Podcasts about Modigliani

En este episodio de nuestro podcast, nos adentramos en la vida y obra de **Amedeo Modigliani**, uno de los artistas más emblemáticos del **Renacimiento moderno**. Conocido por sus retratos y desnudos estilizados, Modigliani rompió con las convenciones artísticas de su tiempo y desarrolló un estilo único que fusionó influencias del cubismo, el arte renacentista y las tradiciones africanas. Exploramos su vida, marcada por la bohemia parisina y la lucha personal, y cómo su obra refleja la búsqueda constante de belleza y la expresión emocional. A través de sus retratos alargados y su enfoque en la figura humana, Modigliani nos invita a reflexionar sobre la fragilidad de la existencia y la profunda conexión entre el arte y el ser humano. Únete a nosotros para conocer más sobre la carrera de este maestro del arte moderno y cómo su legado sigue vigente hoy en día.

Nachdem sie mit Boygenius im Trio kurz die Musikwelt aufgeräumt hat, veröffentlicht US-Songwriterin Lucy Dacus nun wieder ein Soloalbum. Ihr Viertes. Aber auch hier haben die grossen Labels angebissen. Und einer der einzigen Guestslots des Albums gehört Superstar Hozier («Take Me to Church»). Welcome to the Big Leagues oder Sellout? «Forever Is a Feeling» begleitet uns durch die ganze Sounds!-Woche – und ihr könnt das Album als CD gewinnen. Nur live in der Sendung! +++ PLAYLIST +++ · 22:56 – GLETSCHERTRACK von POLARBӔREN · 22:52 – ENTERING LUMON (ODESZA SEVERANCE REMIX) von THEODORE SHAPIRO · 22:49 – ALLES WAS ICH WILL von DIE STERNE · 22:46 – C'EST DUR von MONO MOCHI · 22:39 – CHANGE MY NAME von ELIE ZOÉ · 22:35 – MAKE WAY FOR WAVES von AMY MILLAN · 22:30 – PIROUETTE von AIN'T · 22:28 – POUR TOI von TOM D. · 22:24 – FAMILIAR von AMINÉ · 22:20 – MAKING PLANS FOR NIGEL von XTC · 22:14 – SARA von FLEETWOOD MAC · 22:11 – RICOCHET von SORRY GIRLS · 22:08 – SEXY TO SOMEONE von CLAIRO · 21:55 – LIVE FOREVER von OASIS · 21:51 – YOU'RE GORGEOUS von BABYBIRD · 21:47 – RUNNING/PLANNING von CMAT · 21:42 – KING von FLORENCE + THE MACHINE · 21:39 – IF NOT NOW, IT'S SOON von SELF ESTEEM · 21:35 – GHOSTS & ALIENS von CLAIRE MY FLAIR · 21:32 – TUESDAY von JULIEN BAKER & TORRES · 21:27 – ANKLES von LUCY DACUS · 21:23 – FOREVER IS A FEELING von LUCY DACUS · 21:20 – MODIGLIANI von LUCY DACUS · 21:15 – BEST GUESS von LUCY DACUS · 21:10 – BIG DEAL von LUCY DACUS · 21:04 – NOT STRONG ENOUGH von BOYGENIUS

Sergio Pérez entrevista en el Festival de San Sebastián a los protagonistas de la película de Johnny Depp sobre Modigliani, ¿tiene valor el arte?

Sergio y Alma reciben a los equipos de Tierra de nadie; Modigliani, tres días en Montparnasse, Por todo lo alto y a los amigos de FlixOlé y SY Cinema.

Arconada comenta los estrenos de cine de la semana y Ayanta Barilli y Encarna Jiménez toda la actualidad cultural.

Sergio Pérez habla de los estrenos de la semana entre los que destacan Tierra de nadie, Por todo lo alto, La Furia, Modigliani o A working man.

Le Musée Zadkine vous propose la rétrospective « Modigliani-Zadkine, une amitié interrompue ». C'est la première fois qu'est évoquée cette complicité artistique entre un sculpteur, Ossip Zadkine et un peintre Amedeo Modigliani. Vous découvrirez près de 90 œuvres, des peintures, des dessins, des sculptures, mais également des documents et des photographies d"époque. Ces deux artistes d'avant-garde avaient beaucoup d'affinités. Après la Première Guerre mondiale, Modigliani abandonne la sculpture pour la peinture, alors que Zadkine développe des problèmes de santé. Leur complicité se termine en 1920, avec la mort prématurée de Modigliani à l'âge de 35 ans. J'ai été touché par les correspondances entre les œuvres. « Modigliani-Zadkine, une amitié interrompue », c'est jusqu'au 30 mars Rendez-vous au Musée Zadkine, 100 bis rue d'Assas dans le 6ème métro Notre-Dame-des-Champs dans le 6ème Attention, la réservation en ligne est fortement recommandée. Photo © GrandPalaisRmn (musée de l'Orangerie) / Hervé Lewandowski

Giovanni Rossi"La voce bambina"Prefazione di Giorgio GhiottiEdizioni Crocewww.edizionicroce.it"Ai sopravvissuti, alle sopravvissute, a chiunque ancora è in grado di provare un sentimento: quindi a te, ovunque tu sia."La voce bambina è una silloge di poesia, una piccola odissea intima che ripercorre il viaggio di una voce femminile indistinta, la quale, attraverso un ritorno all'infanzia che le permette di elaborare una delusione sentimentale, riscopre prima il piacere della solitudine e poi il piacere di amare nuovamente.«Voce lirica: cristallina; un po' di Scuola Romana, di seconda generazione, e un po' di classicismo, ben frequentato e tanta “vita quotidiana”. Gli ansimi d'amore, le urla di dolore, i palpiti spirituali, la natura, i ricordi che il poeta dona, per poi, subito, ritirarsi, con pudore, definiscono un tracciato di parole che si imprimono nella mente del lettore e che si nascondono sottopelle».Antonio VenezianiHai visto? La poesia non è altroche l'orma lasciata da un piedenudo sulle maioliche in fioredella casa che ci separa dal mare.E' evaporata lungo il tempodi corsa a perdifiato; senza tornare.Giovanni Rossi (Alatri, 1997) ha pubblicato la raccolta poetica Fantasie naturali (Escamontage, 2019). Suoi testi sono apparsi in diverse antologie. Nel 2020, co-organizza l'evento “Incontro con Escamontage” presso il MACRO, museo d'arte contemporanea di Roma, dove legge alcune sue poesie.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Modigliani, Picasso, cuadros como «El Grito»… Hoy os vamos a hablar de pintores que vieron marcada su vida o su obra, por una especie de maldición que les persigue tras abandonar esta vida. Y lo haremos acompañados de nuestro equipo habitual, pero también de artistas e investigadores que nos van a descubrir que las obras de arte hay que saber leerlas e interpretarlas más allá de lo que apreciamos a simple vista, porque es entonces cuando encontraremos los secretos que encierran. Iniciamos viaje… 

