Podcasts about manet

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

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

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

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

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

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

Viaxamos ao París da 2ª metade do s. XIX, para descubrir algo máis sobre a Historia da Arte Contemporánea, seguindo a guia das obras seleccionadas polo grupo de Historia de Arte da CIUG para as probas PAU.Obra: O almorzo campestre, de Édouard Manet.Serie: Historia da Arte Contemporánea, Historia da Arte, 2º de Bacharelato. Músicas da sintonía (Creative Commons Attribution 3.0): District Four, de Kevin MacLeod (https://incompetech.com), Temptation March, de Jason Shaw (http://audionatix.com).Música: Preludio á sesta dun fauno, de Claude Debussy. CC BY-NC.4.0.Este pódcast está baixo a licencia CC BY-NC 4.0.Máis recursos en: facemoshistoria.gal

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

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

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

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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

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

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

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.

In der 49. Folge der KUNSTPAUSE sprechen Felix von Boehm und Charlotte Paulus mit Isabelle Graw – Kunstkritikerin, Kunsthistorikerin, Publizistin, Kuratorin und seit 2002 Professorin für Kunsttheorie an der Städelschule in Frankfurt am Main. Im Fokus steht diesmal Édouard Manets Gemälde „Im Wintergarten“ (1877), entstanden im Wintergarten des Malers Jan Rosen in Paris. Es zeigt das Ehepaar Guillemet in einer subtil spannungsvollen Szene: Ihre Hände, der Fokus des Werks, bleiben unberührt, während die Figuren trotz räumlicher Nähe isoliert wirken.

Le narcotrafic menace-t-il la mondialisation ? Pourquoi et comment la mondialisation, notamment dans sa dimension maritime, est-elle opportunité pour le narcotrafic ? Est-il possible de faire une cartographie des flux de drogues ? Et que nous apprend cette cartographie ? L'État se trouve-t-il disqualifié par l'essor du trafic de drogues ? Planisphère est une émission de RND et RCF, produite par Pierre Verluise, reprise sur Diploweb.com avec en bonus une synthèse rédigée https://www.diploweb.com/Planisphere-Le-narcotrafic-menace-t-il-la-mondialisation-Avec-F-Manet.html Enregistrement le 23/09/24

*Sigla di Andrea Marchi* ⁠⁠https://www.instagram.com/andrea_marchi_aka_marchiza/⁠Nel buio della notte, il nero è sempre stato più di un colore: assenza di luce, simbolo di mistero e potenza. Da millenni oggetto di dibattiti, ha attraversato epoche e culture, passando dall'essere il colore della fertilità nell'Antico Egitto a segno di lutto nella Roma imperiale. Rinnegato dalla scienza dopo Newton, è tornato protagonista nella moda e nell'arte, da Manet a Chanel. Dalla Rivoluzione Industriale al Vantablack, il nero ha subito trasformazioni straordinarie. Ma è davvero solo assenza di colore o ha una sua identità?Bibliografia e approfondimenti: -Michael Pastoureau, Nero, storia di un colore, trad. Guido Calza, Ponte alle Grazie-Philip Ball, Colore, una biografia, trad. Lorenza Lanza e Patrizia Vicentini, BUR Rizzoli, 2001 -Riley, Charles A., Color Codes: Modern Theories of Color in Philosophy, Painting and Architecture, Literature, Music, and Psychology. Hanover, New Hampshire: University Press of New England. -James Fox, Il mondo dei colori, trad. Federica Pe', Bollati Borgheri, 2023 -Riccardo Falcinelli, Cromorama, Einaudi, 2017 -Adriano Zecchina, Alchimie nell'arte, Zanichelli, 2012 -Kelly Grovier, L'arte del colore, 24ore cultura, 2023 Social: Eva: ⁠⁠https://www.instagram.com/chimica_in_pillole/⁠⁠Daniela: ⁠⁠https://www.instagram.com/lastoriaperted/

