores the birth of Impressionism during the Franco-Prussian War and the complex relationship between Édouard Manet and Berthe Morisot. More tonight." 1871 Commune

"PREVIEW: Conversation with art critic Sebastian Smee, author of 'Paris in Ruins,' about Berthe Morisot, the first female Impressionist and muse to the movement's founding artists, including Édouard Manet. More later this week." 1870s, Barthe Morisot by Edqard Manet.

Antonia Caicedo Holguín photographed by Imogen Forte. Antonia Caicedo Holguín (b. 1997 in Colombia) is deeply influenced by her hometown of Cali, Colombia, from the people who inhabit the city to the vibrant salsa music and dance culture of the region. By exploring everyday life, memory, and imagination, Caicedo Holguín chronicles her life, friends, and family. “A key component of my practice is the playfulness of writing narratives. The characters I build hold the charm, depth, and presence of literary protagonists.” Drawing inspiration from contemporary painters like Paula Rego and Lynette Yiadom-Boakye, as well as old masters like Degas and Manet, her work often depicts fleeting moments of intimacy and moments of solitude. Often the subjects of Caicedo Holguín's paintings seem to be in a state of introspection, or lost in reverie. She works with a variety of materials, including oil paint and unconventional materials like coffee grounds, coffee dyes, natural Latin American pigments, and found objects. Caicedo Holguín received her Master of Arts in 2023 from the prestigious Slade School of Fine Art, at University College London in London, England. She has exhibited internationally, and has received the following awards and grants: The Olive Award, in recognition of art process experimentation, The Slade School of Fine Art, UCL, 2023, The Sarabande Foundation, Emerging Artist Fund, 2023, The Chelsea Arts Club Trust MA Materials and Research Award, 2022, and The Elizabeth Greenshields Foundation Grant, 2021. She was a featured guest on the 250th episode of The Art Newspaper's podcast, The Week in Art, hosted by Ben Luke in 2023. She was featured in The Art Newspaper, in an article titled “Art stars of tomorrow? Four of my favourite artists from the Slade School degree show in London” by Dr. Chibundu Onuzo in 2023, and again in 2024 in the article “I commissioned an artist for the first time: here's what it taught me about what it really means to be a ‘collector'.” The artist lives and works in London, England. Antonia Caicedo Holguín, My Friend Hannah Uzor - Portrait in the Studio 2024 Oil and oil pastels on canvas 47 x 43 in (119.38 x 109.22 cm) Antonia Caicedo Holguín, Her Heart Sets the Beat, 2024 Acrylic, oil, and pastels on canvas 67.25 x 66.50 in (170.82 x 168.91 cm) Antonia Caicedo Holguín, Sunkissed 2024, Acrylic and oil on canvas, 47 x 43 in (119.38 x 109.22 cm)

Last weekend, warnings to evacuate were issued to the suburban westside neighborhood of Brentwood, which includes the esteemed Getty Center, home to one of the city's most prized art collections. After more than a week of burning, L.A.'s devastating wildfires, which began on January 7, are still not fully contained, forcing ongoing evacuation orders around the coastal city. It is the worst fire event in L.A.'s history and has taken 24 lives. As part of the Getty Trust, the museum features European paintings, including Van Gogh's Irises, and works by Rembrandt, Monet, Manet, and Peter Paul Rubens. It also houses Greek, Roman, and Etruscan art from the Neolithic to Late Antiquity—some of which is partially held at its second campus, the Getty Villa. Days before the threat of fire reached the museum's main venue over the weekend, the Villa was already grappling with the Palisades blaze, which ended up destroying or damaging around 4,000 structures and spreading over 23,000 acres. As the fires raged around Los Angeles, intensified by strong winds, media imagery circulating online showed brush burning around the Getty Villa in the Palisades. This prompted panic about the security of the collection. The institution, however, has long billed itself as a highly fire-safe institution. Built in 1997, the Getty Center has been described as “a marvel of anti-fire engineering.” Throughout the last week, its team has worked tirelessly to defend the property and has communicated daily about the safety and security of its sites. Unfortunately, many other properties—including thousands of homes, businesses, and smaller cultural institutions—have been destroyed. Many cultural workers, collectors, and gallerists are among those who lost their homes, and artists' homes and studios—including entire bodies of work and archives—have been irretrievably lost. The extent of livelihoods destroyed in Los Angeles is truly heartbreaking. We will link to resources in the show notes where you can find out how to help. We also have a story on our website providing frequent updates on the state of the cultural scene. This week, the J. Paul Getty Trust and a coalition of local and international cultural institutions announced a $12 million emergency relief fund for members of the Los Angeles arts community affected by the wildfires. Katherine E. Fleming, president and CEO of the J. Paul Getty Trust, joins me on The Art Angle to discuss her experience of the wildfires, the Getty's state-of-the-art prevention protocols for its valuable art, and what the fires mean for Los Angeles' cultural scene as it eventually seeks to rebuild.