Jacopo Veneziani"La grande Parigi"1900-1920. Il periodo d'oro dell'arte modernaFeltrinelli Editorewww.feltrinellieditore.itJacopo Veneziani partecipa a "Mi prendo il mondo" a Parma, il 26 gennaio, alle ore 17:30 - Paganini CongressiSalone Internazionale del LibroAttraverso una serie di indirizzi fondamentali, Jacopo Veneziani racconta i vent'anni che hanno reso Parigi l'epicentro dell'arte mondiale, in una fitta trama di incontri e passaggi di testimone, profonde rivalità e collaborazioni fortuite.Ottobre 1900. Dopo un estenuante viaggio di trenta ore, due giovani artisti arrivano alla Gare d'Orléans, carichi di bagagli e attrezzi del mestiere, ma soprattutto di sogni. Si chiamano Pablo Picasso e Carlos Casagemas. Fuori li aspetta, immensa ed elettrizzante, Parigi, il luogo in cui – dopo la rivoluzione degli Impressionisti e di straordinari scultori come Auguste Rodin – ogni artista vuole essere. È la città degli infiniti cantieri e dell'Esposizione Universale, delle invenzioni mirabolanti e delle folle febbrili. Ovunque rimbomba il brulicare minaccioso ed eccitante della grande metropoli, con le sue luci, i teatri e i locali notturni, ma anche con le sue librerie e le nuove gallerie d'arte. Jacopo Veneziani accompagna passo passo il lettore per le strade della Parigi di quegli anni, e ci racconta la grande capitale nel momento magico e irripetibile in cui divenne, come scriverà Gertrude Stein, “il posto dove bisognava essere per essere liberi” e l'epicentro dell'arte mondiale. La abitano pittori e poeti squattrinati che si incontrano nello sgangherato Bateau-Lavoir a Montmartre, i Fauves trascorrono giornate intere a dipingere sulle rive della Senna, gli eccentrici futuristi sognano di scalzare il Cubismo, e le serate scorrono discutendo di arte africana o declamando versi seduti en terrasse in un caffè del Carrefour Vavin, cuore pulsante di Montparnasse. Mentre il demone della modernità contagia chiunque sia di passaggio in città con una furia creativa che non ha precedenti. Un viaggio che ci conduce dal 1900 al 1920, anni di straordinario fervore culturale e indicibile catastrofe. In compagnia di ineguagliabili artisti come Picasso, Matisse, Modigliani, Soutine, Chagall, Brâncuși, di singolari poeti come Guillaume Apollinaire, Max Jacob e Jean Cocteau, di eroine silenziose come Berthe Weill, Fernande Olivier e Jeanne Hébuterne, protagonisti di un sorprendente racconto corale che ci svela perché, allora, solo Parigi poteva diventare la capitale mondiale dell'arte. Amicizie e rivalità, sodalizi indissolubili e incontri fortuiti, passioni e tradimenti che hanno reso Parigi la capitale mondiale dell'arte.Jacopo Veneziani ha vissuto a Roma e Parigi, studiato Storia dell'arte alla Sorbonne. Con alcuni profili social - Twitter, Youtube, Instagram - parla "di arte, della sua storia e un po' di più".Con Mondadori Electa ha pubblicato nel 2020 il volume #Divulgo, che raccoglie una parte di contenuti e pensieri sull'arte. Nel 2021 è uscito Simmetrie mentre nel 2023 esce per Feltrinelli La grande Parigi. 1900-1920. Il periodo d'oro dell'arte moderna.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