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[✐1.Adagio, 2.Andante]N1はN2より〜。N1のほうが〜。“Sky Tree is higher (than Tokyo Tower).”[00:08]Hello everyone.Which is bigger, or smaller, a lion or a cat?Repeat after me[00:17]1.  Lions are bigger.2.  Lions are bigger than cats.3.  Cats are smaller.4.  Cats are smaller than lions.[01:04]So far so good, right?[01:08]Now, let's answer as follows.For example,[01:08]Which do you like better, sushi or sashimi?Sashimi→I prefer Sashimi.Note: ”no hou” can be omitted = ”Sashimi ga suki desu.”Ready?[01:24]1.  Which do you like better, coffee or Japanese tea?coffee→ I prefer coffee.2.  Which do you like better, baseball or football?football→ I prefer football(soccer).3.  Which do you like better, red wine or white wine?Red wine→I prefer a red wine.[02:28]4.  Which is better for your next trip, the sea or the mountain?the sea→ The sea is better (I prefer sea).5.  Which is higher, Tokyo Tower or Sky Tree?Sky Tree→ Sky Tree is higher.[03:13]In fact, Sky Tree is the tallest tower in the world.[03:23]Now, let's practice how to ask questions.For example,[03:28]Monet and Manet, which, like→ Which do you like better, Monet or Manet?[03:37]“dochira” can be replaced by “docchi”.Ready?=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=「スカイツリーのほうが (とうきょうタワーより) たかいです。」[00:08]みなさん、こんにちは。ライオンとねこと、どちらがおおきいですか、ちいさいですか。Repeat after me[00:17]1.  ライオンのほうが おおきいです。2.  ライオンは ねこより おおきいです。3.  ねこのほうが ちいさいです。4.  ねこは ライオンより ちいさいです。[01:04]ここまでOKですね。[01:08]では、つぎのようにこたえましょう。たとえば、[01:08]すしとさしみと、どちらがすきですか。さしみ→ さしみのほうがすきです。Note: ”のほう” can be omitted =｢さしみがすきです。｣いいですか。[01:24]1.  コーヒーと にほんちゃと どちらがいいですか。コーヒー→ コーヒーのほうがいいです。2.  やきゅうと サッカーと どちらが すきですか。サッカー→サッカーのほうがすきです。3.  あかワインとしろワインと、どちらがすきですか。あかワイン→あかワインのほうがすきです。[02:28]4.  つぎのりょこうは うみと やまと どちらがいいですか。うみ→うみのほうが いいです。5.  とうきょうタワーと スカイツリー(と)どちらが たかいですか。スカイツリー→ スカイツリーのほうが たかいです。[03:13]じっさい、スカイツリーは せかいで いちばんたかいタワーですね。[03:23]つぎは、しつもんのしかたを すこし れんしゅうしましょう。たとえば、[03:28]モネとマネ、どちら、すき→モネとマネ(と) どちらがすきですか。[03:37]どちらcan be replaced by どっち.→ ｢モネとマネ(と)どっちがすきですか。｣Note: In colloquial, the second と can be omitted.いいですか。Support the show=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=*=Need more translation & transcript? Become a patron: More episodes with full translation and Japanese transcripts. Members-only podcast feed for your smartphone app. Japanese Swotter on PatreonNote: English translations might sound occasionally unnatural as English, as I try to preserve the structure and essence of the original Japanese.

