19th-century French painter
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durée : 00:03:41 - Le Pourquoi du comment : philo - par : Frédéric Worms - Artistes, écrivains et philosophes dialoguent à travers le temps. Dans "Le Musée imaginaire" d'André Malraux montre que Picasso répond à Cézanne, Cézanne à Manet, et Manet à Ingres. L'histoire de la pensée humaine est-elle faite de "conversation" ? - réalisation : Luc-Jean Reynaud
JULIE MANET, THE VALUE OF TRANSIENCE, AND THE AVANT-GARDE Colleague Sebastian Smee. Berthe Morisot's legacy was carried on by her daughter, Julie Manet, to whom Berthe wrote a tender deathbed letter expressing that Julie had provided her solely with happiness. Morisot's work exemplifies the concept of "transience value"—the idea, later articulated by Freud, that the fleeting nature of beauty makes it more precious. Her paintings of adolescents and domestic scenes celebrated the present moment precisely because it was always changing. While the next generation of the avant-garde, such as Van Gogh and Munch, reacted against Impressionism's lack of structure, they built directly upon its liberation of color. Although these newer artists sought more permanence, the Impressionist dedication to capturing fugitive effects proved to have lasting power, validating Morisot's vision of finding profound truth in the ephemeral. NUMBER 8 1925
THE 1874 EXHIBITION AND THE BIRTH OF IMPRESSIONISM Colleague Sebastian Smee. In the spring of 1874, a group of painters including Degas, Monet, Pissarro, and Renoir gathered at the studio of the photographer Nadar to exhibit their work outside the established "Salon" system. This group, organizing themselves as the "Société Anonyme," had grown tired of the Salon's hierarchical preference for large-scale history and religious paintings over landscapes and contemporary life. The movement received its name from a critic who wrote a parody of the exhibition, seizing upon the title of Claude Monet's painting, Impression, Sunrise, to mock the work as unfinished sketches lacking structure or deep meaning. While photography existed, these painters sought to tell the story of their times through a revolutionary style that defied convention. Notably absent from this founding exhibition was Édouard Manet, the group's "blood brother" and inspiration, who still believed success required acceptance within the official Salon. NUMBER 1 1849 MONET
THE ARTISTIC AND ROMANTIC BOND BETWEEN BERTHE MORISOT AND ÉDOUARD MANETColleague Sebastian Smee. Berthe Morisot and her sister Edma were talented painters from a haute bourgeois family who successfully exhibited at the Salon, though society expected them to eventually prioritize marriage over art. In 1869, the unmarried Berthe met Édouard Manet at the Louvre, leading to a complex relationship that resembled a Jane Austen novel. Manet, struck by Berthe's dark, Spanish features, asked her to pose for his painting The Balcony. Although Manet was married to Suzanne—a Dutch pianist he had wed under complicated circumstances involving a hidden son—he and Berthe engaged in a mutual flirtation. Their families became close, attending weekly soirées together, but Manet's marriage remained an impediment to any romantic union with Berthe. Despite the social restrictions requiring chaperones, Manet's influence drove Berthe's artistic development, just as her presence influenced his work. NUMBER 2 1872
POLITICS, WAR, AND THE REPUBLICAN SPIRIT OF THE IMPRESSIONISTS Colleague Sebastian Smee. Édouard Manet was a passionate Republican who loathed the authoritarian rule of Napoleon III, a sentiment rooted in his witnessing the 1848 uprising and his travels to Rio where he saw the horrors of slavery. His political activism influenced the Impressionist circle, who were all Republicans. Manet frequented cafés to discuss politics with figures like Léon Gambetta, a moderate Republican leader navigating the tensions between monarchists and radicals. The group's optimism was tested by the Franco-Prussian War of 1870; following the Emperor's defeat at Sedan, a Republic was declared, but Paris was soon besieged by Prussian troops. The war touched the artists directly: the painter Bazille died in combat, and Alfred Sisley painted landscapes on the banks of the Seine that had recently been bloody battlefields, creating art that contemporaries recognized as scenes of trauma. NUMBER 3
THE DEVASTATION OF BLOODY WEEK AND MORISOT'S RESOLVE Colleague Sebastian Smee. In May 1871, French government forces retook Paris during "Bloody Week," a period of atrocity where summary executions were rampant and the streets "ran red with blood." In response, Communards burned major landmarks, including the Tuileries Palace and the Hôtel de Ville. Manet, though absent during the final violence, created a lithograph depicting the execution of Communards as an indictment of the government's brutality. Berthe Morisot witnessed the destruction firsthand; rather than deterring her, the trauma of the "Terrible Year" strengthened her resolve to become a professional artist, a radical decision for a woman of her class. While many were executed or exiled to New Caledonia, Morisotchanneled the instability of the era into her work, emerging from Manet's shadow to become a distinct and innovative painter in her own right. NUMBER 5 1893
MANET'S FINAL YEARS AND THE POSTHUMOUS HONOR OF MORISOT Colleague Sebastian Smee. Following the war, Manet painted a series of intimate portraits of Berthe Morisot, capturing her erotic restlessness and "black" mourning attire. Since they could not marry, Manet seemingly facilitated her marriage to his brother, Eugène, who became a supportive husband and advocate for her art. While Morisot struggled with melancholy, she defied Édouard's advice to stick to the Salon, instead exhibiting in almost all the independent Impressionist shows. After Édouard died a painful death from syphilis, and Berthe later passed away, her colleagues Renoir, Monet, and Degasorganized a posthumous exhibition in her honor. The depth of their respect was revealed in a passionate argument between Degas and the others over how best to hang her work to ensure the public understood her brilliance. NUMBER 7