As Stanley Tucci reflects, "Given the circumstances in today's world, the parallels between then and now are impossible to ignore. It's an incredible story, but it's also happening today, to millions of people . . . It's a story about people in a certain place and time, and what happened to them, and what happened to them has happened before, and has happened since, and will continue to happen. Unless we as the human race begin to understand that we are all the same.” What would you do if fascism and antisemitism seized your homeland? In his award-winning podcast, documentarian David Modigliani takes listeners on a gripping journey through his family's escape from Italy in 1938. Pack One Bag, featuring actor Stanley Tucci, delves into Modigliani's grandparents' love story—his grandfather, a prominent book publisher who once advised Mussolini but later turned against him. As Modigliani retraces their steps across Italy, he uncovers hidden Fascist spy documents, personal family diaries, and a poignant Jewish love story that echoes through time. *The views and opinions expressed by guests do not necessarily reflect the views or position of AJC.  Listen – AJC Podcasts: The Forgotten Exodus: with Hen Mazzig, Einat Admony, and more. People of the Pod:  Gov. Josh Shapiro and AJC CEO Ted Deutch on Combating Antisemitism Mijal Bitton on What It Means to Be a Jew Today The Next Chapter in Catholic-Jewish Relations What's Next for the Abraham Accords Under President Trump? You can reach us at: peopleofthepod@ajc.org If you've appreciated this episode, please be sure to tell your friends, and rate and review us on Apple Podcasts or Spotify. __ Transcript of Conversation with David Mogdiliani and Stanley Tucci: Manya Brachear Pashman:   As a documentary filmmaker, David Modigliani has created a variety of works on politics in America, improv comedy, and the improv comedy of politics in America. But during the pandemic, he discovered the love letters of his grandparents, written moments before they fled fascist Italy. Those letters led him to produce a more personal project – an award-winning podcast series starring Stanley Tucci, titled Pack One Bag. David is with us now to talk about that journey.  David, welcome to People of the Pod.  David Mogdiliani:   Thank you so much for having me. I'm so glad to be here. Manya Brachear Pashman:  So, at the core of your podcast, Pack One Bag, is the story of your grandfather, a Nobel Prize winner who fled Italy in 1938 and this was a story that you heard as a young man, as a teenager, right? But if you could share with our listeners what that story was, when you originally heard it. David Mogdiliani:  Yeah, so my grandfather, I was just a five year old kid when he won the Nobel Prize for Economics in 1985. But as I became a teenager and started to grow up, I became sort of fascinated by their love story, the story of escape.  Which was basically that my grandfather, Franco Modigliani, had been a 19 year old kid in Rome when Mussolini passed the racial laws against Jews like him, and he didn't know quite what to do, and he was so fortunate that he had fallen in love with this girl from Bologna named Serena Calabi, whose family had really been planning for this moment for many years, had had the foresight and the privilege to move resources outside of the country, put together an exit strategy, and when they fled Italy for Paris in the fall of 1938 they invited him to join them. They invited their daughter's boyfriend to join them. And the family was in Paris for about nine months and then made it onto the Normandie, a French ocean liner that left the coast of France in August of 1939 and turned out to be the last boat out of mainland Europe before Hitler invaded Poland and World War II began. So that kind of fairy tale escape, a whirlwind romance, that getting married, you know, in Paris on the run, and arriving in the US, kind of just in the nick of time, was the kind of origin story that I grew up with as a kid. Manya Brachear Pashman:  And how did your grandmother's family know how to read those tea leaves?  David Mogdiliani:  My grandmother's father had been known as ile de libri, the king of the books in Italian because he had founded and run along with his wife, something called La messaggerie italiane, which was the biggest book distribution business in all of Italy. It gave him resources and an understanding of where things might be going in Europe in the 1930s so I had known all of that. But when I sort of became more interested in this project and wanted to learn more, and dug into some boxes that my dad had, 19 boxes of my family's documents, we found inside them, a couple of letters from Benito Mussolini to my great grandfather, the king of the books, and that kind of was a staggering moment to see the signature of the future dictator of Italy there at the bottom of the page.  Mussolini had been a lefty socialist newspaper editor in 1914, 1915, and when he had been kicked out of the Socialist Party for supporting Italy's intervention and involvement in World War I, the Socialist Party had kicked him out, and he had decided to start his own newspaper. He needed help doing that, and it turns out that my great grandfather had not only advised him on sort of launching his startup newspaper, but had also funneled a secret subsidy from the French government to Mussolini to fund this paper. So I was relieved to learn that he later had broken with Mussolini, you know, didn't follow sort of the whole fascist experiment, but that he had a sense of Mussolini's temperament, his character. And really, after Mussolini killed a political opponent of his in 1924, a couple of years after coming into power, that is when my great grandfather said, if things continue this way, there's no future for us in this country. Manya Brachear Pashman:  And when you say your great grandfather, the king of the books, concluded that there was no future for us, did he mean your family, or did he mean the Jewish community? David Mogdiliani:  I think at that time, in 1924, he meant our family, and I suppose also those who were not interested in kind of following a blindly fascist authoritarian dictator to the extent that he might transform the country. One of the things that I was sort of fascinated to learn in this project was that Italy was, in fact, a very inclusive place for Jews.  In 1870, the country was sort of unified, and the Jews who had been in ghettos across Italy for hundreds of years, were released, became really central part of Italian society, which was a very tolerant society. Mussolini, in fact, had a couple of Jews in his cabinet. As late as 1935 had a Jewish lover. And it was not really until a later stage of Mussolini's fascism that he very swiftly turned against the Jews, eventually passing the Leggi Razziali, the racial laws, which really instituted a whole set of restrictions that only got worse. Manya Brachear Pashman:  So talk a little bit about your process. I mean, how did you piece together this saga and all of the many pieces of this story that you had not known before, this saga that eventually became 10 episodes of your podcast. David Mogdiliani:  Yeah, you know, during COVID, a lot of people baked banana bread. I pulled out my grandparents' love letters. I had always wanted to interview them to document– I had been a documentary filmmaker for many years and to capture their story–and I kind of just never got around to it. Before I did it, they died. They passed away. And so I had kind of been living with a sense of guilt about that.  But I was in a new romance with a woman named Willa. We had become quarantine mates during the pandemic, she was really curious about the seeds of this family story that I'd shared with her. And we pulled out these love letters, which, in fact, my grandmother had translated into English for her grandchildren, because she really wanted them to know how you know, love had gotten them through the horror of that period. And pulling out those love letters, I was sort of stunned by how fresh and relevant they seemed. Not these kind of black and white mementos from a time gone by, but in a world where there was increasing authoritarian leadership around the world where antisemitism was on the rise, again, their letters to one another, which were going back and forth between Rome and Bologna. They were dealing with these questions, how do we deal with rising fascism? How bad is the antisemitism getting, and what do we do about it? And inside of those boxes, we found not only letters from Mussolini, but kind of the other part of the story. You asked me about the story I grew up with the fairy tale escape that was kind of the baseline that I was operating from. What I had not fully understood was that when my grandfather fled Italy with his girlfriend, and the king of the books, and was so fortunate to escape with them, he left behind his whole family, including his mother and his older brother, Giorgio. And eventually, as World War II kicked off, as they got into the Nazi occupation of Rome, all he could do was read about, you know, the Nazis invading his hometown, what was going on abroad, and he had lost touch entirely with his brother, and yet, what We found inside of these 19 boxes was a 25 page letter from my grandfather's brother, Giorgio, from the older brother that he'd left behind.  And that 25 page letter, it had come just after the war ended. And it said, essentially, you know, we survived. And there's so much to tell you, you know, here's how. And it was just this page turning epic of how my grandfather's brother had shepherded his young family through the war, how they had hid in a small hill town outside of Rome, how he had taken on fake identity, and his little children had learned their fake names and identities and how to cross themselves and go to church and pose as though they were Catholic, and ultimately, how they had made it all the way through to the liberation of Rome. And that, to me, felt like this whole other world, the kind of parallel universe that my grandparents had escaped, the experiences that they might have had if they'd not been so fortunate to be among. Those who were able to flee, and that, along with the question of, why do we have these letters from Mussolini, you know, in the basement, and what's going on with the king of the books, all of that made me want to go back to Italy to dig into my family's past, to better understand this story, to find, you know, answers that could inform my present moment.  At the time, you know, I thought, well, I'll need someone to help me, an audio engineer, at least if we're going to do a podcast. And Willa said, Well, you know, or I could do it. She had learned some audio skills in film school, and I had this question of, like, is this a good idea? Like mixing my budding romance with, you know, digging into my family's, you know, unknown history, but her curiosity had kind of inspired me to dig into this story in the first place, and so we set off together back to Italy with kind of no idea of just how far that adventure would take us. Manya Brachear Pashman:  So I should explain that that saga, you tell that saga in the 10 episodes of the podcast, and the voice of your grandfather is actually that of actor Stanley Tucci. How did you connect with Stanley about this project, and what was it about the project that appealed to him? David Mogdiliani:  I knew that we wanted to bring not only the personal investigative nature of kind of solving some of these mysteries, putting together the pieces, but also to bring to life the experiences and the stories of the characters in this podcast. And so I knew that I could bring to life the voices of my grandparents, which I remembered so well, but I really wanted to bring to life as well the king of the books, my great grandfather, and whenever I thought about him as this kind of debonair Italian, you know, media magnate who got his family out of dodge just in time, he seemed like this kind of cultured, congenial hero that someone like Stanley Tucci might play.  And I'd been in touch with Stanley Tucci a few years prior in regards to his searching for Italy series, we almost worked together on that the scheduling didn't work out, but we'd formed a relationship, and so I shared with him, Hey, I'm digging into the story. I'm finding all this incredible stuff. I want to tell it in audio. And he said, I'd love to help. How can I be part of this? In addition to those more standard documentary techniques. We also do a little bit of kind of creative storytelling, and it's wonderful to have Stanley Tucci do that.  We travel to London, where he lives, and did two long recording sessions with him, and he, having Italian parents and grandparents of his own, speaking Italian well, was able to snap right into that character. He needed very little direction, and it was a great joy to hear him kind of bring that character to life. Manya Brachear Pashman:  And in fact, you had a conversation with him about his own family history and the importance of connecting to that. And I want our listeners to hear a clip of that conversation.   __ David Mogdiliani:  Okay, so tell me, I guess what drew you to the story. Why spend some time doing this?  Stanley Tucci: Well, a number of things. I'm interested in Italian history, Italian stories, Italian people. I'm interested in World War II, and given the circumstances in today's world, you can't help but be interested in the parallels of that time and our time. It's your family story. It's an incredible story, but it's something that's happening today. It's happening as we speak. It's happening all over the world to literally millions of people. David Mogdiliani:  I know you get asked this a lot, but what was your first connection to learning about Italy and its history and what happened to there? Stanley Tucci: My mother's father fought in World War I. He was a corpsman, and he was up in the Alps, and I mean, like the worst fighting, but he never spoke of that. But we were always told about our family history. We were able to live in Italy when I was a kid, and we were able to go visit my family. This is in the early 1970s down in Colombia, and that was fascinating, because it wasn't even 30 years after the war. But that history was really important to us, and the way that those stories were really funny that they would tell, or really frightening that they would tell. And like basically every Italian family, those stories were always told at, you know, dinner parties, at gatherings, at holidays, and you always had a connection with your family. You were always doing things with your family.  Sometimes you were like, Why are we here? No one seems to be getting along, you know. But that said, it's invaluable. Understanding that history, knowing those people. And I really love this story because it's a universal story. It is an Italian story, but it's not an Italian story. It's a Jewish story, but it's not a Jewish story.  It's a story about people in a certain place and time, and what happened to them. And what happened to them has happened before and has happened since and will continue to happen. Unless we as the human race begins to understand that we are all the same. That's why I like this story. It's about hope for equality. ___ Manya Brachear Pashman:  David, you use the word refugee. I'm just curious if your grandparents considered themselves refugees, given the timing of their departure and then the timing of what their relatives that they left behind experienced. David Mogdiliani:  Yeah, and I know actually they specifically did. There's a letter, when my grandmother fled with her parents in early September of 1938. Her father had told her, we're going to leave in the morning. We're going to make this look just like we're going on vacation so we don't draw any undue attention. And I want you to pack one bag and we'll take off in the morning. And they went ahead to Paris, and they were joined there a few weeks later by my grandfather, who had to settle some of his affairs in Rome and get his act together.  And so there are letters from my grandmother, having just arrived in Paris, writing to her boyfriend back in Rome and hoping that he's going to come soon. And she says, quite specifically, we're in this tiny hotel room, and we're really refugees now, everything feels quite different. She, of course, had come from this privileged background. She grew up in this beautiful villa on the hill above Bologna that her father had built, a villa that they had to abandon very quickly. And so she was sort of encountering the reality of being outside of her comfort zone, of not having sort of the comforts that she had grown up with and wishing and hoping that her beloved would join her soon, which would kind of allay some of her anxiety as a refugee.  I think they also felt that sense of being unsettled through their nine months in Paris, from the fall of 1938 until the summer of 1939 being unsure of whether war might break out during that period, my great grandfather, my grandmother's father, the king of the books, he found that his bank accounts inside of Italy had been blocked by the fascist regime, something that we uncovered in more detail in the archives in Rome as we dug into these fascist documents that were kept about all of this persecution, and they had this sense of being unsure of quite when they would leave and how far kind of the tentacles of the fascist regime might extend. And so I do think that they felt like refugees, even if they themselves did not encounter one tenth of the horrors that the family members who remained behind did.  Manya Brachear Pashman:  We have a narrative podcast series called The Forgotten Exodus that really speaks to that. It's about Jews fleeing the Middle East and leaving their homes behind. I mean, that's what you're doing, is you're leaving your home behind, even if you were hated in your home, even if you faced violent antisemitism, it was still home. I'm curious how much your family was fleeing fascism, or were they fleeing antisemitism? Were they fleeing more of one than the other, or did they go hand in hand? David Mogdiliani:  Yeah, well, I think that their initial plans that my great grandfather, the king of the books, was making, were related more to fascism, to his understanding of Mussolini and to political violence and how far things might go. But in the summer of 1938 as he began to get information about the coming racial laws against Jews, and in early September of 1938 when the racial laws were passed such that Jewish children could no longer go to public schools. Teachers couldn't teach at public schools or universities if they were Jewish. Jews could not own a business with more than 99 employees. They couldn't have domestic help of non Jews.  And that initial, you know, set of restrictions against them only increased that fall in the following months, you know, obviously getting to the point eventually that Jews could own nothing, that even the debts that they owed to other people should be diverted to the state. But the beginning of those racial laws is quite literally what they were fleeing when they then decided to execute their exit strategy. It was the promulgation of the racial laws that caused them to leave. Manya Brachear Pashman:  In other words, they began to develop that exit strategy because of fascism. It was initially kind of envisioned as a flight from fascism, but when the culture became antisemitic. That was the trigger. David Mogdiliani:  Exactly. Manya Brachear Pashman:  What have I not asked you, David, that you think is a really important point to mention. David Mogdiliani:  I would say, just about the love and humor that's such a big part of this story. My grandparents were, you know, constantly bickering at one another in this very loving way that we capture in the podcast, just the jump start of their romance was amazing to me. I mean, my grandmother came into Rome with her father, the businessman. She encountered this young kid who she later called il tipo ridiculo, meaning the ridiculous character, because he was just sort of a pesky all over the place, you know guy. And when she came back a second time, he had this plan to take her out, and he had concocted this outing up the Via Appia Antica, which is the ancient road outside of Rome. They got to know each other a little better, and she let him just steal a little kiss at the end of that little date. And the next morning, when she was going back to Bologna, he showed up at the train station in this suit, you know, two sizes too big for him. He's pacing the platform, and he had come to declare his undying love for her.  He was so worried that she was going to get a marriage proposal from a fancy guy in Bologna, and he felt like he had to state his case. And she was like, you know, you got to calm down. You know, it was just a kiss. You know, this is really over the top. And she told him, I want you to not write to me for three months. She really wanted this kind of cooling off period. She said, then write to me if you want. And let's see, you know, if we really have a connection. And so three months later, she's in Bologna, and she gets this package from Rome, and on the top it says: Oh aspettato tre meze, signora di tatoreza. (I waited three months, Madam Dictator.) Ma ogna notte teo scritto. (But every night I wrote to you.) And she opens it up, and there's 91 little letters inside. So every night he had written to her, and then he had saved them and sent them all at the end. So these kind of dramatic, you know, acts of romance and love, the way that they got married inside of the fascist Italian consulate in Paris, that was a huge part of their story, and I think a huge part of what got them through that very anxious, you know, experience. Manya Brachear Pashman:  You talk about how this moment in history jumpstarted your grandparents' romance. Do you mind sharing with listeners what happened to that girlfriend who tagged along and helped you with this project? David Mogdiliani:  It's probably about 3% you know, of the overall story. We're really focused on the story of my grandparents, my great grandparents. But yes, this girlfriend Willa that I had, that had sparked curiosity about my grandparents story when we pulled out the love letters four years ago, as she then came with me as we went back to Italy, digging into the archives, interviewing our cousins, bringing this story to life, and of course, brought us a lot closer together.  Our own relationship continued on, and we were married last year. And just about three and a half months ago, we welcomed our first child, Marcello Vita Modigliani, Vita meaning life in Italian which was a family name. So yes, my own romance has been part of this story as well.  Manya Brachear Pashman:  David, thank you so much. I really appreciate you doing this project and then coming and speaking with us about that. It really is quite relevant and quite instructive. And so thank you so much.  David Mogdiliani:  Thank you. It's been a pleasure to be here, and folks can find pack one bag anywhere they listen to podcasts, Apple, Spotify, but really anywhere, including at packonebagshow.com. You can stream it straight from the website there at packonebagshow.com and thanks so much for this wonderful conversation. I really enjoyed it.  Manya Brachear Pashman:  If you missed the last episode, be sure to tune in for the conversation between AJC CEO Ted Deutch and Pennsylvania Governor Josh Shapiro. In that conversation on the ground in Philadelphia, Governor Shapiro and Ted talked about the antisemitism the governor has faced, the importance of nuance and how simply there is none when it comes to expressions of anti-Jewish hatred. 