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

Francine Tint In the Studio Over more than five decades, Francine Tint has created a remarkable body of work. Her paintings display an exhilarating freedom of execution combined with an original and frequently surprising color sensibility, varying in size from 10 inches to nearly 20 feet. Her brushwork ranges from languorous and undulating swaths of paint to aggressive and agitated gestures. Her works speak of a powerful and unwavering commitment to the visual and emotional vocabulary of abstract painting, and they embody the artist's personal and deeply held belief in the power of intuitive creation. ​ Tint's direct heritage may be traced to Abstract Expressionism and Color Field painting. Her admiration for those artists is enormous, but she also reaches more deeply into art history. Artists who are touchstones for Tint include Édouard Manet, Francisco Goya, Pompeian frescoes from the Roman Empire, and especially J.M.W Turner for his reliance on inspiration and radical painting techniques. She is particularly fond of 16th-century Mannerist painters; Jacopo Pontormo's idiosyncratic colors and anatomical and spatial distortions fascinate Tint. She also has a deep interest in Asian brush paintings. Recently, Tint has been mining her books on paleolithic cave paintings where she is captivated by their creators' profound identification with the animals they depicted, an identification which extends to handprints stenciled directly onto the cave walls. She is reminded of the foot and handprints that appear in her paintings. ​ Tint's work has been exhibited in over thirty solo shows in the United States and Europe, and is in the permanent collections of numerous museums including the Clement Greenberg collection at the Portland Art Museum and the Krannert Art Museum in Chicago. Her work is in private and corporate collections including Pepsi Co. and Mount Sinai Hospital. Francine Tint, Golden Flutter, 2024, Acrylic on canvas, 54 X 39 in. (137.2 x 99.1 cm), Copyright Upsilon Gallery Francine Tint, Impressions, 2024, Acrylic on canvas, 52 1/2 x 36 in. (133.3 x 91.4 cm), Copyright Upsilon Gallery Francine Tint, Impressions, 2024, Acrylic on canvas, 52 1/2 x 36 in. (133.3 x 91.4 cm), Copyright Upsilon Gallery

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

In this episode, art historian and curator David Boyd Haycock describes Roger Fry''s legendary exhibition, Manet and the Post Impressionists held at the Grafton Galleries in 1910. In her essay Mr Bennett and Mrs Brown, Virginia Woolf wrote that on or about 1910, “human character changed”, a statement generally accepted to be a reference to the Post Impressionists show. Further Reading:A Crisis of Brilliance by David Boyd HaycockRoger Fry, an autobiography by Virginia Woolf The Sultan of Zanzibar by Martyn Downer about the spectacular hoaxes of Horace de Vere Cole, including the Dreadnought Hoax of 1910. Mr Bennett and Mrs Brown - an essay by Virginia WoolfThis is an Ictus Media production, edited by Leo Hornak and produced by Howie Shannon Hosted on Acast. See acast.com/privacy for more information.