Quarto e ultimo appuntamento dalla quinta edizione di InLaguna Film Festival (https://www.inlagunafilmfestival.com/), in compagnia di Jean-François Ravagnan, Léonor Sérraille e Andranic Manet! Con Leo Canali (Casaba Podcast). Grazie a Panorama Venezia per l'ospitalità!Argomenti:00:00 - Jean-François Ravagnan24:25 - Léonor Sérraille e Andranic ManetIl nostro canale Telegram per rimanere sempre aggiornati e comunicare direttamente con noi: https://t.me/SalottoMonogatariSpotify: https://open.spotify.com/show/2QtzE9ur6O1qE3XbuqOix0?si=mAN-0CahRl27M5QyxLg4cwApple Podcasts: https://podcasts.apple.com/it/podcast/salotto-monogatari/id1503331981Google Podcasts: https://www.google.com/podcasts?feed=aHR0cHM6Ly9hbmNob3IuZm0vcy8xNmM1ZjZiNC9wb2RjYXN0L3Jzcw==Logo creato da:Massimo ValentiSigla e post-produzione a cura di:Alessandro Valenti / Simone MalaspinaPer il jingle della sigla si ringraziano:Alessandro Corti e Gianluca NardoPer la gestione dei canali social si ringrazia:Selene Grifò
(PUNTATA IN INGLESE)Nell'ultimo episodio da In Laguna Film Fesitival a Venezia Leo e Marco Grifò di Salotto Monogatari dialogano altri registi di film in concorso. 00:00:00 - Jean-François Ravagnan00:24:15 - Léonor Sérraille & Andranic Manet
Join art advisor Megan Fox Kelly for a special holiday episode featuring her annual selection of art books worth giving—and keeping for yourself.This year's list includes revelatory biographies, major exhibition catalogues, and essential critical writing. From Barnett Newman's political and intellectual life before he became a painter, to Monet's restless vision traced through newly translated letters, these books illuminate artists and movements with fresh insight and rigorous scholarship.For the first time, Megan also recommends three exceptional books for young readers—intelligent introductions to art that never talk down to children. Whether you're looking for David Hockney's guide to pictures, the Met's "What the Artist Saw" series, or a poetic history of the color blue, these are books that teach children (and adults) how to see.To hear in-depth interviews with authors of other outstanding art books, subscribe to "Reading the Art World" on Spotify and Apple Podcasts.SHOW NOTESEpisode Timestamps: [00:00] - Introduction [01:05] - Barnett Newman: Here (https://press.princeton.edu/books/hardcover/9780691249186/barnett-newman)[01:38] - Fail Better: Reckonings with Artists and Critics (https://mitpress.mit.edu/9780262552356/fail-better/)[02:17] - Monet: The Restless Vision (https://www.penguinrandomhouse.com/books/250416/monet-by-jackie-wullschlager/)[02:42] - Man Ray: When Objects Dream (https://store.metmuseum.org/man-ray-when-objects-dream-80060783)[03:24] - Turner and Constable: Art, Life, Landscape (https://yalebooks.co.uk/book/9780300266481/turner-and-constable/)[03:55] - Sargent and Paris (https://yalebooks.yale.edu/book/9781588397959/sargent-and-paris/)[04:32] - Manet and Morisot (https://yalebooks.yale.edu/book/9780300280982/manet-and-morisot/)[05:15] - Dreamworld: Surrealism at 100 (https://yalebooks.yale.edu/book/9780876333082/dreamworld/)[05:55] - Henri Rousseau: A Painter's Secrets (https://yalebooks.yale.edu/book/9780300284355/henri-rousseau/)[06:29] - Robert Longo: The Acceleration of History (https://www.hatjecantz.com/collections/new-books/products/67473-robert-longo-the-acceleration-of-history)[07:08] - A History of Pictures for Children (https://www.abramsbooks.com/product/history-of-pictures-for-children_9781419732119/)[07:50] - What the Artist Saw (Series) (https://store.metmuseum.org/what-the-artist-saw-paul-cezanne-80057949)[08:20] - Blue: A History of the Color (https://www.penguinrandomhouse.com/books/606200/blue-by-nana-ekua-brew-hammond-illustrated-by-daniel-minter/)Music composed by Bob Golden
Dr. Greg Hammer, is a Former Professor at Stanford University School of Medicine, Physician, Best-Selling Author, and Mindfulness Expert.It was a wonderful conversation as he shared stories of his grandmother and her love for art and he declaration about using proper english grammar. Greg shares how he inherited that same consciousness as to being respectful to the english language.A Best Selling Author with an eye on being active and healthy, his recent book is about adults, caregivers, teachers helping teenagers reduce their stress levels by using his meditative technique incorporating Gratitude, Acceptance, Intention and Non judgement in a 3-4 minute daily meditation that anyone can do. He explains and walks us through a short meditation during this conversation.It's important for all of us to have balance in our lives-mental and physical balance and peace.It was a real pleasure speaking and meeting Dr. Greg Hammer.architectInformation about his most recent book: A Mindful Teen: Helping Today's Teenagers Thrive through Gratitude, Acceptance, Intention, and Non judgement Topic: Coping Strategies for Youth this National Suicide Prevention MonthTalk Points: Destigmatization is the key - Suicide is preventable through awareness, education, and accessible resources.The more we discuss mental health in productive ways, the better primed we will be to catch the warning signs before they progress into something serious.Openly discussing mental health encourages youth to initiate those conversations for themselves and ask for help should they need it.Today's teens face stressors that older generations never imaginedSocial media, smartphones, and the internet – and AIAfter-effects of COVID lockdown and isolationThe great political divide, affecting relationships in and outside of familiesIncreasingly competitive college admission and tuitionThe economic pressures their families faceThe Role of Parents and Parenting - Cultivating Compassion, Forgiveness, and EmpathyThe Risks and How to Spot Them*Early Detection can save your child's life - The warning signs that someone is struggling with their mental health can easily be overlooked (especially amongst teenagers).