The JournalFeed podcast for the week of Dec 9-13, 2024.These are summaries from just 2 of the 5 articles we cover every week! For access to more, please visit JournalFeed.org for details about becoming a member.Monday Spoon Feed:A post-hoc analysis of 3 studies conducted in Europe (PROPER, MODIGLIANI, TRYSPEED) analyzed patients with a high pretest probability for PE based on Wells' or revised Geneva score and found that using D-dimer alone would have missed 0 PEs, but this strategy is not ready for primetime.Tuesday Spoon Feed:An open-label, multicenter RCT found that patients with severe brain injury who were mechanically ventilated had a worse composite outcome if they were ventilated with a lung protective strategy compared to a conventional strategy. This study was underpowered and stopped early secondary to funding issues.

La chronique expo de Fabienne Cohen-Salmon.

Becoming Modigliani (Rake Press, 2024) is a comprehensive biography that delves into the troubled life of the Jewish-Italian artist Amedeo Modigliani.; Written by Dr. Henri Colt, an internationally recognized lung specialist, the book examines the artist's legend and Modigliani's creative journey from a medical perspective, from his birth in Livorno, Italy, to his tragic death in a paupers' hospital in Paris at the age of thirty-five, presumably from tuberculous meningitis. Becoming Modigliani sheds light on the young man's chronic illnesses, addictions, and relationships with friends and lovers as he navigated the vibrant yet challenging world of early twentieth-century Bohemian Paris. Beginning with "Modi's" birth in 1884, the narrative is divided into five parts, seamlessly blending biographical elements with medical insights and a critical analysis of Modigliani's work among some of the greatest artists of the time. It also provides thoughtful descriptions of a changing society governed by the impact of infectious diseases, war, and a flourishing of other creative geniuses such as Picasso, Jean Cocteau, and Guillaume Apollinaire. With thirty-seven virtually standalone chapters, a preface and epilogue, three appendices, and a rich array of illustrations and references, this biography promises a profound and compassionate exploration of Modigliani's embattled world. In Becoming Modigliani, Dr. Colt's aim is to foster empathy and greater understanding by unraveling the intricate layers of Modigliani's existence. The result is a captivating and deeply researched tale that will resonate with a diverse audience of serious readers, art and medical history enthusiasts, sociologists, and anyone interested in the human spirit. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Becoming Modigliani (Rake Press, 2024) is a comprehensive biography that delves into the troubled life of the Jewish-Italian artist Amedeo Modigliani.; Written by Dr. Henri Colt, an internationally recognized lung specialist, the book examines the artist's legend and Modigliani's creative journey from a medical perspective, from his birth in Livorno, Italy, to his tragic death in a paupers' hospital in Paris at the age of thirty-five, presumably from tuberculous meningitis. Becoming Modigliani sheds light on the young man's chronic illnesses, addictions, and relationships with friends and lovers as he navigated the vibrant yet challenging world of early twentieth-century Bohemian Paris. Beginning with "Modi's" birth in 1884, the narrative is divided into five parts, seamlessly blending biographical elements with medical insights and a critical analysis of Modigliani's work among some of the greatest artists of the time. It also provides thoughtful descriptions of a changing society governed by the impact of infectious diseases, war, and a flourishing of other creative geniuses such as Picasso, Jean Cocteau, and Guillaume Apollinaire. With thirty-seven virtually standalone chapters, a preface and epilogue, three appendices, and a rich array of illustrations and references, this biography promises a profound and compassionate exploration of Modigliani's embattled world. In Becoming Modigliani, Dr. Colt's aim is to foster empathy and greater understanding by unraveling the intricate layers of Modigliani's existence. The result is a captivating and deeply researched tale that will resonate with a diverse audience of serious readers, art and medical history enthusiasts, sociologists, and anyone interested in the human spirit. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Becoming Modigliani (Rake Press, 2024) is a comprehensive biography that delves into the troubled life of the Jewish-Italian artist Amedeo Modigliani.; Written by Dr. Henri Colt, an internationally recognized lung specialist, the book examines the artist's legend and Modigliani's creative journey from a medical perspective, from his birth in Livorno, Italy, to his tragic death in a paupers' hospital in Paris at the age of thirty-five, presumably from tuberculous meningitis. Becoming Modigliani sheds light on the young man's chronic illnesses, addictions, and relationships with friends and lovers as he navigated the vibrant yet challenging world of early twentieth-century Bohemian Paris. Beginning with "Modi's" birth in 1884, the narrative is divided into five parts, seamlessly blending biographical elements with medical insights and a critical analysis of Modigliani's work among some of the greatest artists of the time. It also provides thoughtful descriptions of a changing society governed by the impact of infectious diseases, war, and a flourishing of other creative geniuses such as Picasso, Jean Cocteau, and Guillaume Apollinaire. With thirty-seven virtually standalone chapters, a preface and epilogue, three appendices, and a rich array of illustrations and references, this biography promises a profound and compassionate exploration of Modigliani's embattled world. In Becoming Modigliani, Dr. Colt's aim is to foster empathy and greater understanding by unraveling the intricate layers of Modigliani's existence. The result is a captivating and deeply researched tale that will resonate with a diverse audience of serious readers, art and medical history enthusiasts, sociologists, and anyone interested in the human spirit. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/biography

