Podcasts about manet

Nous avons monté l'escalier : oui, c'était émouvant comme l'a dit Christine Dezaunay dans l'épisode précédent. On se retrouve donc sur le palier, un espace dédié à Edouard Manet. Puis nous entrons dans trois pièces très importantes pour Berthe Morisot : la chambre, la bibliothèque et enfin... l'atelier ! La chambre contient plusieurs reproductions de tableaux et notamment le célèbre "Le berceau", certainement le tableau le plus connu de Berthe Morisot.  Les dispositifs qui permettent de découvrir chacune des pièces sont ingénieux comme ce "canapé qui parle" dans la bibliothèque et dans lequel je me suis assise, vous allez l'entendre. Ce canapé permet d'évoquer la relation amicale entre Berthe Morisot et le poète Stéphane Mallarmé.  Enfin, nous entrons dans l'atelier. Nos hôtes, Chritine Dezaunay et Gaël Diot nous offrent tout leur talent de description devant les nombreux tableaux reproduits. La pièce est unique parce qu'on peut y voir ensemble tous ces tableaux de l'artiste qui sont en réalité répartis dans le monde entier.  Cet épisode présente un intérêt particulier au niveau du français oral, avec un niveau courant mais technique et aussi pour la description de tableaux : en particulier l'autoportrait et Eugène Manet à l'île de Wight.  La lettre qui accompagne cet épisode vous offre les repères culturels nécessaires pour bien profiter de cet épisode, des remarques linguistiques, ainsi que de nombreuses photos. Comme si vous y étiez.  Vous pouvez vous abonner sur www.onethinginafrenchday.com  learn french, spoken french, french stories, paris stories, authentic french, real french, life in paris, berthe morisot, impressionism in french, french museum visit, impressionist painting, french listening practice, B2 french, intermediate french, bougival, french art vocabulary, impressionist woman artist, berthe morisot studio, french podcast culture

La venganza será terrible Alejandro Dolina, Patricio Barton, Gillespi Introducción • 0:01:13 Saludos, recuerdo de la función en La Plata y agradecimiento al público • 0:04:21 Presentación de funciones en Avellaneda, Canning, Rosario, Córdoba y La Trastienda Segmento Inicial • 0:08:20 Las tribulaciones del capitalino que se muda a un pueblo • 0:11:10 Saludo obligatorio y fin del anonimato en la vida pueblerina • 0:13:20 Juicio social por la apariencia y la ropa • 0:14:27 Precauciones con romances, moral local y chismes • 0:18:23 Perros callejeros, siesta sagrada y ritmo lento del pueblo • 0:27:29 Rumores, Don Soilo y conflicto con los recién llegados • 0:35:08 Invitaciones sociales, fútbol local, apodos y pertenencia al pueblo • 0:39:01 Moda de irse a vivir a pueblos como San Antonio de Areco • 0:40:53 Colecta para un bebedero y nueva disputa por la hija de Don Soilo • 0:45:30 Expulsión humorística de los porteños del pueblo • 0:46:53 Lectura de mensajes de oyentes Segmento Dispositivo • 0:55:57 Hábitos extraños de pintores famosos • 0:56:06 Manías cotidianas y alimentación de Picasso • 0:58:23 Excesos y rutinas de Francis Bacon y Toulouse-Lautrec • 1:01:40 Fobias y obsesiones de Cézanne • 1:04:53 Fascinación de Manet por los pies y fabulaciones de Diego Rivera • 1:07:15 "El pintado" ♫ Segmento Humorístico • 1:10:38 Denuncias a falsos psicólogos • 1:12:59 Paquetes de sesiones, teleconsultas y clichés del consultorio • 1:16:40 Herramientas terapéuticas, reemplazos y pseudoespecialistas • 1:20:22 Monoambientes, falta de sala de espera y exposición de intimidades • 1:23:53 Matrículas dudosas, astrología y problemas domésticos del terapeuta • 1:25:18 Lacanianos, palabra plena y sesiones arbitrarias • 1:27:51 Psicólogos agresivos, hartazgo de pacientes y cierre del sketch Sordo Gancé / Manuel Moreira • 1:35:14 Presentación musical • 1:38:29 "(Sittin' On) The Dock of the Bay" ♫ • 1:41:20 "Desafinado" ♫ • 1:44:09 "Tenderly" ♫ • 1:46:55 "El orangután" ♫ (Resumen generado automáticamente con IA, puede contener errores)