*The most common symptoms of depression and anxiety (i.e. changes in behavior and mood, irritability, changes in sleep habits, changes in eating habits, withdrawing socially) are also commonly associated with the standard growing pains and hormonal shifts of adolescence. So, how do you know the difference?If something feels off with your child, the best thing you can do is ask.Sit down with your child and have a gentle, but honest conversation about your concerns. You may have to speak with them multiple times before they're ready to open up. Trust your instincts and be gently persistent.Consult a Mental Health Professional: There is no shame in asking for help for both teens and adults.Mindfulness at Home - Encouraging children to practice mindfulness daily can help build their mental and emotional resilience and protect their mental health in the short and long term.*Mindfulness can be a great tool to help teens rewire their brains away from the negativity on which they dwell. It can neutralize their tendency to ruminate over the past, often leading to depression, and to overthinking the future, creating fear and anxiety.The GAIN Method - Gratitude, Acceptance, Intention, and Nonjudgment are the pillars of happiness for teens - and for the rest of us.Website:https://amindfulteen.com/Facebook: @GregHammerMD; https://www.facebook.com/greghammermd/Instagram: @greghammermd; https://www.instagram.com/greghammermd/LinkedIn:https://www.linkedin.com/in/greg-hammer-02b20422/ "Should Have Listened To My Mother" is an ongoing conversation about mothers/female role models and the roles they play in our lives. Jackie's guests are open and honest and answer the question, are you who you are today because of, or in spite of, your mother and so much more. You'll be amazed at what the responses are.Gina Kunadian wrote this 5 Star review on Apple Podcast:SHLTMM TESTIMONIAL GINA KUNADIAN JUNE 18, 2024“A Heartfelt and Insightful Exploration of Maternal Love”Jackie Tantillo's “Should Have Listened To My Mother” Podcast is a treasure and it's clear why it's a 2023 People's Choice Podcast Award Nominee. This show delves into the profound impact mother and maternal role models have on our lives through personal stories and reflections.Each episode offers a chance to learn how different individuals have been shaped by their mothers' actions and words. Jackie skillfully guides these conversations, revealing why guests with similar backgrounds have forged different paths.This podcast is a collection of timeless stories that highlight the powerful role of maternal figures in our society. Whether your mother influenced you positively or you thrived despite challenges, this show resonates deeply.I highly recommend “Should Have Listened To My Mother” Podcast for its insightful, heartfelt and enriching content.Gina Kunadian"Should Have Listened To My Mother" would not be possible without the generosity, sincerity and insight from my guests. In 2018/2019, in getting ready to launch my podcast, so many were willing to give their time and share their personal stories of their relationship with their mother, for better or worse and what they learned from that maternal relationship. Some of my guests include Nationally and Internationally recognized authors, Journalists, Columbia University Professors, Health Practitioners, Scientists, Artists, Attorneys, Baritone Singer, Pulitzer Prize Winning Journalist, Activists, Freighter Sea Captain, Film Production Manager, Professor of Writing Montclair State University, Attorney and family advocate @CUNY Law; NYC First Responder/NYC Firefighter, Child and Adult Special Needs Activist, Property Manager, Chefs, Self Help Advocates, therapists and so many more talented and insightful women and men.Jackie has worked in the broadcasting industry for over four decades. She has interviewed many fascinating people including musicians, celebrities, authors, activists, entrepreneurs, politicians and more.A big thank you goes to Ricky Soto, NYC based Graphic Designer, who created the logo for "Should Have Listened To My Mother".Check out the SHLTMM Podcast website for more background information: https://www.jackietantillo.com/Or more demos of what's to come at https://soundcloud.com/jackie-tantilloLink to website and show notes: https://shltmm.simplecast.com/Or Find SHLTMM Website here: https://shltmm.simplecast.com/Listen wherever you find podcasts: https://www.facebook.com/ShouldHaveListenedToMyMotherhttps://www.facebook.com/jackietantilloInstagram:https://www.instagram.com/shouldhavelistenedtomymother/https://www.instagram.com/jackietantillo7/LinkedIn:https://www.linkedin.com/in/jackie-tantillo/YOUTUBE: https://www.youtube.com/@ShouldHaveListenedToMyMother
Paris 1874: The Artistic Revolt Against the Salon and the Birth of Impressionism. Sebastian Smee discusses how on April 15, 1874, an exhibition opened marking the birth of Impressionism. The group, including Monet, Pissarro, Renoir, Sisley, Cézanne, Degas, and Berthe Morisot, set up the show deliberately outside the established Salon. The Impressionists were frustrated by repeated Salon rejections and were in revolt; they wanted to paint contemporary life and fresh landscapes, rejecting the hierarchy and "made-up landscapes." The name Impressionism originated as an insult from a critic, inspired by Monet's painting, Impression, Sunrise. Critics found the paintings unstructured and lacking deep meaning. A crucial figure absent from the exhibition was Édouard Manet, considered the "father of Impressionism," who still believed success required Salon acceptance and saw the Impressionist show as a small, isolated "silo."