Becoming Modigliani (Rake Press, 2024) is a comprehensive biography that delves into the troubled life of the Jewish-Italian artist Amedeo Modigliani.; Written by Dr. Henri Colt, an internationally recognized lung specialist, the book examines the artist's legend and Modigliani's creative journey from a medical perspective, from his birth in Livorno, Italy, to his tragic death in a paupers' hospital in Paris at the age of thirty-five, presumably from tuberculous meningitis. Becoming Modigliani sheds light on the young man's chronic illnesses, addictions, and relationships with friends and lovers as he navigated the vibrant yet challenging world of early twentieth-century Bohemian Paris. Beginning with "Modi's" birth in 1884, the narrative is divided into five parts, seamlessly blending biographical elements with medical insights and a critical analysis of Modigliani's work among some of the greatest artists of the time. It also provides thoughtful descriptions of a changing society governed by the impact of infectious diseases, war, and a flourishing of other creative geniuses such as Picasso, Jean Cocteau, and Guillaume Apollinaire. With thirty-seven virtually standalone chapters, a preface and epilogue, three appendices, and a rich array of illustrations and references, this biography promises a profound and compassionate exploration of Modigliani's embattled world. In Becoming Modigliani, Dr. Colt's aim is to foster empathy and greater understanding by unraveling the intricate layers of Modigliani's existence. The result is a captivating and deeply researched tale that will resonate with a diverse audience of serious readers, art and medical history enthusiasts, sociologists, and anyone interested in the human spirit. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Becoming Modigliani (Rake Press, 2024) is a comprehensive biography that delves into the troubled life of the Jewish-Italian artist Amedeo Modigliani.; Written by Dr. Henri Colt, an internationally recognized lung specialist, the book examines the artist's legend and Modigliani's creative journey from a medical perspective, from his birth in Livorno, Italy, to his tragic death in a paupers' hospital in Paris at the age of thirty-five, presumably from tuberculous meningitis. Becoming Modigliani sheds light on the young man's chronic illnesses, addictions, and relationships with friends and lovers as he navigated the vibrant yet challenging world of early twentieth-century Bohemian Paris. Beginning with "Modi's" birth in 1884, the narrative is divided into five parts, seamlessly blending biographical elements with medical insights and a critical analysis of Modigliani's work among some of the greatest artists of the time. It also provides thoughtful descriptions of a changing society governed by the impact of infectious diseases, war, and a flourishing of other creative geniuses such as Picasso, Jean Cocteau, and Guillaume Apollinaire. With thirty-seven virtually standalone chapters, a preface and epilogue, three appendices, and a rich array of illustrations and references, this biography promises a profound and compassionate exploration of Modigliani's embattled world. In Becoming Modigliani, Dr. Colt's aim is to foster empathy and greater understanding by unraveling the intricate layers of Modigliani's existence. The result is a captivating and deeply researched tale that will resonate with a diverse audience of serious readers, art and medical history enthusiasts, sociologists, and anyone interested in the human spirit. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Becoming Modigliani (Rake Press, 2024) is a comprehensive biography that delves into the troubled life of the Jewish-Italian artist Amedeo Modigliani.; Written by Dr. Henri Colt, an internationally recognized lung specialist, the book examines the artist's legend and Modigliani's creative journey from a medical perspective, from his birth in Livorno, Italy, to his tragic death in a paupers' hospital in Paris at the age of thirty-five, presumably from tuberculous meningitis. Becoming Modigliani sheds light on the young man's chronic illnesses, addictions, and relationships with friends and lovers as he navigated the vibrant yet challenging world of early twentieth-century Bohemian Paris. Beginning with "Modi's" birth in 1884, the narrative is divided into five parts, seamlessly blending biographical elements with medical insights and a critical analysis of Modigliani's work among some of the greatest artists of the time. It also provides thoughtful descriptions of a changing society governed by the impact of infectious diseases, war, and a flourishing of other creative geniuses such as Picasso, Jean Cocteau, and Guillaume Apollinaire. With thirty-seven virtually standalone chapters, a preface and epilogue, three appendices, and a rich array of illustrations and references, this biography promises a profound and compassionate exploration of Modigliani's embattled world. In Becoming Modigliani, Dr. Colt's aim is to foster empathy and greater understanding by unraveling the intricate layers of Modigliani's existence. The result is a captivating and deeply researched tale that will resonate with a diverse audience of serious readers, art and medical history enthusiasts, sociologists, and anyone interested in the human spirit. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/italian-studies

“Modigliani / Zadkine” Une amitié interrompueau musée Zadkine, Parisdu 14 novembre 2024 au 30 mars 2025Entretien avec Cécilie Champy-Vinas, conservatrice en chef du patrimoine, directrice du musée Zadkine, et co-commissaire de l'exposition,par Anne-Frédérique Fer, à Paris, le 2 décembre 2024, durée 14'48,© FranceFineArt.https://francefineart.com/2024/12/06/3578_modigliani-zadkine_musee-zadkine/Communiqué de presse Commissariat :Cécilie Champy-Vinas, conservatrice en chef du patrimoine, directrice du musée ZadkineThierry Dufrêne, professeur d'histoire de l'art contemporain à l'Université Paris NanterreAvec la collaboration d'Anne-Cécile Moheng, attachée de conservation au musée ZadkineAprès l'exposition dédiée à Chana Orloff, le musée Zadkine continue d'explorer les liens artistiques tissés par Zadkine au cours de sa vie. Cette exposition est la première à s'intéresser à une amitié artistique jamais explorée jusqu'alors, celle qui unit le sculpteur Ossip Zadkine au peintre Amedeo Modigliani.À travers près de 90 oeuvres, peintures, dessins, sculptures mais également documents et photographies d'époque, elle propose de suivre les parcours croisés de Modigliani et Zadkine, dans le contexte mouvementé et fécond du Montparnasse des années 1910 à 1920. Bénéficiant de prêts exceptionnels de grandes institutions – le Centre Pompidou, le musée de l'Orangerie, les musées de Milan, Rouen et Dijon – ainsi que de prêteurs privés, le parcours fait se confronter, comme au temps de leurs débuts artistiques, deux artistes majeurs des avant-gardes, et permet de renouer les fils d'une amitié interrompue.Ossip Zadkine rencontre Amedeo Modigliani en 1913 : les deux artistes, fraîchement débarqués à Paris, rêvent chacun de devenir sculpteurs et partagent alors le « temps des vaches maigres » comme l'écrira Zadkine dans ses souvenirs. Cette amitié, aussi brève que féconde sur le plan artistique, est interrompue par la Première Guerre mondiale. Modigliani abandonne la sculpture pour la peinture, sur le conseil de marchands. Zadkine s'engage comme brancardier en 1915, avant d'être gazé et d'entamer une longue convalescence. Les deux artistes se retrouvent brièvement au sortir de la guerre, avant que leurs voies ne divergent à nouveau. Modigliani connaît un succès croissant avec ses peintures, mais il meurt prématurément à 35 ans, en 1920, tandis que Zadkine entame une longue et fructueuse carrière de sculpteur. Zadkine n'oubliera pas Modigliani et conservera précieusement le portrait fait par son ancien camarade, dont la gloire posthume ne fait que croître, à tel point que « Modi » devient l'une des figures mythiques de l'art moderne.L'exposition fait dialoguer, pour la première fois, les oeuvres de Modigliani et de Zadkine, mettant en évidence leur parenté d'inspiration mais également leurs divergences. Le parcours retrace, en cinq sections, les étapes d'une amitié d'exception, depuis les débuts parisiens des deux artistes jusqu'à la mort de Modigliani en janvier 1920. Il met en avant les cercles de sociabilité communs des deux artistes à Montparnasse, ainsi que le rôle pris par Zadkine dans l'édification posthume du mythe Modigliani. La dernière section interroge le rapport des deux artistes à l'architecture et offre une évocation spectaculaire du projet de temple à l'Humanité, rêvé par Modigliani. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