In Part 3 of our Merkers Mine series, the clock is ticking. Under the Yalta agreements, the region containing the mine is slated to be handed over to Soviet control. Every gold bar, suitcase of SS loot, and priceless work of art must be moved to the American zone immediately. Enter Lieutenant George Stout, America's premier art conservation expert, and the legendary "Monuments Men." Descending into the pitch-black tunnels, they face an impossible logistical nightmare: safely extracting hundreds of delicate, priceless masterpieces—including works by Rembrandt and Manet. In a detail that reads like pure fiction, the American soldiers frantically wrap these uncrates paintings in thousands of abandoned German army sheepskin coats, garments originally tailored for the Nazis' disastrous 1941 winter invasion of Russia.Meanwhile, the operation to extract 250 tons of gold bullion goes into overdrive. It is a backbreaking, round-the-clock effort to haul thousands of unwieldy bags up a single, shuddering elevator shaft. What follows is a massive, heavily guarded overland transport featuring 10-ton trucks, military police battalions, and continuous P-51 Mustang air cover. But the most valuable discovery of the day might not be the gold itself. Financial expert Colonel Bernard Bernstein uncovers the meticulous internal ledgers of the Reichsbank's precious metals department—the smoking gun that documents exactly whose wealth was stolen, providing crucial evidence that will later be used to prosecute Nazi leaders at the Nuremberg trials.But this story is not just about staggering wealth; it is inextricably linked to unimaginable horror. This episode returns to the devastating aftermath of the Ohrdruf concentration camp liberation, detailing General Eisenhower's uncompromising order to force local German civilians to march through the camp and witness the atrocities committed in their name—an event that ended in the shocking suicide of the town's mayor. Today, the Merkers Mine is an adventure tourist attraction with laser light shows, but as we conclude this chapter, we are reminded that much of the Nazi wealth disappeared into the shadows, and the final accounting has never truly been settled. Listen in as we trace the treasure out of the darkness and prepare for the finale of this World War II prelude.

And we're back! ETRSOP is jumping back onto your feeds with a monthly series on the University Masters in the Kingkiller Chronicle. First up is Master Artificer, Kilvin! Interesting facts in this episode: Some favorite Kilvin sayings, sygaldry and artificery, ever-burning lamps, and mysteries. I bring up Manet, Basil, and Jaxim here because they're also Artificing students!I'm working on some new editing tools and just got a new microphone to try and clean up production :) Thank you for hanging with me!You can find more updates at https://ko-fi.com/etrsop or give me a holler at etrsop@gmail.com. Happy listening!

durée : 00:28:46 - Les Pieds sur terre - par : Sonia Kronlund - À Saint-Dizier, l'équipe municipale a transformé tous les panneaux publicitaires en œuvres d'art. À la place des réclames, des reproductions de Cézanne, Van Gogh, Hokusai, Manet, Delacroix, Botticelli… La ville devient un musée à ciel ouvert pour contourner la morosité ambiante. - réalisation : Élise Andrieu, Emmanuel Geoffroy, Victor Kandelaft, Mélissa Foust Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

durée : 00:28:46 - Les Pieds sur terre - par : Sonia Kronlund - À Saint-Dizier, l'équipe municipale a transformé tous les panneaux publicitaires en œuvres d'art. À la place des réclames, des reproductions de Cézanne, Van Gogh, Hokusai, Manet, Delacroix, Botticelli… La ville devient un musée à ciel ouvert pour contourner la morosité ambiante. - réalisation : Élise Andrieu, Emmanuel Geoffroy, Victor Kandelaft, Mélissa Foust Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

Crear un vínculo sano, eso es el desapego. Que nos importen nuestra pareja, nuestra familia, nuestro trabajo, nuestra forma de vida.... pero que nuestra felicidad no dependa exclusivamente de ellos, para que cuando falten, no nos hundamos. Esta lección, difícil de aprender y practicar, es la que nos propone interiorizar Pablo Ortiz de Zárate, el Artesano, gracias al arte. Con obras de Manet, Rafael, Goya, Hopper o Banksy, veremos a simple vista cómo de necesario es el desapego.