S14E07-241007 ‘NUNTII PRESCRIPTI’ ‘IN SERMONE LATINO’ ‘EX UNIVERSITATIS PANAMERICANAE DISCENTIBUS ET EX LUIS PESQUERA OLALDE’. News translated into Latin by the students of the Universidad Panamericana and by Luis Pesquera Olalde. ‘NUNTII IN LINGUA LATINA’ ‘INSTRUMENTUM’ ‘AD LINGUAM LATINAM DISCENDUM’ ‘ESSE VULT’. ‘Nuntii in lingua latina’ is intended to be a tool for learning the Latin language. DE SCRIPTURAE PRAESENTATIONE. ‘TRANSALTIONES’ ‘IN LITTERIS CAPITALIBUS (VEL MAGNIS)’ ‘SUNT’. ‘GRAMATICAE ADDENDA ET EXERCITATIONES’ ‘IN LITTERIS PARVIS’ ‘SUNT’. SYNTAXIS ELEMENTA ‘CUM “ ‘’ ” ‘DENOTATUR’. ‘PREDICATI ET SUBIECTI NUCLEI’ ‘CUM “ * ”’ ‘DENOTATUR’. ORATIONES SECUNDARIAE INTER “ [ ] ” SUNT. About the writing format. Translations are presented in capital letters. Grammar notes and exercises are presented in lower case. Syntactic elements are highlighted with “ ‘ ’ ”; predicate and subject nuclei are highlighted with “ * ”; and subordinate clauses are highlighted with “ [ ] ”. A DIE SECUNDO MENSIS OCTOBRIS’ ‘AD DIEM QUINTUM MENSIS OCTOBRIS’ ‘ANNO DÓMINI BIS MILLÉSIMO VICÉSIMO QUARTO’ ‘SUNT’. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA ET ANGLICA’ ‘AUDIS’! SYRIA. TRANSLATIO AB ALISSA SOUZA EST. SYRIA SEPTENTRIONALIS OCCIDENTALIS. ‘*MILITIAE CIVITATIBUS FOEDERATAE AMERICAE’ ‘TRIGINTA SEPTEM TERRORISTAS [LIGATOS CUM ISIS ET SOCIATO AL QAEDAE’ ‘MENSE PRAETERITO’ ‘AERIA IMPETU DESTINATO’] ‘IN SYRIA’ ‘OCCIDISSE’ ‘*DIXERUNT’ {De recitatio. Quaeso, in Vicipaedia vocem ‘Syria / Res politicae’recita}. IN UCRÁINA. TRANSLATIO AB ALISSA SOUZA EST. VUHLEDAR, UCRAINA. OPPIDUM CADIT. ‘*COPIAE RUSSICAE’ ‘PLENAM POTESTATEM OPPIDI VUHLEDAR’ ‘IN REGIONE DONBAS ORIENTALIS UCRAINAE’ ‘HOC HEBDOMADA ‘CEPISSE’ ‘*NUNTIATAE SUNT’ {De morphologia, de verbo ‘nuntiatae sunt’. ¿In quo genere activo sive passivo est? ¿In quo modo si indicativo vel si subiunctivo / coniuctivo, si imperativo est? ¿In quo tema si ex praesenti sive ex perfecto? ¿In quo tempore si praesenti, si praeterito imperfecto / imperfecto, si futuro imperfecto vel simplici, si praeterito perfecto / perfecto, si praeterito plusquamperfecto / plusquamperfecto, si futuro perfecto sive exacto est? ¿In quo numero si singulari verl plurali est? ¿In quo persona si prima, si secunda, si tertia est?