Berthe Morisot and Édouard Manet: Art, Affection, and the Struggle Against Bourgeois Expectations. Sebastian Smee discusses how the Impressionists lived amidst the violence of the 1870 Franco-Prussian War. Berthe Morisot came from the wealthy haute bourgeoisie and, along with her sister Edma, became a serious painter, successfully exhibiting at the Salon. However, women of their background were expected to marry and give up painting. Berthe, still unmarried at 29 in 1869, was devoted to her art when she met Édouard Manet at the Louvre. Manet was captivated by Berthe and invited her to pose for The Balcony. Despite precautions, a mutual flirtation developed, though Manet was married to Suzanne, which stood as an impediment.
The Republican Fire: Manet, Gambetta, and the War That Declared a French Republic. Sebastian Smee discusses how Édouard Manet's family wanted him to pursue law or the Navy, but he became a passionate, anti-autocratic Republican inspired by the 1848 uprisings. Manet established himself as an activist painter, creating works protesting Napoleon III's policies. Léon Gambetta became Manet's friend and the leading moderate Republican lawyer. The Franco-Prussian War of 1870 began under Napoleon III, but the French were crushed. When Napoleon III surrendered and went into exile, a Republic was declared in Paris. The victory was bittersweet: Paris was immediately surrounded by Prussian troops, and the entire male population joined the National Guard. However, France was defeated, leading to a humiliating surrender in January 1871. The trauma was reflected subtly in the Impressionists' art.
May 1871: Bloody Week and Morisot's Transformation Into a Professional Artist. Sebastian Smee discusses how the Commune began to fall when French government forces returned to retake the city, resulting in Bloody Week in May 1871. The civil conflict was atrociously violent, with the Communards retreating street by street and systematically burning important Parisian buildings. The atmosphere was toxic, resulting in summary executions on a massive scale. Berthe Morisot and her family witnessed the smoke and were stunned by the devastation upon returning. The traumatic events had a profound effect on Morisot, intensifying her resolve to carve out a career as a professional painter—a radical decision for a woman of her background. In subsequent years, Morisot emerged from Manet's shadow, becoming more radical and innovative in her subject matter. 1870
The Wedding, Manet's Decline, and the Posthumous Fight Over Morisot's Legacy. Sebastian Smee discusses how in the aftermath of the "terrible year," Édouard Manet painted Berthe Morisot several times in a series Smee considers one of the greatest records of intimacy in art history. Manet resolved the situation by setting Berthe up with his brother, Eugène Manet, who proved to be a good husband who supported Berthe's dedication to painting. Despite Édouard advising against it, Berthe joined the first Impressionist exhibition, demonstrating her "incredible audacity and independence." The sad aspect was Édouard Manet's decline: he suffered from syphilis and died in agony after a leg amputation. Following Berthe Morisot's death (she contracted an illness while tending to her sick daughter, Julie), Renoir, Degas, and Monet came together to stage a posthumous exhibition to honor her. The process was volatile because each painter felt a fierce, private relationship with her work. In the 20th century, Morisot was often overlooked by male critics who dismissed her domestic subject matter, though her peers viewed her art as innovative and brilliant.
The Scarcity Value of Time: Impressionism and the Legacy of Julie Manet. Sebastian Smee discusses how Berthe Morisot's life is carried forward by her daughter, Julie Manet, who represents a "perfect representation of Berthe." Before Berthe succumbed to illness, she wrote a tender letter expressing how Julie had "never once not made me happy." Smee links the philosophy of Impressionism to Sigmund Freud's essay "On Transience," arguing that awareness of mortality should make people value the present moment more—a concept called "scarcity value in time." Impressionism is inherently an "art of transience" that captures fugitive effects. Morisot exemplified this philosophy by valuing the present moment's beauty, refusing to apply artificial meanings or permanence. Ironically, revolutionary Impressionism soon became "orthodox," though the next generation reacted against it, believing it lacked structure. Despite criticisms, Impressionism has lasted because audiences recognize the truth in valuing fugitive effects, and its greatest contribution was the liberation of color.