Episode No. 756 features author Victoria Johnson and curator Emily A. Beeny. Johnson is the author of "Glorious Country: How the Artist Frederic Church Brought the World to America and America to the World," the first major biography of the most important and influential painter in the US nineteenth century. The book will be published by Scribner next week. Johnson's book tells the story of Church's life, and especially his travels even as she explains how Church's work engaged with the scientific and political worlds of his time. It is likely to be the authoritative source on Church's life for decades to come. Amazon and Bookshop offer it for about $35. Beeny is the curator of "Manet & Morisot," an exploration of the artistic exchange between Édouard Manet and Berthe Morisot, now at the Cleveland Museum of Art. The show particularly focuses on the 15 years between 1868 and 1883, when Manet and Morisot shared perhaps the closest relationship of any two impressionists. It's on view in Cleveland through July 5. A fine catalogue was published by the Fine Arts Museums of San Francisco in association with Yale University Press. Amazon and Bookshop offer it for $57-70. Instagram: Victoria Johnson, Tyler Green.

Linux Profiling with Mohammed Billoo We sit down with Mohammed Billoo, founder of Mab Labs and author of the Embedded Linux Essentials Handbook, to explore the world of embedded Linux profiling and optimization. Mohammed shares hard-won lessons from the field, including debugging a scientific instrument that mysteriously crashed after 60-minute runs and optimizing a sophisticated MANET platform that took a 20% throughput hit. The conversation reveals a fundamental truth: in embedded Linux, the CPU is rarely the bottleneck. Mohammed walks us through his systematic approach to performance problems, starting with simple tools like HTOP before diving into specialized instrumentation. We discuss the critical difference between VM size and VM RSS for memory analysis, why dumping console output can kill boot times, and how to leverage kernel configurations for maximum diagnostic bang-for-buck. Mohammed emphasizes the importance of building instrumentation into systems from day one—not for premature optimization, but to give your future self the data needed when problems inevitably surface. The discussion also touches on how LLMs can accelerate the learning curve for complex tools like Valgrind and perf, while stressing that physical reality remains the ultimate arbiter of system performance. Key Topics [03:15] The surface area problem: why embedded Linux profiling requires a tool chest, not just a toolbox [06:30] Case study: debugging a scientific instrument that crashed after 60-minute runs [08:45] VM size vs. VM RSS: understanding the critical difference in memory analysis [14:20] Why the CPU is rarely the bottleneck: coprocessors, DMA, and crypto engines [18:50] Essential kernel configurations: function tracer, perf, and config kallsyms [24:10] File system bottlenecks: moving from CSV files to SQLite for data integrity [28:40] Boot time optimization: why console output is one of the biggest time sinks [32:15] Premature optimization vs. smart instrumentation: building in diagnostic capability from day one [38:25] Leveraging LLMs for visualization and analysis of perf data and Valgrind output [43:50] The first five commands: starting with HTOP and working down to specialized tools Notable Quotes "When you first get started, you have generally this arrogance that like, oh, it works fine. I've tested it. It's good to go. But then as you get more experience, as you become a more senior-level engineer, that arrogance, you start to kind of strip away a lot of that arrogance. You get humbled pretty quickly." — Mohammed Billoo "The CPU is very rarely the bottleneck because it's meant to, and the drivers are implemented in Linux in such a way that they're intelligent enough that they can hand off a lot of the things of the CPU to coprocessors so that the CPU is really idle." — Mohammed Billoo "I don't convince myself of a claim that I'm making until I have data to back it up. So I don't say, oh, you know, this is working fine. Like, well, again, what does fine mean? Or, you know, what does well mean? And what is the data to prove that?" — Mohammed Billoo Resources Mentioned HTOP - Interactive process viewer for Linux - Mohammed's first tool for getting a high-level view of system performance perf - Linux profiling tool with performance counters - requires kernel configuration to enable LTTng - Linux Trace Toolkit Next Generation - provides visibility across both user space and kernel space Valgrind - Memory debugging and profiling tool for detecting memory leaks iperf - Network throughput measurement tool with server and client components GStreamer - Multimedia framework with built-in tools for per-frame timestamp analysis Tracealyzer - Visualization tool for LTTng and other performance data SQLite - Embedded database recommended for data integrity over CSV files in embedded systems Embedded Linux Essentials Handbook - Mohammed Billoo's book published by Packt Mab Labs - Mohammed Billoo's embedded solutions consultancy with blog on embedded Linux topics You can find Jeff at https://jeffgable.com.You can find Luca at https://luca.engineer.Want to join the agile Embedded Slack? Click hereAre you looking for embedded-focused trainings? Head to https://agileembedded.academy/Ryan Torvik and Luca have started the Embedded AI podcast, check it out at https://embeddedaipodcast.com/