In this episode of Modern Art is Rubbish, we're jumping into three of the art world's most daring controversies. Starting... The post Nudes, Notoriety, and the Art of Scandal: From Lennon to Modigliani ep127 appeared first on .

This episode focuses heavily on the dynamics between Caitlyn & the rest of the family, as well as the side plot of Kourtney & Scott's quest to figure out whether or not the Modigliani painting is authentic.  Links:  Kim insta: https://www.instagram.com/p/DBuWa9ySaus/?igsh=c3YwczJzd3I2aDEz Caitlyn insta: https://www.instagram.com/p/DBufQrHSnRQ/?igsh=MWNid3Jpcmw3NXM3dg== Mark Estes Skims: https://www.instagram.com/p/DBwfSowNAAN/?igsh=cXFzYWhsNnJmN2Z5 Kristin/Scott article: https://www.today.com/today/amp/wbna45341492 To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

This episode focuses heavily on the dynamics between Caitlyn & the rest of the family, as well as the side plot of Kourtney & Scott's quest to figure out whether or not the Modigliani painting is authentic. Links: Kim insta: https://www.instagram.com/p/DBuWa9ySaus/?igsh=c3YwczJzd3I2aDEzCaitlyn insta: https://www.instagram.com/p/DBufQrHSnRQ/?igsh=MWNid3Jpcmw3NXM3dg==Mark Estes Skims: https://www.instagram.com/p/DBwfSowNAAN/?igsh=cXFzYWhsNnJmN2Z5Kristin/Scott article: https://www.today.com/today/amp/wbna45341492 See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Il était le plus beau, le plus charismatique sans doute, le plus talentueux peut-être des grands artistes de Montparnasse ; mais de tous, Amedeo Modigliani se sera révélé le plus fragile… Mention légales : Vos données de connexion, dont votre adresse IP, sont traités par Radio Classique, responsable de traitement, sur la base de son intérêt légitime, par l'intermédiaire de son sous-traitant Ausha, à des fins de réalisation de statistiques agréées et de lutte contre la fraude. Ces données sont supprimées en temps réel pour la finalité statistique et sous cinq mois à compter de la collecte à des fins de lutte contre la fraude. Pour plus d'informations sur les traitements réalisés par Radio Classique et exercer vos droits, consultez notre Politique de confidentialité.Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

Le puntate dedicate alle Grandi Truffe della storia : https://www.youtube.com/watch?v=4ZV0Wc8GnI8&list=PLpMrMjMIcOkkm4I7ttcQHPxPmfFux3Fi4&index=1&ab_channel=LaBibliotecadiAlessandria

EPISODE 9 -- As Franco listens from New York, and his family listens from safehouses inside Rome, the radio broadcasts the Allies' decisive attack to free the city. David's cousins recall the day of liberation - and those who didn't make it. Split apart by war, the two Modigliani brothers, Franco and Giorgio, yearn to reconnect. For more, tap to follow @packonebag on Instagram, TikTok and X and visit the show's website. This episode is sponsored by Harney & Sons Fine Teas! Visit Harney & Sons HERE and use code PACKONEBAG for 10% off!See omnystudio.com/listener for privacy information.