For the 34th episode of "Reading the Art World," host Megan Fox Kelly speaks with Sebastian Smee, Pulitzer Prize-winning art critic for The Washington Post and author of "Paris in Ruins: Love, War, and the Birth of Impressionism,” published by W. W. Norton.This fascinating conversation explores the violent political upheavals of 1870-71 Paris — the Siege of Paris and the Paris Commune — and how they influenced the Impressionist movement. Smee shares insights into the lives of the artists who survived these dramatic days, including Edgar Degas, Édouard Manet and Berthe Morisot, who were trapped in Paris; Pierre-Auguste Renoir and Frédéric Bazille, who joined regiments outside of the capital; and Claude Monet and Camille Pissarro, who fled the country just in time.Through rigorous research into personal letters and historical documents, Smee illuminates the human context behind familiar masterpieces of light created during this dark period. He offers a fresh perspective on why the Impressionists, with their newfound sense of the fragility of life, turned toward transient subjects of modern life, leisure, fleeting moments and the impermanence of all things in the aftermath of such devastating events.ABOUT THE AUTHOR Sebastian Smee is an art critic for The Washington Post and winner of the 2011 Pulitzer Prize for Criticism. His previous works include "The Art of Rivalry" and books on Mark Bradford and Lucian Freud. He was awarded the Rabkin Prize for art journalism in 2018 and was a MacDowell Fellow in 2021.PURCHASE THE BOOK https://wwnorton.com/books/9781324006954SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

¿Qué le diremos a Jesús el día que termina el año? Lo que cada uno tenga en su corazón, pero no olvidemos ser agradecidos. ¿No eran diez los curados?, preguntó, dolido, el Señor. Hemos recibido un diluvio de gracias, y cada uno tendrá conciencia de ellas. Pero no dejemos de agradecer las Misas y las comuniones que recibimos. Y volver a la consideración del a caducidad del tiempo y de la permanencia del amor.

For our last show of Season 6, it's an ode to winter. A winter of whimsical skaters on frozen London rivers, of Japanese villages buried in snow—a winter that barely exists anymore, if it ever really did. It's the winter of art and literature, where the snow is always pure and plentiful, and beauty and metaphor matter most—a “wintry mix” we can all appreciate. A special announcement: Our first-ever live show will be January 23 at our home museum, the Minneapolis Institute of Art, at 6 p.m. The show is free, but seating is limited and tickets are required. Get tickets online starting December 23 at 9:30 a.m. by going to at artsmia.org, clicking on the tickets tab, and scrolling to The Object LIVE! Presented by Ameriprise Financial. The show will feature live music, quizzes, and a taping of the podcast itself—all about Édouard Manet and his Impressionist friends and frenemies, on his 193rd birthday. More information at https://new.artsmia.org/event/the-object-live-presented-by-ameriprise-financial A standout winter painting (and recent addition to Mia's collection) is this Winter Landscape by the Finnish painter David Johannes Niemelä, from 1909: https://collections.artsmia.org/art/145286/winter-landscape-david-johannes-niemelae If you need a refresher on the Little Ice Age or its art, almost surreal in both its recency and its sights, here's the quick and icy: https://fiveminutehistory.com/20-amazing-winter-paintings-from-the-little-ice-age/