Edouard Manet gilt als Wegbereiter der modernen Malerei, ist heute eine Ikone der französischen Kunst. Aber er kämpfte lange und lange vergeblich gegen bürgerliche Kunstkonventionen.

In questa corsa verso il futuro, le città si trasformano: sorgono le stazioni, vere "cattedrali della modernità" che sostituiscono gli antichi luoghi del sacro per celebrare la nuova fede nel progresso. Monumenti di ferro e vetro, come St. Pancras o la Gare du Nord, nascondono sotto involucri neoclassici o neogotici la potenza bruta delle macchine, mentre l'arte si spacca di fronte a tanta irruenza. Se Turner e Monet trovano nel vapore una nuova, sublime dignità estetica, altri vi leggono una ferita inferta all'integrità del paesaggio: è il taglio ferroviario di Cézanne che squarcia la collina, è il fumo scuro di De Nittis che sporca la quiete dei campi, è l'isolamento claustrofobico che Manet intravede dietro un'inferriata di ferro.Ma il simbolo del treno, in questa nostra indagine, rivela infine il suo volto più inquietante e ambiguo. Dalla fascinazione futurista per il "cuore d'acciaio che batte", si scivola rapidamente verso il senso dell'addio e dell'alienazione. Il convoglio diventa il luogo degli strappi dolorosi cantati da Verga o l'altare sacrificale su cui si consuma il destino di Anna Karenina, trasformando il binario nell'unico approdo possibile per un'anima spezzata. Finiremo così per ritrovarci in un vagone di terza classe con Daumier o intrappolati nell'affanno kafkiano delle coincidenze, scoprendo che quel fischio che un tempo prometteva libertà può trasformarsi nel lugubre rintocco di un'umanità prigioniera della propria stessa velocità. Vi aspetto per esplorare insieme questo secolo in corsa, sospeso tra il vapore del sogno e il fragore del ferro...

Kiedy Édouard Manet w 1863 roku wystawił obraz "Śniadanie na trawie" zapewne nie przypuszczał, że stworzył dzieło przełomowe. Nie tylko podzielił publiczność i krytyków, ale przede wszystkim dał impuls młodemu pokoleniu malarzy do łamania utartych schematów i podążania artystyczną ścieżką z dala od Akademii.Opowiadam o tym- jakie były początki twórczości Maneta- czym były Salony- jak doszło do powołania Salonu Odrzuconych- i oczywiście o tym co możemy wyczytać z enigmatycznej kompozycji "Śniadania na trawie".W maju 2026 w środy będę opowiadała o sztuce XIX wieku w cyklu „Czym były artystyczne rewolucje w XIX wieku” w ramach „Podróży przez Sztukę” dla Fundacji Art Transfer.Karnet możecie zakupić tutaj: https://app.evently.pl/events/13405-sezon-6-czym-byly-artystyczne-rewolucje-w-xix-wieku ....Dziękuję Patronkom i Patronom za to, że umożliwiacie mi tworzenie „Otuliny o sztuce” i wspieracie moją pracę!Możesz dołączyć do tego grona https://patronite.pl/otulina_o_sztuce Znajdź mnie na Facebooku: ⁠https://www.facebook.com/otulinablogpl⁠ lub na Instagramie: ⁠https://www.instagram.com/otulina_o_sztuce⁠