Waldy and Bendy talk about the Louvre robbery, Waldy's wander around Frieze and Bendy's wander around Rome. Bendy has a chat with Christina J. Faraday about her new book The Story of Tudor Art, while Waldy picks a Manet to hang on his wall. See the show notes here - https://zczfilms.com/podcasts/waldy-bendy/season-5-episode-6-robberies-parties-and-nudes/ Watch it on YouTube here - https://youtu.be/Ge4FxF6yi-A
Using artworks by Berthe Morisot, Édouard Manet, Claude Monet, Pierre-Auguste Renoir, and others, The Art of Parisian Chic: Modern Women and Modern Artists in Impressionist Paris (Bloomsbury, 2025) by Dr. Justine De Young explores how women and artists in Impressionist Paris (1855-1885) crafted their public images to exploit and resist stereotypes.French societal expectations and beauty ideals shaped how women were seen and how they chose to present themselves in public – whether on the street, in a photograph, or in a portrait on the walls of the annual Paris Salon. On Paris's broad new boulevards and in its public parks and theaters, women dressed to impress anonymous strangers as well as their friends. They even circulated aspirational photographs of themselves. Looking at a rich array of visual sources – from portraits to modern-life paintings, and from photographs to fashion plates – Dr. De Young reveals how women were seen, how they aspired to be seen, and how they navigated public life in Second Empire and Belle Époque Paris.This book considers how fashionable feminine “types” made famous in books, caricatures, and paintings created a visual lexicon and stylistic guide for women. Men and women alike relied on these types – cocotte (mistress), jeune veuve (young widow), amazone (independent equestrienne), demoiselle de magasin (shopgirl), and Parisienne (chic Parisian woman) – to judge the class, character, morality, and worth of strangers. With a rich set of illustrations from the Impressionist canon and beyond, The Art of Parisian Chic shows how modern women used fashion and these stereotypes to construct and reinvent their identities. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. 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
Using artworks by Berthe Morisot, Édouard Manet, Claude Monet, Pierre-Auguste Renoir, and others, The Art of Parisian Chic: Modern Women and Modern Artists in Impressionist Paris (Bloomsbury, 2025) by Dr. Justine De Young explores how women and artists in Impressionist Paris (1855-1885) crafted their public images to exploit and resist stereotypes.French societal expectations and beauty ideals shaped how women were seen and how they chose to present themselves in public – whether on the street, in a photograph, or in a portrait on the walls of the annual Paris Salon. On Paris's broad new boulevards and in its public parks and theaters, women dressed to impress anonymous strangers as well as their friends. They even circulated aspirational photographs of themselves. Looking at a rich array of visual sources – from portraits to modern-life paintings, and from photographs to fashion plates – Dr. De Young reveals how women were seen, how they aspired to be seen, and how they navigated public life in Second Empire and Belle Époque Paris.This book considers how fashionable feminine “types” made famous in books, caricatures, and paintings created a visual lexicon and stylistic guide for women. Men and women alike relied on these types – cocotte (mistress), jeune veuve (young widow), amazone (independent equestrienne), demoiselle de magasin (shopgirl), and Parisienne (chic Parisian woman) – to judge the class, character, morality, and worth of strangers. With a rich set of illustrations from the Impressionist canon and beyond, The Art of Parisian Chic shows how modern women used fashion and these stereotypes to construct and reinvent their identities. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/gender-studies
Using artworks by Berthe Morisot, Édouard Manet, Claude Monet, Pierre-Auguste Renoir, and others, The Art of Parisian Chic: Modern Women and Modern Artists in Impressionist Paris (Bloomsbury, 2025) by Dr. Justine De Young explores how women and artists in Impressionist Paris (1855-1885) crafted their public images to exploit and resist stereotypes.French societal expectations and beauty ideals shaped how women were seen and how they chose to present themselves in public – whether on the street, in a photograph, or in a portrait on the walls of the annual Paris Salon. On Paris's broad new boulevards and in its public parks and theaters, women dressed to impress anonymous strangers as well as their friends. They even circulated aspirational photographs of themselves. Looking at a rich array of visual sources – from portraits to modern-life paintings, and from photographs to fashion plates – Dr. De Young reveals how women were seen, how they aspired to be seen, and how they navigated public life in Second Empire and Belle Époque Paris.This book considers how fashionable feminine “types” made famous in books, caricatures, and paintings created a visual lexicon and stylistic guide for women. Men and women alike relied on these types – cocotte (mistress), jeune veuve (young widow), amazone (independent equestrienne), demoiselle de magasin (shopgirl), and Parisienne (chic Parisian woman) – to judge the class, character, morality, and worth of strangers. With a rich set of illustrations from the Impressionist canon and beyond, The Art of Parisian Chic shows how modern women used fashion and these stereotypes to construct and reinvent their identities. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art
Using artworks by Berthe Morisot, Édouard Manet, Claude Monet, Pierre-Auguste Renoir, and others, The Art of Parisian Chic: Modern Women and Modern Artists in Impressionist Paris (Bloomsbury, 2025) by Dr. Justine De Young explores how women and artists in Impressionist Paris (1855-1885) crafted their public images to exploit and resist stereotypes.French societal expectations and beauty ideals shaped how women were seen and how they chose to present themselves in public – whether on the street, in a photograph, or in a portrait on the walls of the annual Paris Salon. On Paris's broad new boulevards and in its public parks and theaters, women dressed to impress anonymous strangers as well as their friends. They even circulated aspirational photographs of themselves. Looking at a rich array of visual sources – from portraits to modern-life paintings, and from photographs to fashion plates – Dr. De Young reveals how women were seen, how they aspired to be seen, and how they navigated public life in Second Empire and Belle Époque Paris.This book considers how fashionable feminine “types” made famous in books, caricatures, and paintings created a visual lexicon and stylistic guide for women. Men and women alike relied on these types – cocotte (mistress), jeune veuve (young widow), amazone (independent equestrienne), demoiselle de magasin (shopgirl), and Parisienne (chic Parisian woman) – to judge the class, character, morality, and worth of strangers. With a rich set of illustrations from the Impressionist canon and beyond, The Art of Parisian Chic shows how modern women used fashion and these stereotypes to construct and reinvent their identities. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies
Using artworks by Berthe Morisot, Édouard Manet, Claude Monet, Pierre-Auguste Renoir, and others, The Art of Parisian Chic: Modern Women and Modern Artists in Impressionist Paris (Bloomsbury, 2025) by Dr. Justine De Young explores how women and artists in Impressionist Paris (1855-1885) crafted their public images to exploit and resist stereotypes.French societal expectations and beauty ideals shaped how women were seen and how they chose to present themselves in public – whether on the street, in a photograph, or in a portrait on the walls of the annual Paris Salon. On Paris's broad new boulevards and in its public parks and theaters, women dressed to impress anonymous strangers as well as their friends. They even circulated aspirational photographs of themselves. Looking at a rich array of visual sources – from portraits to modern-life paintings, and from photographs to fashion plates – Dr. De Young reveals how women were seen, how they aspired to be seen, and how they navigated public life in Second Empire and Belle Époque Paris.This book considers how fashionable feminine “types” made famous in books, caricatures, and paintings created a visual lexicon and stylistic guide for women. Men and women alike relied on these types – cocotte (mistress), jeune veuve (young widow), amazone (independent equestrienne), demoiselle de magasin (shopgirl), and Parisienne (chic Parisian woman) – to judge the class, character, morality, and worth of strangers. With a rich set of illustrations from the Impressionist canon and beyond, The Art of Parisian Chic shows how modern women used fashion and these stereotypes to construct and reinvent their identities. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices
Using artworks by Berthe Morisot, Édouard Manet, Claude Monet, Pierre-Auguste Renoir, and others, The Art of Parisian Chic: Modern Women and Modern Artists in Impressionist Paris (Bloomsbury, 2025) by Dr. Justine De Young explores how women and artists in Impressionist Paris (1855-1885) crafted their public images to exploit and resist stereotypes.French societal expectations and beauty ideals shaped how women were seen and how they chose to present themselves in public – whether on the street, in a photograph, or in a portrait on the walls of the annual Paris Salon. On Paris's broad new boulevards and in its public parks and theaters, women dressed to impress anonymous strangers as well as their friends. They even circulated aspirational photographs of themselves. Looking at a rich array of visual sources – from portraits to modern-life paintings, and from photographs to fashion plates – Dr. De Young reveals how women were seen, how they aspired to be seen, and how they navigated public life in Second Empire and Belle Époque Paris.This book considers how fashionable feminine “types” made famous in books, caricatures, and paintings created a visual lexicon and stylistic guide for women. Men and women alike relied on these types – cocotte (mistress), jeune veuve (young widow), amazone (independent equestrienne), demoiselle de magasin (shopgirl), and Parisienne (chic Parisian woman) – to judge the class, character, morality, and worth of strangers. With a rich set of illustrations from the Impressionist canon and beyond, The Art of Parisian Chic shows how modern women used fashion and these stereotypes to construct and reinvent their identities. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies
Using artworks by Berthe Morisot, Édouard Manet, Claude Monet, Pierre-Auguste Renoir, and others, The Art of Parisian Chic: Modern Women and Modern Artists in Impressionist Paris (Bloomsbury, 2025) by Dr. Justine De Young explores how women and artists in Impressionist Paris (1855-1885) crafted their public images to exploit and resist stereotypes.French societal expectations and beauty ideals shaped how women were seen and how they chose to present themselves in public – whether on the street, in a photograph, or in a portrait on the walls of the annual Paris Salon. On Paris's broad new boulevards and in its public parks and theaters, women dressed to impress anonymous strangers as well as their friends. They even circulated aspirational photographs of themselves. Looking at a rich array of visual sources – from portraits to modern-life paintings, and from photographs to fashion plates – Dr. De Young reveals how women were seen, how they aspired to be seen, and how they navigated public life in Second Empire and Belle Époque Paris.This book considers how fashionable feminine “types” made famous in books, caricatures, and paintings created a visual lexicon and stylistic guide for women. Men and women alike relied on these types – cocotte (mistress), jeune veuve (young widow), amazone (independent equestrienne), demoiselle de magasin (shopgirl), and Parisienne (chic Parisian woman) – to judge the class, character, morality, and worth of strangers. With a rich set of illustrations from the Impressionist canon and beyond, The Art of Parisian Chic shows how modern women used fashion and these stereotypes to construct and reinvent their identities. This interview was conducted by Dr. Miranda Melcher whose book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. You can find Miranda's interviews on New Books with Miranda Melcher, wherever you get your podcasts. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/book-of-the-day
American artist Kerry James Marshall is one of the world's most important living painters. Marshall has been making his large-scale, vividly colourful evocations of African-American life for over 40 years. His figurative paintings are rich with symbolism, metaphor and visual references to both social history and his favourite artists from the past. A 1997 painting called Past Times, which evokes works by Seurat and Manet, sold at auction in 2018 for $21m, setting a world record for a work by a living African-American artist. In the autumn of 2025 a retrospective of his paintings opened at London's Royal Academy, his largest exhibition outside of the US.Producer: Edwina Pitman
In this episode of Biographers in Conversation, Pulitzer Prize-winning art critic Sebastian Smee chats with Dr Gabriella Kelly-Davies about his choices while crafting Paris in Ruins: How Love, War and Art Gave Birth to Impressionism. Here's what you'll discover in this episode: How the chaos of war and revolution in 1870s Paris shaped the birth of Impressionism. Why the relationship between Édouard Manet and Berthe Morisot was central to the book and the Impressionist Movement. How Impressionism's quick brushwork and light fixation reflect trauma, urgency and impermanence. Why Smee gives Berthe Morisot equal prominence and reinterprets her legacy in a male-dominated art world. What it means to write empathetic, narrative-driven biography while honouring archival truth. Why art made in crisis can speak across generations and offer hope, resistance and resilience.