Raffaella Arpiani"Notte di luna con Van Gogh"e altri incontri intimi nella storia dell'arteFeltrinelli Editoreww.feltrinellieditore.itLa bellezza dell'arte ci attira come una calamita. Spesso, però, quando ci accostiamo alle opere cercando di afferrarne il senso, corriamo il rischio di sentirci scoraggiati e inadeguati, nella convinzione di non avere sufficienti strumenti di comprensione. E se invece non fosse necessaria la competenza di uno storico dell'arte per coglierne i messaggi? Se osservando la Venere di Milo, un quadro di Manet, Caravaggio o Van Gogh potessimo imparare non solo qualcosa di loro, ma qualcosa di noi? Se dai dipinti, dalle sculture, dalle storie stesse degli artisti che li hanno creati potessimo apprendere i segreti del complicato mestiere di vivere? A partire da sedici capolavori e dai vissuti dei relativi maestri, Raffaella Arpiani ci coinvolge in un gioco di sguardi che fa emergere lati inesplorati di noi. Svelare dettagli poco noti o significati nascosti di sculture e dipinti, risalire alla loro storia e alla loro origine, apprezzarne tecnica e virtuosismo è fondamentale per provare a decodificarli, ma è soltanto l'inizio. Per rendere l'esperienza estetica viva e attuale, e non mera erudizione, occorre prenderci il tempo per capire i modi in cui i capolavori riescono a parlarci con coraggio delle nostre fragilità e debolezze, della ricerca d'identità o del rapporto conflittuale con il corpo e la nostra immagine. Ci indicano la via per affrontare sfide o compiere scelte importanti. Ci fanno riflettere sui nostri inciampi nelle relazioni e in amore. O, ancora, ci mostrano come confrontarci con le ingiustizie, o come reagire alla paura del giudizio, al peso del senso di colpa o all'incubo del fallimento.Dopo la lettura di questo libro non vorremo più “parlare d'arte”, ma “dialogare con l'arte”, ricambiando lo sguardo delle innumerevoli opere, come fossimo davanti a specchi sparsi nei musei e nelle città di tutto il mondo.Raffaella Arpiani, nata a Parma nel 1971, milanese d'adozione, ha elaborato un originale approccio all'arte, che le deriva dalla sua formazione e dalla sua poliedrica esperienza professionale: la pratica sul campo come artista e curatrice, il lavoro di copywriting nella comunicazione e l'attività di insegnante di storia dell'arte al liceo.Il suo metodo ha dato vita al progetto “Arte essenziale”, pensato per far appassionare tutti alla storia dell'arte e avviato con l'apertura dell'omonimo fortunato canale YouTube, che oggi raccoglie centinaia di lezioni divulgative e milioni di visualizzazioni. Con Feltrinelli ha pubblicato Notte di luna con Van Gogh e altri incontri intimi con la storia dell'arte (2024).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

The Current Keeper of the Museum of Sex Objects, Deborah Sims, joins Eva Oh for a fascinating discussion on women and freedom on the #teakink Podcast. We discover more about the origins of the Museum, WeWork Dominatrix Dungeons, Coven Garden Industrial Spanking, and the museum's objects - including a whip made from Meretrix hair of Roman times. Deborah and Eva chat rage, 'Poor Things', historical patterns of sexual and female liberation and the importance of remembering our history - including cases of forced female circumcision in Notting Hill not that long ago. Watch on YouTube: https://youtube.com/evaoh More on Eva Oh: https://eva-oh.com HIGHLIGHTS: Here are the timestamps for the video episode. On some podcast players you should be able to click the timestamp to jump to that time. (00:00) - Welcome. What is #teakink (00:23) - Meet Deborah Sims, the Keeper of the Museum of Sex Objects (02:15) - The Objects, from Roman times to Today (05:50) - Why the Museum Came About, Untold Stories and Straightjacketed Women (11:10) - The Intersection of Freedom, Desire and Cat Ladies (15:30) - Rage and Forced Female Circumcision in Notting Hill (20:35) - 'Poor Things', Female 'Hysteria' and Roe vs Wade (21:30) - Historical Patterns of Sexual and Female Liberation? (27:10) - The Importance of Remembering History (30:10) - Matriarchal Sex Cults and 18th Century Industrial Spanking (33:40) - Societal Challenges and Hopes for the Museum (37:40) - Coco de Mer and the Ladies of Covent Garden (40:30) - Sexy Soho Walking Tours and the WeWork Dominatrix Dungeon (43:05) - Manet's 'Olympia' (44:45) - The Unpaid Sexual Labour of Marriage vs(?) Sex Work (48:50) - Rethinking Censorship on Social Media, Awareness and Freedom(51:40) - Pain is Pleasure

Dans la nuit du 18 mars 1990, à Boston, deux hommes déguisés en policiers s'introduisent dans le musée Isabella Stewart Gardner à Boston. Ils ligotent et bâillonnent les gardes dans le sous-sol puis dérobent cinq Degas, trois Rembrandt, un Vermeer, un Manet, un Flinck, un gobelet chinois en bronze et un fleuron français en forme d'aigle. Valeur totale du butin : 500 millions de dollars. Les faux policiers viennent de commettre le plus grand vol de l'histoire dans un musée privé.elles ont disparu de la circulation