Aller voir une exposition dans un musée est une activité souvent réservée aux voyages à l'étranger ou aux occasions exceptionnelles. Pourquoi n'y allons-nous pas plus souvent, et quels sont les avantages de cette activité culturelle ? Nous vous parlons aussi de quelques tableaux et musées parisiens célèbres ! Interactive Transcript and Vocab Helper Support Easy French and get interactive transcripts, live vocabulary and bonus content for all our episodes: easyfrench.fm/membership Show Notes Sign up for free and book your first italki class: https://go.italki.com/french5 With the code FRENCH5, you'll get a €5 discount on your first class!

Hurvin Anderson talks to Ben Luke about his influences—from writers to musicians, and, of course, other artists—and the cultural experiences that have shaped his life and work. Anderson was born in Birmingham, UK, in 1965, the youngest of eight siblings, the rest of whom were born in Jamaica. His paintings are a poetic response to place, teeming with personal and cultural resonance. He transforms photographs from his own archive as well as found images into atmospheric worlds of paint, in which details of motifs, including figures, objects, interiors and landscapes pull in and out of focus, suggesting the texture of memory. Much of his work evokes scenes and spaces in Britain, where he was born, but also imagery of Jamaica, from where his parents emigrated to the UK, and the Caribbean more widely. He has stated that his paintings often relate to a feeling of—quote—“being in one place while thinking of another”. They are a profoundly subjective response to diasporic lived experience and a sustained and lyrical engagement with paint as simultaneously a tool of representation and of veiling or disturbance. He discusses for the first time his latest paintings for the survey of his work at Tate Britain, he reflects on how he uses photography in his work and his shift to working with what he calls a “second unit” in recent works. He recalls the early influence of Michael Andrews and Richard Diebenkorn, his enduring fascination with the art of Édouard Manet and Diego Velázquez, and how he responded to the Jamaican artist Carl Abrahams in his painting Passenger Opportunity (2024-25). Plus, he gives insight into his life in the studio and answers our usual questions, including the ultimate: what is art for?Hurvin Anderson, Tate Britain, until 23 August 2026. Hosted on Acast. See acast.com/privacy for more information.

Lithografien, Radierungen und Zeichnungen der französischen Kunst-Avantgarde zwischen 1850 bis 1920: Die Ausstellung zeigt den Alltag einer beginnenden Moderne in allen Facetten – Vergnügungen, Luxus und bittere Armut.

Aujourd'hui, je vais vous parler des asperges de Manet  Crédit image : Domaine publicTexte : Sonia Zannad Voix : Odile Dussaucy Production, réalisation : MesSortiesCulture  Le texte de cet épisode, avec son visuel est sur TartinesDeCulture, ici.Abonnez-vous à nos podcasts, ici.   A bientôt pour un nouvel épisode!   Retrouvez nos #mardidevinette et #enigmeduvendredi sur Facebook et Instagram. Trouvez vos visites guidées sur MesSortiesCulture. Nourrissez votre curiosité avec TartinesDeCulture. Enchantez vos collaborateurs et vos clients avec MSCulture. Recevez votre Newsletter personnalisée.  Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