Francesco Poli"L'ironia è una cosa seria"Strategie dell'arte d'avanguardia e contemporaneaJohan & Leviwww.johanandlevi.comCogliere la componente ironica nelle opere d'arte visiva sembra un gioco scontato. La storia abbonda di artisti che hanno usato questo ingrediente con palesi intenti satirici, grotteschi, paradossali o in modo clamorosamente provocatorio, per giungere talvolta a una banalizzazione del suo ruolo sovversivo.Volendo andare più a fondo, però, esiste una modalità più sottile, complessa e concettuale che opera sul piano della forma prima ancora che su quello dei significati più immediatamente decifrabili. Dove meno ce lo aspettiamo possono nascondersi trame sotterranee che richiedono un secondo sguardo, perché l'ironia è spesso intessuta fra le maglie dell'opera che abbiamo davanti quando non è addirittura radicata nell'attitudine dell'artista.Scopriamo, poi, che anche in quegli autori in cui la provocazione sembra più esplicita e finanche gridata, come Cattelan o Koons, comprenderne tutte le sfumature e le ragioni è un'operazione che richiede dei distinguo.Dal sovvertimento dei canoni accademici compiuto dagli impressionisti, attraverso gli esiti conturbanti del Surrealismo, fino alle indebite appropriazioni postmoderne, Francesco Poli riconosce all'ironia dignità accademica e accetta la sfida di mostrare come questa assuma una funzione cruciale nelle diverse tappe delle avanguardie e dell'arte contemporanea. Ma, ancora più importante, fornisce la chiave di lettura per decriptare il dispositivo ironico, affinché possa sprigionare tutta la sua carica distruttiva e innovatrice.Francesco PoliInsegna Arte e Comunicazione all'Università di Torino. Ha curato numerose mostre in musei, spazi pubblici e privati e collabora con il quotidiano La Stampa oltre che con riviste specializzate. Tra le sue pubblicazioni, Minimalismo, Arte Povera, Arte Concettuale (1997), Il sistema dell'arte contemporanea (1999), La scultura del Novecento. Forme plastiche, costruzioni, oggetti, installazioni ambientali (2015), Il pittore solitario. Seurat e la Parigi moderna (2017) e Modigliani. Una vita per l'arte (2018).IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Linda Tugnoli"Art Night""Il volto e l'anima. Indagine sul ritratto"Mercoledì 24 aprile 2024 alle 21.15 su Rai 5Art Night Il volto e l'anima. Indagine sul ritratto Il volto umano: la prima forma che si distingue, appena nati. La prima che si cerca di rappresentare. Un soggetto che ha attraversato tutta la storia dell‟arte occidentale. In tempi molto recenti, però, è stato però varcato un confine invisibile. Lo racconta “Art Night” in onda mercoledì 24 aprile alle 21.15 in prima visione su Rai 5 con Neri Marcorè, con un documentario di Linda Tugnoli prodotto da Mark in video. Uno studio recentissimo dell‟Australian National University ha messo in luce come, nei ritratti fotografici, i volti prodotti dall‟Intelligenza Artificiale siano ormai percepiti come più veri del vero. E‟ la soglia di una nuova era? Anche nell‟arte la rivoluzione è già iniziata. Il collettivo Obvious ha creato il primo ritratto creato con l‟Intelligenza Artificiale battuto all‟asta da Christie‟s a più di 400.000 dollari e il ritratto è stato generato da un algoritmo che per produrlo ha analizzato circa 15.000 ritratti di varie epoche storiche. «Siamo stati creati per guardarci l‟un l‟altro» scriveva Edgar Degas che, a Parigi, prendeva l‟omnibus ogni giorno per potersi immergere quotidianamente in una folla di volti. E nel ritratto, ogni epoca ha espresso l‟idea che l‟uomo aveva di sé stesso. Per questo, interrogarsi sull‟interesse dell‟arte occidentale per il ritratto, cioè per la sua attitudine introspettiva, prevede delle domande che, se da una parte spaziano dalla pittura alla scultura, alla fotografia, alle opere realizzate con l‟ausilio dell‟intelligenza artificiale, dall‟altra si collocano necessariamente al confine tra storia dell‟arte, scienza e filosofia. La speculazione sul profondo attraverso la raffigurazione del volto significa innanzitutto analisi delle emozioni. All‟origine del ritratto moderno, nel senso appunto di questa capacità introspettiva, possiamo collocare Leonardo Da Vinci, con i suoi studi di fisiognomica e la sua raccomandazione di rappresentare i moti dell‟animo attraverso i tratti del volto: dal suo Trattato della Pittura: «Farai le figure in tale atto, il quale sia sufficiente a dimostrare quello che la figura ha nell‟animo.» Ma la geniale intuizione di Leonardo, ripresa da Degas nella sua idea che osservarci l‟un l‟altro sia l‟essenza dell‟umano, non riecheggia forse anche nelle recenti ricerche delle neuroscienze, tra cui un‟importantissima scoperta tutta italiana: quella dei neuroni specchio? Giacomo Rizzolatti, neuroscienziato di cui già più volte è stato fatto il nome per il Nobel, ha scoperto che il cervello risponde alle emozioni che legge sul volto di un altro con delle configurazionineuronali che non si limitano a “leggere” quelle emozioni ma, incredibilmente, le mimano, le riproducono. Il racconto di “Art Night” procede per suggestioni e per nuclei tematici, ma si appoggia anche a una solida linea del tempo che conduce dai volti quasi assenti nell‟arte rupestre del Paleolitico alle maschere funerarie egizie per poi riflettere sull‟originalità e la forza della ritrattistica romana nel campo della scultura. Si indagherà lo sviluppo della fisiognomica a partire dagli studi anticipatori di Leonardo al trattato cinquecentesco del Della Porta fino a Le Brun e agli sconfinamenti nello studio della follia e dell‟antropologia criminale di Lombroso. Parallelamente, si seguirà la ricerca della verità nel ritratto a partire dal „400, dove un punto di partenza può essere individuato nei sorrisi eternizzati dell‟Ignoto marinaio di Antonello da Messina e la sua più celebre controparte femminile, la Gioconda. La storia del ritratto si imbatte poi alla bizzarra vicenda umana e artistica di Lorenzo Lotto, che prelude alle vette della ritrattistica di Rembrandt, Velasquez, Vermeer, fino alla tappa definitiva della psicanalisi, che con Freud nel 1900 svela l‟esistenza di profondità fino ad allora insondate a pittori come Modigliani, Klimt, Schiele e poi ai surrealisti. Con la fotografia, che soppianta il ritratto e ne riprende all‟inizio certe caratteristiche (per esempio l‟assenza di sorriso, almeno fino all‟apparecchio portatile della Eastman-Kodak alla fine dell‟800) si entra in una nuova era, fino agli approdi più recenti che aprono nuove dimensioni nel futuro, dall‟arte digitale al deep fake. Nel programma intervengono Amy Dawel, Associate Professor, The Australian National University; l‟artista Pierre Fautrel, Obvious Ai & Art, Parigi; Francois Debrabant, Direttore Museo Preistorico La Sabline a Lussac- Les-Chateaux e Oscar Fuentes, archeologo del Centre National De Préhistoire; Anna Oliverio Ferraris, scrittrice e psicologa. Christian Greco, direttore del Museo Egizio, e Stefania Mainieri, ricercatrice del Museo Egizio, Fabrizio Paolucci, responsabile Collezione Antichità Classiche delle Gallerie degli Uffizi; Vincenzo Garbo, presidente della Fondazione Mandralisca a Cefalù e Antonella Tumminello, restauratrice; Flavio Caroli e Enrico Dal Pozzolo, storici dell‟arte; Giacomo Rizzolatti, del Dipartimento Medicina e Chirurgia dell‟Università di Parma, Simona Turco, funzionario archivista dell‟Istituto Centrale per il Catalogo e la Documentazione e Michele Smargiassi, giornalista.IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

C'est la 4ème émission, avec comme participants Laura, Charlotte et Mathias. On a beaucoup rigolé, on a deviné des personnages & anecdotes... Mais on a aussi discuté de l'Histoire avec un grand H. J'y raconte également mon court échange avec Robert Badinter... En espérant que l'émission vous plaise, n'oubliez pas de VOUS ABONNER au podcast !Les recosMathias : Manga "Kingdom" par Yasuhisa Hara - série documentaire ARTE « les grands Mythes » sur ARTE et Youtube - série documentaire « Apocalypse » sur ARTE égalementCharlotte : expo du petit palais sur la peinture impressionniste, Modigliani au Musée de l'Orangerie, musée d'Orsay expo Van Gogh, Atelier des Lumières, expo sur l'amour à LyonLaura : livre « Tu comprendra quand tu seras plus grande" de Virginie GrimaldiSuivez toutes les actualités sur Instagram : https://www.instagram.com/les_histoires_secretes/ Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

For this week's Lilli Palmer Acteurist Oeuvre-view episode, we watched Jacques Becker's The Lovers of Montparnasse (1958), in which Palmer, playing Modigliani's rejected lover Beatrice Hastings, perfects her persona of brittle dissociation; and Mädchen in Uniform, the 1958 remake of the famous Weimar-era film about a teenager at an all-girls' boarding school who falls in love with her teacher. Our viewings provoke topics from the relationship between art and capitalism to the relationship between gender, sexuality, and militarism.  Time Codes: 0h 00m 35s:      LES AMANTS DE MONTPARNASSE (1958) [dir. Jacques Becker] 0h 34m 14s:       MADCHEN IN UNIFORM (1958) [dir. Giza Von Radvanyi] +++ * Listen to our guest episode on The Criterion Project – a discussion of Late Spring * Marvel at our meticulously ridiculous Complete Viewing Schedule for the 2020s * Intro Song: “Sunday” by Jean Goldkette Orchestra with the Keller Sisters (courtesy of The Internet Archive) * Read Elise's piece on Gangs of New York – “Making America Strange Again” * Check out Dave's Robert Benchley blog – an attempt to annotate and reflect upon as many of the master humorist's 2000+ pieces as he can locate – Benchley Data: A Wayward Annotation Project!  Follow us on Twitter at @therebuggy Write to us at therebuggy@gmail.com We now have a Discord server - just drop us a line if you'd like to join! 