All roads lead to Ending E. In our Nier Automata finale we talk about the final endings, Devola and Popola's big hero moment, and prepare to go back to Nier Replicant for one final showdown. Enjoy the show! Become a Normandy FM patron: http://patreon.com/normandyfm Follow us on Bluesky: Normandy FM: @normandyfm Eric: @seamoosi Ken: @shepardcdr
Artiste montante de la scène états-unienne, Mickalene Thomas s'est fait connaître dès les années 1990 pour le regard nouveau et engagé qu'elle porte sur la place des femmes noires dans l'art. Son travail infuse dans les connaissances précises de l'histoire de l'art dont elle réinvente les codes. Pour clore son itinérance internationale, après Los Angeles, Philadelphie et Londres, celle-ci présente jusqu'au 9 novembre son exposition « All About Love » au musée des Abattoirs de Toulouse, dans le sud de la France. Les œuvres et installations de Mickalene Thomas mêlent peinture, photographies, vidéos, et surtout collage. Ses tableaux très colorés représentent les femmes de sa vie : sa mère, ses amies, ses amantes, ainsi que des artistes qu'elle admire. Elle photographie et peint des corps noirs, gros, queers, au regard assuré et à l'érotisme affirmé, manière pour elle de questionner les notions traditionnelles de beauté, de sexualité et de féminité, simplement en donnant à voir sa réalité. Elle représente notamment des femmes en train de se reposer, pour affirmer que les corps noirs ont, eux aussi, droit au repos, aux loisirs et au luxe. « Les systèmes sociaux cherchent à enfermer les femmes noires dans le rôle de servante, estime Mickalene Thomas. On ne nous perçoit pas souvent comme des personnes ayant droit à la joie ou au loisir. Même si nous possédons tout cela, ce n'est pas ce qu'on choisit de mettre en lumière chez nous. Ce qui est mis en avant, au contraire, ce sont nos traumatismes, les services rendus aux patriarches, à l'idéologie de la société blanche. Mon travail s'adresse avant tout aux femmes noires ordinaires qui possèdent toutes ces choses qu'on leur refuse souvent, parce qu'on leur répète qu'elles ne devraient même pas les désirer. Mais pourtant le désir est bien là, comme la sensualité est là, mais aussi l'excellence, la joie, l'amour. Toutes ces choses sont là, profondément ancrées dans leur identité », poursuit-elle. Le déjeuner sur l'herbe d'Édouard Manet revisité Toute l'œuvre de Mickalene Thomas célèbre les femmes noires et leur lutte pour occuper les espaces sociaux et artistiques. Le seul espace où elles n'ont pas à se battre devient alors leur foyer. L'artiste crée de grandes installations immersives inspirées des pièces de son enfance qui deviennent des lieux de reprise du pouvoir, de liberté et de communauté. L'artiste raconte : « Un foyer est avant tout un lieu de joie, de réconfort et de sécurité. L'importance de ce lieu est au cœur de mon travail. En fait, peu importe le chaos du monde extérieur, les épreuves auxquelles on doit faire face dehors. Que ce soit mon père ou ma mère, lorsqu'ils sortaient de la maison, ils affrontaient toutes sortes de discriminations liées à la couleur de leur peau. Alors quand ils rentraient, le foyer redevenait un espace de beauté, d'amour, de grâce même. Un lieu où on comprend les difficultés vécues au quotidien, dès le moment où l'on en passe la porte ». Mickalene Thomas revisite également des tableaux classiques de l'histoire de l'art européen, comme Le déjeuner sur l'herbe d'Édouard Manet dans lequel les femmes apparaissent passives et façonnées par le regard masculin. Elle se les réapproprie en y intégrant des femmes affirmées, incarnant un érotisme puissant et libre. « All About Love » invite à repenser nos imaginaires et à célébrer l'amour sous toutes ses formes. À lire aussi«The Color Line», une réévaluation des artistes africains-américains
C'est une héroïne dont on a longtemps ignoré le nom. Pas de fusil, pas de batailles spectaculaires… juste un carnet, un crayon, et une incroyable détermination. Son nom ? Rose Valland. Grâce à elle, des milliers d'œuvres d'art pillées par les nazis ont pu être sauvées.Le pillage naziPendant l'Occupation, les nazis ne se contentent pas de contrôler la France. Ils pillent ses richesses. Tableaux, sculptures, objets d'art : tout ce que possèdent les musées, les collections privées, et surtout celles des familles juives, est saisi. Ce butin considérable est centralisé au Musée du Jeu de Paume, à Paris, transformé en véritable entrepôt du vol organisé.C'est là que travaille Rose Valland, modeste attachée de conservation. Aux yeux des nazis, c'est une employée sans importance. Mais ils ignorent une chose : Rose comprend l'allemand. Et elle les écoute. Chaque jour, elle note les conversations, les numéros de wagons, les destinations des convois.Une espionne de l'artAvec patience et sang-froid, Rose Valland consigne tout dans ses carnets. Chaque détail compte : l'expédition de tel tableau de Renoir vers Munich, le départ d'un Cézanne pour Berlin, ou la présence de tel dignitaire nazi au Jeu de Paume. Elle risque sa vie à chaque instant. Si les Allemands découvraient qu'elle les espionne, ce serait la déportation, peut-être la mort. Mais Rose tient bon. Pendant quatre années, elle mène une résistance silencieuse, armée seulement de son érudition et de sa mémoire.Après la LibérationQuand Paris est libéré en 1944, ses notes deviennent une arme précieuse. Grâce à elles, les Monuments Men — ce corps spécial créé par les Alliés pour retrouver les œuvres d'art volées — savent où chercher. Des milliers de tableaux, parmi lesquels des chefs-d'œuvre de Léonard de Vinci, Monet, Manet ou Picasso, sont localisés, saisis dans les dépôts nazis et rapatriés en France.Sans ce travail acharné et clandestin, une grande partie de notre patrimoine aurait disparu, engloutie dans les collections privées ou perdue à jamais dans les ruines de la guerre.Une reconnaissance tardiveEt pourtant, Rose Valland reste longtemps dans l'ombre. Après la guerre, elle continue de servir les musées français avec la même modestie. Ce n'est qu'à la fin de sa vie que son rôle est reconnu à sa juste valeur. Elle reçoit la Légion d'honneur, la Médaille de la Résistance, et son nom devient symbole de courage discret.ConclusionRose Valland n'a pas combattu avec des armes, mais elle a lutté avec ce qu'elle avait de plus précieux : sa mémoire et son courage. Alors, la prochaine fois que vous admirerez un tableau impressionniste au musée, souvenez-vous de cette femme discrète qui, seule, a défié l'avidité nazie pour sauver une part essentielle de notre culture. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Long Beach is reporting an uptick in typhus infections this summer. A heat advisory has been issued for Southern California starting Wednesday. LACMA's getting new van Gogh and Manet paintings next year. Plus, more.Support The L.A. Report by donating at LAist.com/join and by visiting https://laist.comVisit www.preppi.com/LAist to receive a FREE Preppi Emergency Kit (with any purchase over $100) and be prepared for the next wildfire, earthquake or emergency!Support the show: https://laist.com
Our website - www.perksofbeingabooklover.com. Instagram - @perksofbeingabookloverpod Facebook - Perks of Being a Book Lover. To send us a message go to our website and click the Contact button. You can find Suzy Krause at her website suzykrause.com/ and on IG at @suzykrause Usually, Christmas in July sales feature new cars or mattresses, but we are giving you a Christmas in July book episode. Our guest this week is Suzy Krause, a Canadian novelist whose book I Think We've Been Here Before is set in the few weeks leading up to the Christmas holiday in a small town in Saskatchewan. This book is cozy but not in a way you would expect because something terrible is about to happen. A cosmic event is going to end the world, and residents have several weeks to prepare. But this apocalyptic story is hopeful and uplifting and makes you feel good. How can you combine the end of the world with Christmas and make it comforting? That's what we asked Suzy because she has written a book that is nothing like I've ever read. It's like a little unexpected gift under the tree. For our book rec section of this episode, we are talking about diaries. And no, we're not going to be reading from our diaries because that would be a snoozefest. We've selected both nonfiction and fictional diaries that allow us to get a sneak peek into a historic event or a situation that we don't know much about. Books Mentioned In this Episode: 1- I Think We've Been Here Before by Suzy Krause 2- We Need To Talk About Kevin by Lionel Shriver 3- A Mother's Reckoning: Living in the Aftermath of Tragedy by Sue Klebold 4- The Lathe of Heaven by Ursula K. Le Guin 5- Space Crone by Ursula K. Le Guin 6- The Millicent Quibb Schook of Etiquette for Young Ladies of Mad Science by Kate McKinnon 7- The Cicada Tree by Robert Gwaltney 8- A Five Star Read Recommended by Fellow Book Lover Lizzy Roth - Dead Water by C.A. Fletcher 9- The Night Diary by Veera Hiranandani 10- These Is My Words: The Diary of Sarah Agnes Prine, 1881-1901 by Nancy Turner 11- This is Going To Hurt: Secret Diaries of a Junior Doctor by Adam Kay 12- The Red Leather Diary: Reclaiming a Life Through the Pages of a Lost Journal by Lilly Koppel 13- Here Comes the Fun: A Year of Making Merry by Ben Aitken 14- The Lost Diaries of Édouard Manet by Maureen Gibbon Media Mentioned: 1- Adolescence (Netflix 2025) 2- We Need To Talk About Kevin (2011) 3- Seeking a Friend for the End of the World (Prime, 2012) 4- Ben Aitken Podcast episode - https://ThePerksofBeingaBookLover.podbean.com/e/s-7-ep-146-a-may-december-friendship-with-guest-ben-aitken-9722/
BURNING CITIES CONTINUED, THEN AND NOW. 5/8: Paris in Ruins: Love, War, and the Birth of Impressionism 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
BURNING CITIES CONTINUED, THEN AND NOW. 7/8: Paris in Ruins: Love, War, and the Birth of Impressionism 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
BURNING CITIES CONTINUED, THEN AND NOW. 8/8: Paris in Ruins: Love, War, and the Birth of Impressionism by Sebastian Smee (Author) 1870 PARIS CLAUDE MONET 1840-1926 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
BURNING CITIES CONTINUED, THEN AND NOW. 6/8: Paris in Ruins: Love, War, and the Birth of Impressionism by Sebastian Smee (Author) 1870 PARIS COMMUNE 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
BURNING CITIES CONTINUED, THEN AND NOW. 2/8: Paris in Ruins: Love, War, and the Birth of Impressionism by Sebastian Smee (Author) 1870 Bucharest 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
BURNING CITIES CONTINUED, THEN AND NOW. 4/8: Paris in Ruins: Love, War, and the Birth of Impressionism by Sebastian Smee (Author) 1870 PARIS PRUSSIAN BOMBARDMENT 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
BURNING CITIES CONTINUED, THEN AND NOW. 3/8: Paris in Ruins: Love, War, and the Birth of Impressionism by Sebastian Smee (Author) 1870 SCHWEINFURT 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
BURNING CITIES CONTINUED, THEN AND NOW. 1/8: Paris in Ruins: Love, War, and the Birth of Impressionism 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
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
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.
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.
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
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
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
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
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
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