The Daily Quiz - Art and Literature Today's Questions: Question 1: In "The Canterbury Tales", at which tavern do the story tellers assemble? Question 2: Which artist produced a lobster telephone? Question 3: What is the second part of the title of the Sophocles play about the king of Thebes? Question 4: What is a method of producing images or letters by painting over holes cut in a covering surface? Question 5: Which book contains the character 'Jim Dixon'? Question 6: Which author wrote 'The Sign of the Four'? Question 7: The painting "Olympia" by Édouard Manet is a part of which art movement? Question 8: Which author wrote 'Anna Karenina'? Question 9: Which book contains the character 'Phoebe Caulfield'? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Hello! Keeley takes us down lots of fragrant and delicious rabbit holes all about the violet. This small but mighty flower has deep roots in the floristry world, as well as being the OG red rose (it'll make sense once you listen!) And yes, this gave Keeley another opportunity to complain about roses.We take a trip down memory lane with films and books, take a quick stop at the Tate to admire some art and look up recipes for violet pudding.Books* The Hedgerow Apothecary by Christine Iverson* Folklore and Symbolism of Flowers, Plants, and Trees by Ernst and Johanna Lehner* Floriography by Jessica Roux* Discovering the Folklore of Plants by Margaret Baker* Flowers and Their Meanings by Karen AzoulayArtwork* Lady with a Bowl of Violets by Lila Cabot Perry (1910) at the National Museum of Women in the Arts* A Bouquet of Violets by Édouard Manet (1872)* Ophelia by John Everett Millais (1851-52) at the TateHead to our Instagram for visuals.Also mentioned* Betty May @bettymaywrote - features the character Violet the mouse in the Wildwood series* The article by Felicity Hall from historyworkshop.org.uk about flower girlsFlowers & Folklore on InstagramWe'd love to hear from you! Have your own floral stories or lore about violets? We're accepting reader submissions, so if you have a flower story, (about any flower) please share it with us! Comment below or email us at flowersandfolklorepodcast@gmail.comEnjoy the episode!Sarah & KeeleyFind Sarah online: Instagram | Substack | PinterestFind Keeley online: Instagram | SubstackMore info and transcript on Flowers & Folklore you must access this via your desktop and not your phone.P.S. Leave us a voice note! Get full access to Flowers & Folklore at flowersandfolklore.substack.com/subscribe

durée : 00:59:09 - Allons-y voir ! - par : Patrick Boucheron - En 1880, au crépuscule de sa vie, Édouard Manet signe deux tableaux représentant des asperges. Insignifiantes à première vue, elles fascinèrent pourtant Georges Bataille et tant d'autres. D'où ces natures mortes tirent elles la puissance de leur présence ? De quelle modernité sont-elles le fruit ? - réalisation : Laurence Millet - invités : Paul Audi Philosophe; Stéphane Guégan Historien, critique d'art, Conseiller scientifique auprès de la Présidence du musée d'Orsay et du musée de l'Orangerie.; Eleonore Challine Historienne, maître de conférence en histoire de la photographie à l'université Paris 1 Panthéon-Sorbonne; Mathieu Potte-Bonneville Philosophe et directeur du département Culture et création du Centre Pompidou

¡50 años del estreno de Rocky! La película que catapultó a Sylvester Stallone a la fama. Y les platico de cuando Édouard Manet decidió pintar el fusilamiento de Maximiliano, de la triste historia de Juventino Rosas, el Templo de San Andrés y del nigromante Botello que predijo cosas en la Batalla de la Noche Triste. Hosted by Simplecast, an AdsWizz company. See https://pcm.adswizz.com for information about our collection and use of personal data for advertising.

This week we're breaking down Branch Wars. When Karen tries to poach Stanley to come work for the Dunder Mifflin Utica branch, Michael, Dwight and Jim, against his will, slap on some fakey ‘staches and go to Utica to prank Karen. Meanwhile back at the office, it's the Finer Things Club! Adam Jamal Craig (NCIS: Los Angeles) sends in clips to share his experience of playing Rolando, the Utica receptionist. The ladies share their love of looking at strangers' wedding photos, Angela does a deep dive on Manet painting Monet and Jenna shares having a Finer Things Club reunion lunch where unlike the episode, Ed Helms was allowed to join. So put on your berets, don't pop popcorn and enjoy this episode!  Office Ladies Website - Submit a fan question: https://officeladies.com/submitaquestion  Follow Us on Instagram: OfficeLadiesPod Follow Us on YouTube Follow Us on TikTok To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

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

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

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

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

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

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

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

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.

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.

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 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.

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.

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."

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

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

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.

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.  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.  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.  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.  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.  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.  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