In Mickalene Thomas' work, Black women are front and center. "We've been supportive characters for far too long," she says. "I would describe my art as radically shifting notions of beauty by claiming space." Her new exhibition of collages, paintings, and photographs is called All About Love. She spoke with Tonya Mosley about how she "draws with scissors," using her mother as a muse, and her reinterpretation of Manet. Also, David Bianculli reviews the new documentary Beatles '64.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

durée : 00:28:58 - Les Pieds sur terre - par : Sonia Kronlund, Elise Andrieu - À Saint-Dizier, l'équipe municipale a transformé tous les panneaux publicitaires en œuvres d'art. À la place des réclames, des reproductions de Cézanne, Van Gogh, Hokusai, Manet, Delacroix, Botticelli… La ville devient un musée à ciel ouvert pour contourner la morosité ambiante. - réalisation : Emmanuel Geoffroy

Viajamos hasta la rica Amberes para hincharnos a choc-visitar las exposiciones que ofrece la ciudad por el 75 aniversario de la muerte del pintor flamenco James Ensor (Ostende, 1860), considerado el gran maestro flamenco moderno, el pintor de las máscaras. ¿Que no conoces ‘L'Intrigue' (La intriga)? Ya estás tardando en ponerte el episodio. En el Real Museo de Bellas Artes hablamos con Isabel Ceballos-Duyck sobre los referentes del arte de Ensor: Miguel Ángel, Rembrandt, Goya, Manet, Van Gogh, Turner… ¡y Élisabeth Vigée-Lebrun, a la que rinde homenaje en uno de sus autorretratos! En la charla con ella encontrarás todas claves para entender su obra en la exposición 'In your wildest dreams. Ensor beyond impressionism', desde los tejados de Ostende y los esqueletos travestis hasta esa mujer comiendo ostras sin compañía que nos encanta. Casi hacemos la croqueta en el FOMU y el MoMu, los museos de Fotografía y Moda respectivamente, con exposiciones que relacionan a Ensor con nuestra amada Cindy Sherman (‘Anti-Fashion') y con el arte del maquillaje a lo largo de los siglos hasta nuestros días (‘Mascarada, maquillaje & Ensor'). El Museo Plantin-Moretus, una de las imprentas más antiguas del mundo, aborda la relación de James Ensor con la obra sobre papel. Y no te extrañe si te encuentras mientras caminas por Amberes con las máscaras y esqueletos salidos de los pinceles de este pintor vedette, como le gusta decir a nuestra guía, porque los escaparates de la ciudad están plagados de ellos (‘Ensor Vitrines').  Entre gofre y gofre belga a Juanra y Bernardo les queda tiempo para ver las obras de Rubens en la catedral de Amberes, las iglesias de Santiago y San Carlos Borromeo, el jardín de la casa de Rubens, cuyo taller estará en obras todavía varios años pero se puede visitar, y te dan algunos consejos a tener en cuenta si visitas Amberes. Este episodio de Arte compacto cuenta con la colaboración de Turismo de Flandes. Encuentra toda la información sobre el Año Ensor en Amberes, que conmemora el 75 aniversario de la muerte del pintor flamenco James Ensor aquí⁠: https://visit.antwerpen.be/es/ensor-en-amberes

Meditaciones preparadas (aunque no exclusivamente) para hacer un retiro espiritual y mejorar en su vida cristiana, de oración y de trato con Dios. A cargo del Padre Ricardo Sada Fernández de México.

The Daily Quiz - Art and Literature Today's Questions: Question 1: The painting "Olympia" by Édouard Manet is a part of which art movement? Question 2: Which author wrote 'Dracula'? Question 3: In which book does 'Mr William Collins' appear? Question 4: Which author wrote 'The Case-Book of Sherlock Holmes'? Question 5: Which book contains the character 'Sebastian Flyte'? Question 6: Which artist painted "The Sleepers" Question 7: In which book does 'Sancho Panza' appear? Question 8: Which author wrote 'Dune novel series'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

