19th-century French painter
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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
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
Mario Calabresi dialoga con lo storico dell'arte Jacopo Veneziani per indagare il legame tra gentilezza e arte. A partire da un curioso episodio legato a Manet e a un asparago, il racconto si snoda tra storie di artisti noti per la loro delicatezza, attenzione e rispetto verso gli altri. Da Mondrian a Rothko, da Clara Peeters a Chagall e Hopper, emerge un'idea di arte come gesto gentile, spazio di ascolto e possibilità di relazione. Veneziani riflette anche sul ruolo della gentilezza nella divulgazione, come modo di mettersi in dialogo, e non in cattedra, con chi ascolta.
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
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. 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. 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
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. 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. 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. 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. 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. 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
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.
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
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
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.
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
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
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
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.
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.
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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