}. CANÁDA. TRANSLATIO A FERNANDA SOLÍS EST. IN CANADA, ‘*JUSTIN TRUDEAU’ ‘FIDUCIAE SUFFRAGIUM’ ‘PARLIAMENTO’ ‘*SUPERSTAT’. ‘SECUNDUM SUFFRAGIUM’ ‘IN HEBDOMADE’ ‘TANTUM EST’. CIVITATIBUS FOEDERATIS AMERICAE. TRANSLATIONES A CASANDRA FREIRE SUNT. NOVUM EBORACUM. VANCE CONTRA WALZ. ‘*IACOBUS DAVID VANCE (ANGLICE J.D. Vance) ET *TIMOTHEUS IACOBUS WALZ (ANBLICE Tim Walz)’, 'VICARII VICEPRAESIDIS CANDIDATI', ‘*FECERUNT’ 'DISPUTATIONEM VICEPRAESIDENTIALIS PRIMUM SOLUMQUE' DIE MARTIS' {De lexico. ¿Quod ‘primum solumque’ significat? ¿Quae orationis pars est?}. // ASHEVILLE, CAROLINA SEPTENTRIONALIS. VIS TEMPESTATIS. 'PLUS QUAM CENTUM SEXAGINTA *HOMINES’ ‘PERISSE’ ‘*NOSCUNTUR’ [‘POSTQUAM *HURACANUM HELENE’ 'PER VIOLENTIAM PROCELLAE' ‘*ACCIDERIT’ 'IN SEX CIVITATIBUS CIVITATI FOEDERATARUM AMERICAE' PROXIMA SEPTIMANA ET ULTIMA'], [ET CUM CENTENIS ADHUC HOMINIBUS *ABESSET], [MORTIS *EXPECTATUR SURGERE] {De lexico. ¿Quod ‘perisse noscuntur’ significat? ¿Haec constructio syntactica bene factum est? De morphologia. ¿Quot verba in infinivo sunt?} // NOVUM EBORACUM. PRAEFECTUS REUS FIT. ERICUM ADAMS, 'PRAEFECTUM NOVI EBORACUM', ACCUSATUR 'INDICTA PECUNIA ET FRAUDI 'PROXIMA SEPTIMANA' {De morphologia, de verbo ‘accusatur’. ¿In quo genere activo sive passivo est? ¿In quo modo si indicativo vel si subiunctivo / coniuctivo, si imperativo est? ¿In quo tema si ex praesenti sive ex perfecto? ¿In quo tempore si praesenti, si praeterito imperfecto / imperfecto, si futuro imperfecto vel simplici, si praeterito perfecto / perfecto, si praeterito plusquamperfecto / plusquamperfecto, si futuro perfecto sive exacto est? ¿In quo numero si singulari verl plurali est? ¿In quo persona si prima, si secunda, si tertia est?}. FRANCIA SEU FRANCOGALLIA. STRASBURGO VEL ARGENTORATO, FRANCIA. ‘*ASSAGNE’ ‘CIVITATIBUS AMERICAE UNITAE ‘*ASSULTAT’. ‘*IULIANUS PAULUS ASSANGE, [QUI WIKIMANATIONES CONDIDIT],’ ‘CIVITATES AMERICAE UNITAE’ ‘DE INTERDICERE DIURNARIORUM ARTE’ ‘*ACCUSAT’ {De lexico. Ad wiktionary ite et “assulto” invenit ¿Quod in anglice ‘intransitive, with dative: to attack, assault, assail’ significat?}. HISPANIA SIVE REGNUM HISPANIAE. FERRO, HISPANIA. TRAGOEDIA IN MARE. ‘HEBDOMADA PRAETERITA’ ‘SALTEM NOVEM PERSONAS MORTUI SUNT’ [QUIA ‘NAVIS SUAE’ ‘DEMERSA FUIT’]. ‘*ITER’ ‘AB AFRICA OCCIDENTALE AD CANARIAS INSULAS’ ‘*ERAT’. ‘CIRCA’ ‘ALIAS QUADRAGINTA OCTO PERSONAS’ ‘*DESUNT’ {De syntaxe. Orationem secundariam consecutivam, in modo indicativo, cum coniuctione ‘quia’ inveni et attende}. RE PUBLICA COREANA VULGO COREA MERIDIANA. ‘*COREA MERIDIANA’ ‘HYUNMOO QUINQUE SUA ‘I-CE-BE-EM SIVE ROCHETA QUAE BOMBAM NUCLEAREM FERENS E CONTINENTE AD CONTINENTEM VOLARE POTEST’ ‘POMPA MILITARIS’ ‘AD COREAM SEPTENTRIONALEM’ ‘*OSTENDIT’. {De lexico. Qaeso, in Vicipaedia investiga quod significat ‘Corea Meridiana, ICBM, Corea Septentrionalis’}. NEPALIA. KATHMANDU, NEPALIA. INUNDATIONES MORTALES. ‘PLUS QUAM DUCENTAS *PERSONAS’ ‘IN TEMPORIS MOMENTO’ ‘INUNDATIONIBUS HIPPALIS SIVE VENTIS MONSONIS’ ‘IN KATHMANDU ET VALIBUS VICINIS’ ‘*MORTUI FUERUNT’. {De lexico. Qaeso, in Vicipaedia investiga quod significat ‘hippalis’}. SUDANIA. KHARTUM SIVE URBS KHARTUMENSIS. ASSULTUS EXCERCITUS. ‘SUDANIAE *EXCERCITUS’ ‘IMPETUM MAGNUM’ ‘CONTRA REBELLES [QUI ‘CIVITATEM’ ‘ GUBERNANT’] ‘*MISIT’ {De syntaxe. De orationibus secundariis relativis. Orationem secundariam relativam, cum verbo in modo indicativo, cum pronomine ‘qui, quae, quod’ invenite}. SWAZIA NUNC ESWATINI. PRAETORIA, ESWATINI. CONIURATIO AD VENENANDUM. ‘OPPOSITIONIS FACTIONIS *DUX’ ‘IN ESWATINI’ ‘VENENATUS’ ‘*FUIT’ ET ‘IN ANGUSTIA’ ‘*EST’ {De morphologia, de ‘sum’ verbo. ¿Quia in hoc oratione verbum ‘sum’ est in ‘tempore perfecto et post in tempore praesenti? ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET ITALICA’ ‘AUDIS’! IRANIA. TRANSLATIO A SAID RAYMUNDO DELGADO EST. [POST 'TEL AVIV' 'DUCEM HEZBOLAE' '*OCCIDERAT' ET 'LÍBANUM' '*COEPERAT INVADERE'], ['*IRANIA' 'MISSILIA' 'ISRAELIS' '*IACTAVIT']. ['MAGNUM *PERICULUM' 'IMPLICATIONIS' 'TOTAE REGIONIS' '*EXISTIT.']. BRITANNIARUM. REGNO. TRANSLATIO A SAID RAYMUNDO DELGADO EST. IN BRITANNIARUM REGNO. CARBO FINITUR. '*BRITANNIARUM REGUM' 'SUAM ULTIMAM MACHINATIONEM ELECTRICITATIS CARBONIS' ' AD DIEM TRIQUESIMUM MENSIS SEPTEMBRIS' '*CLAUSIT'. '*BBC' 'HOC' '*ANNUNTIAT'. CONSOCIATIO EX PACTO ATLANTICO SEPTENTRIONI. TRANSLATIO A SAID RAYMUNDO DELGADO EST. MARCUS RUTTE DUCTOR EST. '*MARCUS RUTTE' 'OFFICIUM' 'SECRETARII GENERALIS CONSOCIATIONIS EX PACTO ATLANTICO SEPTENTRIONALI' ‘*SUSCIPIT’. FRANCIA SIVE FRANCOGALIA. RESPUBLICA FRANCICA. MICHAEL BARNIER CONSILIUM. ‘*BARNIER, FRANCIAE NOVUS PRIMUS MINISTER’ ‘ANTE CONVENTUM NATIONALE’ ‘CONSILIUM’ ‘AD GUBERNANDUM FRANCIAM’ ‘*EXHIBIT’. ‘ALQUIA *PROPOSITA’ ‘*SUNT’: ‘DEFECTUM PUBLICUM DIMINUET’, ‘EROGATIONES MINUET’, ‘VECTIGALIA AUGMENTABIT’, ‘ET CAETERA’ {De lexico. Quaeso, in Vicipaedia investiga tria nomina pro “Francia”}. // LUTETIA. IUDICIUM PROGREDITUR. ‘*MARINA LE PEN, PRAESES ACIEI NATIONALIS, FACTIONIS NATIONALISTICAE’, ‘PECULATUS ACCUSATA’ ‘AD IUDICIUM *PERGITUR’ {De lexico. Qaeso, in Vicipaedia, si editor es, paginam pro ‘Acies Nationalis’ crea}. RE PUBLICA DEMOCRATICA CONGENSIS. RE PUBLICA DEMOCRATICA CONGENSIS. DISCRIMEN VIOLENTIA SEXUALI. ‘PRAETERITO ANNO’ ‘*MEDICI SINE FINIBUS’ ‘VIGINTI QUINQUE MILIA CENTUM SEXAGINTA SEX SUPERSTES’ ‘ABUSIS SEXUALIBUS’ ‘*CURARUNT’. ‘MAIOR *NUMERUS’ ‘RECENTIORIBUS ANNIS’ ‘*SUNT’ {De lexico. Quaeso, in littera scribe ‘2024, 2022’}. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET GALLICA’ ‘AUDIS’! IRANIA. IRANIA. NASRALÀ MORS ICTUS MAGNUS CONTRA MULÁS. ‘*ALÍ JEAMENEI, IRANIAE DUX SUPREMUS’, ‘CONDOLENTIAS’ ‘PRO NASRALÁ HIZBULLAH DUCE ET SOCIORUM MARTYRIO’ ‘*OBTULIT`, ET ‘QUINQUE DIES LUCTI PUBLICI’ ‘*NUNTIAVIT’ {De morphologia. De nomine ex secunda declinatione. Quaeso, ‘martyrio’ in omnibus casibus declina}. AUSTRIA. AUSTRIA. EXTREMAE DEXTRAE VICTORIA. ‘*FACTIO LIBERA AUSTRIAE (EF-PE-O), FORMATA ANTERIORIBUS NAZISMI SODALIBUS’, ‘SUFFRAGIA MULTA’ ‘IN COMITIA GENERALIA’ ‘*OBTINUIT’ {De lexico. Quaeso, in Vicipaedia, ad vocem ‘Austria’ i, et lege de factionibus in Austria}. SINIS. SINAE. I-CE-BE-EM PERICLITATUS EST. ‘*SINAE’ ‘ROCHETAM QUAE BOMBAM NUCLEAREM FERENS E CONTINENTE AD CONTINENTEM VOLARE POTEST (ID EST I-CE-BE-EM)’ ‘*PRECLITATUS EST’ ‘IN FINE MENS SEPTEMBRIS’. ‘*HAEC’, ‘ITER’ ‘EX MILIBUS CHILIOMETRIS PER IAPONIAM’ ‘*FECIT’. ‘SINARUM PRIMA *PROBA’ ‘IN QUADRAGINTA ANNIS’ ‘*FUIT’ {De recitatio. Quaeso, in Vicipaedia vocem ‘chilometrum’recita}. IANPONIA. TRANSLATIO A LUCERO MAILLE EST. IAPŌNIA. VETERANUS AD GUBERNANDUM. ‘*FACTIO LIBERALIS DEMOCRATICA (PLD)’ ‘NOVUM DUCEM’ ‘*HABET’, ET ‘IAPŌNIA’, ‘NOVUM PRIMARIUM MINISTRUM’. ‘DIE VICESIMO SEPTIMO SEPTEMBRIS MENSE’ ‘ETIAM HABET’. ‘*SHIGERU ISHIBA’ ‘COMITIA INTERNA’ ‘PRINCIPALIS PARTIS DEXTERAE IAPONIAE’, QUAE ‘IN PARLIAMENTO’ ‘MAIORITATEM’ ‘HABET’, ‘*VICIT’. ARGENTINA. ARGENTINA. PAUPERTATEM DISPLODIT. ‘IN NOVEM MENSIS’, *XAVERIUS GERARDUS MILEI, PRAESES REI PUBLICAE ARGENTINAE’ ‘INFLATIONEM MONETALEM’ ‘AD QUATTUOR CENTESIMAS’ ‘*REDUCIT’, SED CONTRA, ‘PAUPERTATUM RATIONEM’ ‘CIRCA AD QUINQUAGINTA TRES CENTESIMAS’ ‘*AUGMENTAVIT’ {De morphologia. De nomine. Quaeso, nomina in accusativo invenite. ¿Quot sunt?}. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET GERMANICA ‘AUDIS’! LIBANUS. TRANSLATIO AB ALBA DANIELA RODRÍGUEZ EST. CONCURSUS, FUGA ET PILAE IGNIFERAE. ‘*EXERCITUS ISRAELIANUS’ ‘*NUNTIAVIT’ QUOD ‘EXPEDITIONEM TERRESTREM LIMITATAM’ ‘CONTRA HEZBOLLAH’ ‘*MISIT’. SED ‘IMPERIA EVACUATIONIS’ ET ‘BOMBARDATIONES’ ‘FAVENT’ ‘MAGNO IMPETU INCURSIO’. CIVITATIBUS FOEDERATIS AMERICAE. CIVITATIBUS