For the 31st episode of "Reading the Art World," host Megan Fox Kelly speaks with Diana Seave Greenwald, curator of the exhibition “Manet: A Model Family” at the Isabella Stewart Gardner Museum and editor of the associated catalogue, published by Princeton University Press.The exhibition and book offer a fascinating look at the personal life and family relationships that shaped one of art history's most influential painters. Greenwald, Curator of the Collection at the Isabella Stewart Gardner Museum, reveals how Édouard Manet's complex family dynamics — including his relationship with his mother, his marriage to his brothers' piano teacher, and his role as godfather to her son — influenced his artistic development and provided him with willing models for his groundbreaking works.Through contributions from multiple scholars, the book challenges traditional narratives about the artist, exploring how family support, both emotional and financial, enabled his artistic innovations. This thoughtful conversation coincides with the Gardner Museum's exhibition of the same name, offering listeners insight into how biographical research can deepen our understanding of great artists and their work. Whether you're an art history enthusiast or simply curious about the intersection of family life and artistic creation, this episode provides a fresh perspective on one of modernism's pivotal figures.“Manet: A Model Family” is on view at the Isabella Stewart Gardner Museum through January 20, 2025. Learn more here: https://www.gardnermuseum.org/calendar/manet-model-family.ABOUT DIANA SEAVE GREENWALDDiana Seave Greenwald is an art historian and economic historian. An expert in 19th century American and French art, she is currently William & Lia Poorvu curator of the collection of the Isabella Stewart Gardner Museum in Boston. Prior to joining the Gardner, Diana was an Andrew W. Mellon Postdoctoral Curatorial Fellow at the National Gallery of Art in Washington, D.C., working in the departments of American and British Paintings and Modern Prints and Drawings. She received a D.Phil. in History from the University of Oxford. Before doctoral study, Diana earned an M.Phil. in Economic and Social History from Oxford and a Bachelor's degree in Art History from Columbia University.PURCHASE THE BOOK:https://press.princeton.edu/books/hardcover/9780691260662/manetSUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkellyMusic by Bob Golden

First, your thoughts on Trump's latest comments about Hitler and a former general calling him a fascist. Jared Bowen, GBH executive arts editor, discusses AI operas and Manet at the Isabella Stewart Gardner museum.Michael Curry of the NAACP & Mass League of Community Health Centers discusses the gender gap in health center visits and Biden's last minute push for OTC birth control insurance coverage.Mike Madrid, co-founder of the Lincoln Project, discusses what both political parties get wrong about Latinos, and his book "The Latino Century."We read texts on the fall of Rudy Guiliani.Boston Globe travel writer Christopher Muther discusses the new citizenM hotel and a Land of Oz hidden in the Blue Ridge Mountains.Then, we ask what lengths you would go to retrieve a lost cell phone. 

Robert Longo talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Born in 1953 in Brooklyn, Longo was a key figure in what was called the Pictures generation of artists, which emerged in New York in the late 1970s. After that initial burst of attention he has since met with wide acclaim with his translations of everything from reportage photographs to historic paintings into vast charcoal drawings. By rendering the images in this way, he reinforces the impact of the original sources and yet prompts questions about the meaning and the power structures within and around them. By expanding their scale, he also transforms them. Up close—as we are overwhelmed by the analogue artisanship involved in the drawing—these dramatic images are abstracted. He talks about why he favours the term “collision” over “collage” and reflects on the concern with violence in his work. He discusses being, as he puts it, “an abstract artist working representationally”. He explains the process behind his responses to major works of art by everyone from Jackson Pollock to Rembrandt and Manet, and talks about the influence of Gretchen Bender on his newest Combine pieces. And he details the breadth of inspirations for his 1980s Men in the Cities series, from James Chance, frontman of the Contortions, to Rainer Werner Fassbender's An American Soldier. Plus, he gives insight into studio habits and rituals and answers our usual questions, including, “What is art for?”Robert Longo: Searchers, Thaddaeus Ropac, London, 8 October-20 November; Pace, London, 9 October-9 November; Robert Longo, Albertina Museum, Vienna, until 26 January; Robert Longo: The Acceleration of History, Milwaukee Art Museum, Milwaukee, Wisconsin, US, 25 October-23 February 2025. Hosted on Acast. See acast.com/privacy for more information.

Micaela et moi sommes Gare Saint-Lazare pour une promenade de l'été. Après être montées rue de Rome vers le pont de l'Europe, là où ont été peints deux célèbres tableaux : Le chemin de fer d'Édouard Manet et le Pont de l'Europe de Gustave Caillebotte, nous sommes redescendues par la rue d'Amsterdam en évoquant Zola et Monet, avant d'entrer à nouveau dans la gare. Depuis la dernière rénovation, la gare est devenue un véritable centre commercial. On y trouve de nombreuses boutiques de vêtements, de chaussures, de produits de beauté, de quoi aussi se restaurer avec de la restauration rapide ou un très beau restaurant comme Lazare du chef Éric Frechon. Je rêve de goûter son dessert le Paris-Deauville. Mais, notre programme était plutôt tourné vers les douceurs. Il y a du choix à Saint-Lazare !  www.onethinginafrenchday.com