FODERERATIS AMERICAE. MAGNA TEMPESTAS. ‘*HURACANUM HELENA’ ‘PLUS QUAM SEXAGINTA PERSONAS’ ‘*OCCIDIT’ ET ‘*PROVOCAVIT’ ‘QUOD ‘TRES MILIA MILIUM PERSONAS’ ‘SINE DOMIBUS’ ‘*SINT’ {De lexico. Quaeso, inter ‘huracanum’ et ‘typhon marius’ dinosce. Vicipaedia utere}. ‘NUNTII IN LINGUA LATINA’ ‘IN LINGUA LATINA, ANGLICA ET HISPANICA’ ‘AUDIS’! MEXICO. MEXICOPOLIS. CONTEMPTUS CONTRA HISPANIAM. ‘MEXICI *PRAESES NOVUS’ ‘INVITARE’ ‘AD HISPANIAE REGEM’ ‘AD REGIMINIS INITIUM’ ‘*RECUSAVIT’ {De recitatio. Quaeso, novam paginam pro ‘Claudia Sheinbaum Pardo’ in Vicipaedia recita}. // MEXICOPOLIS. PRIMI HISTORICI. ‘PRIMA *FEMINA PRAESES ET PRIMA *IUDAEA PRAESES’ ‘IN MEXICO’ ‘*EST’. // ‘*CLAUDIA SHEINBAUM PARDO’ ‘MEXICI PRAESES NOVUS’ ‘*EST’. ‘*EA’ ‘NUMMIS MERCANDI CURATORIBUS’ ‘QUOD PECUNIAE COLLOCATIONEM SECURAM ERIT’ ‘*CONFIRMAVIT’. ETIAM ‘*CONFIRMAVIT’ ‘QUOD MEXICI ARGENTARIA’ ‘INDEPENDENS’ ‘MANET’. SI NUNTII IN LINGUA LATINA TRADUCTOR ESSE VOLUERIS, QUAESO LITTERAM ELECTRONICAM AD lpesquera@up.edu.mx MITTAS’. If you would like to collaborate as a translator in Nuntii in Lingua Latina, please send an email to lpesquera@up.edu.mx ‘INCEPTIO UNIVERSTITATIS PANAMERICANAE’ ‘AD LINGUAM LATINAM UTENDUM’ ‘EX MAGISTRIS ET DISCENTIBUS’ ‘QUIBUS’ ‘IN LINGUA HISPANICA’ ‘PROFITEMUR’. Initiatives of the professors and students of the ‘Universidad Panamericana’ to practice the Latin language. We present them in Spanish. ‘LATINA GRAECAQUE SIMUL’: Conversación en latín y una mirruñita de griego. Prof. Gregorio de Gante. Viernes de 14h a 15h. Salón R07. Informes con Alissa Souza: 0256838@up.edu.mx , https://chat.whatsapp.com/FnQCZLc7voLJSeTrRc8PS9 ‘LITTERAE CLASSICAE’: Explorando el mundo latino desde sus distintos géneros literarios. Prof. José Luis Quezada. Jueves 26 de septiembre, 21 de octubre, 21 de noviembre, de 15:30h a 17:00h. Salón C08. Informes con Alissa Souza: 0256838@up.edu.mx , https://chat.whatsapp.com/FnQCZLc7voLJSeTrRc8PS9

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

Probst, Carsten www.deutschlandfunkkultur.de, Fazit

durée : 02:58:19 - Le 7/10 - par : Nicolas Demorand, Léa Salamé, Sonia Devillers, Anne-Laure Sugier - Hélène Devynck, journaliste, Fabien Roussel, Secrétaire national du PCF, David Djaïz, essayiste, Jean-Philippe Derosier, constitutionnaliste, professeur de droit public à l'université de Lille, Inoxtag, youtubeur, Andranic Manet, acteur, sont les invités de la matinale.

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