Hay que estar muy enamorado de París para escribir una novela así. Hay que amar mucho París para volver a ella cien años atrás. Hay que sentir devoción por sus calles, por sus bulevares, por los grandes personajes que la han engrandecido… para dedicarle una novela llena de emoción y sentimiento. Es la novela que ha escrito Máximo Huerta, París despertaba tarde.Una novela que es un acto de amor a París.Máximo Huerta vio que la televisión se le quedaba pequeña para contar las historias que él quería contar, que necesitaba contar. Y por eso fue dejando poco a poco ese trabajo de colocarse delante de las cámaras, y se puso a escribir, con una destreza narrativa y una capacidad para seducirnos con personajes inolvidables. Personajes como los que desfilan por su última novela, París despertaba tarde. Kiki de Montparnasse, Man Ray, Monet, Modigliani y Jeanne Hebuterne, Coco Chanel, Scott Fitzgerald, Ernest Hemingway o el barón Pierre de Coubertin. Y por encima de ellos, una talentosa modista con el corazón roto. Es el París de 1924 que se prepara para los Juegos Olímpicos. El alhameño Salvador S. Molina nos presenta su primera novela: El mal hijo, publicada por Espasa.Es uno de los veranos más calurosos que se recuerdan en la huerta murciana. Una abuela y su nieto de once años atraviesan los campos infinitos de limoneros y paleras comidas por la cochinilla. Es allí donde ella quiera mostrarle algo que nadie más ha visto: en una vieja caseta de labriegos, la Pascuala tiene secuestrado a su propio hijo. En la sección de Audiolibros, Las furias invisibles del corazón, de John Boyne. En Pequeñas historias de los clásicos, la manía que Agatha Christie le cogió a su detective Hércules Poirot y como Dostoeivski se libró de que lo fusilaran.Y entre las últimas novedades, tenemos la nueva novela de Eduardo Mendoza.

durée : 00:14:17 - Le Disque classique du jour du lundi 15 janvier 2024 - Le Quatuor Modigliani consacre son nouvel enregistrement à la musique de Grieg et Smetana en interprétant deux quatuors composés en 1876 et 1878, au travers desquels ces deux compositeurs dévoilent leurs sentiments les plus intimes

durée : 01:28:10 - En pistes ! du lundi 15 janvier 2024 - par : Emilie Munera, Rodolphe Bruneau Boulmier - En ce lundi matin, Emilie et Rodolphe vous proposent de commencer la semaine en parcourant les œuvres de Prokofiev, Ravel, mais aussi celles de Verdi, Haydn, Charpentier, Grieg et Smetana, sans oublier le compositeur anglais George Jeffreys. En pistes !

Er gilt als einer der größten Kunstdiebstähle des neuen Jahrtausends: Der Einbruch ins Museum für Moderne Kunst in Paris im Jahr 2010. In einer Nacht- und Nebelaktion werden Meisterwerke von Picasso, Matisse, Modigliani, Braque und Léger gestohlen und verschwinden im Schwarzmarkt. Die Gemälde haben einen geschätzten Gesamtwert von mehr als 100 Millionen Euro. Die Polizei vermutet einen Dieb oder eine Bande mit außergewöhnlichen Fähigkeiten im Einbruch und einem exquisiten Kunstgeschmack. Doch dann erhärten sich Beweise, dass es sich beim Täter um einen polizeibekannten Einbrecher handelt, mit Kletterkünsten, die seines gleichen suchen. Doch wer ist der Spiderman-Dieb? Und lassen sich am Tatort noch Spuren finden? Lenore hat in dieser Folge wieder tief in den Polizei-Akten gegraben und Torben nimmt euch mit nach Paris zum Ort des Geschehens. Im Museum kommt es dann zu einem schauderhaften Treffen. Hier könnt ihr direkt den zweiten Teil des spannenden Kunstkrimis um den Spiderman-Dieb von Paris hören: https://1.ard.de/kunstverbrechen-spiderman_2 Schreibt uns gerne an: kunstverbrechen@ndr.de Unser Podcast-Tipp in dieser Folge: Babylon Berlin https://1.ard.de/babylonberlin-hoerspiel

Natalia Tamames is an Intellectual Property & Entertainment Lawyer at Andersen. In this episode, Natalia talks about her recent experience as a Culture & Arts expert at UNESCO, her journey in the music business both as a lawyer and as an artist, and more.  Check out her latest music release Musa de Modigliani. Use my special link https://zen.ai/mnkKj-DVNzSyClAGkHuVf9FldSGEVYIXTMDym6JUw9w to save 30% off your first month of any Zencastr paid plan.

As you may have noticed, the December calendar is about Montparnasse, the famous neighbourhood of Montparnasse where so many artists gathered at the beginning of the 20th century : Apollinaire, Modigliani, Soutine, Picasso, Brancusi, Blaise Cendrars, so many famous names.  Do you remember, two weeks ago when Anne-Laure and I recorded ourselves under the rain, again? And that we thought that Rachilde or André Breton could have been responsible for this? Well today, you are going to hear this specific recording. We were at the Villa Vassilief, a nice passage near Montparnasse station. This lovely Parisian passage used to have many artists'studio that are now used differently. This is where Marie Vassilief, a painter who came from Russia in 1910 had her studio and her famous cantine for artists during World War One. She made a small painting about a specific meal to celabrate George Braque's return from war. The painting can be seen in Paris until April 14th, at the very nice exhibition at Le Petit Palais, Le Paris de la modernité.  In the notes that come with the transcript, I will highlight for you some tipical French expressions that are present in the text. There will be also a little devinette !   So to Cultivate Your French, receive the text by email each time an episode is released, and enjoy all the positive effects of having the exact text of the episode, you could subscribe to the transcript at www.cultivateyoufrench.com. The subscription costs 4 euros a month and each new subscriber receives the 10 latest episodes.  I mentioned the December Calendar about Montparnasse. To receive it, please enter your email address on the home page of my website www.onethinginafrenchday.com . It's free and it's in French !  www.cultivateyourfrench.com  

Aujourd'hui, nous continuons notre découverte du quartier de Montparnasse. D'ailleurs, j'espère que vous suivez le calendrier de décembre, qui est justement consacré à Montparnasse. Pour le recevoir gratuitement, il suffit d'entrer votre adresse email sur la page d'accueil du site du podcast : www.onethinginafrenchday.com Donc, nous sommes à Montparnasse. Cet épisode commence sous la pluie. Si je vous parle du CROUS dans cette première partie d'épisode, c'est parce que c'est là que se trouvait à l'époque le Bal Bullier dont nous allons vous reparler plus tard, ainsi que de la Closerie des Lilas. Dans la seconde partie de l'épisode, nous avons profité d'un arrêt dans une brasserie pour vous parler de la rue Campagne Première et particulièrement de chez Rosalie qu'affectionnait tant le peintre Modigliani.  www.onethinginafrenchday.com

Last week, when Anne-Laure and I were recording ourselves under the rain, we were in Montparnasse. Do you know this famous Parisian neighbourghood were lived Picasso, Modigliani, Soutine, Brancuse, Hemingway, Marie Vassilief, Man Ray and many others?  I'm sure you have already heard about La Coupole, the famous café that opened in the 1920ies ? Well, the place Anne-Laure and I are going to tell you about opened in 1912, rue Campagne Première. It's less known than La Coupole and it a smaller place, but Modigliani enjoyed to go there.  I found a picture showing Rosalie in her restaurant. In the notes that come with the transcript, I will give you short and easy sentences that describe this picture. Describing the picture in French is an interesting exercice, but it also has the magic effect of almost transporting you into the picture.  So to Cultivate Your French, receive the text by email each time an episode is release, and enjoy all the positive effects of having the exact text of the episode, you could subscribe to the transcript at www.cultivateyoufrench.com. The subscription costs 4 euros a month and each new subscriber receives the 10 latest episodes.  I mentioned the December Calendar last week, it's about Montparnasse. To receive it, please enter your email address on the home page of my website onethinginafrenchday.com . It's free and it's in French ! 

Inside The Music podcast kicks off with an exploration of composer Franz Schubert and his role in bridging the Classical and Romantic periods. Artistic Director of Capital Region Classical Derek Delaney highlights this important transitional role by exploring some of Schubert's celebrated string quartets through live CRC performances by the Belcea, Doric, and Modigliani quartets. He also interviews cellist John Myerscough of the Doric Quartet and gets his insight on Schubert's monumental G-major Quartet, D. 887.Schubert: Quartet in E‐flat Major, D. 87 – Allegro moderato Belcea Quartet [10/16/2016 performance]Schubert: Quartettsatz in C Minor, D. 402 Modigliani Quartet [2/21/2016 performance]Schubert: Quartet in G Major, D. 887 – Allegro molto moderato Doric Quartet [3/10/2017 performance]Dive deeper into this episode's repertoire by heading to our YouTube channel for a discussion with some of our audience members about the program.Follow us to stay up to date on the latest from Capital Region Classical including concerts, events, and new episodes of Inside the Music:WebsiteFacebookInstagramYouTube© Capital Region Classical

Ainsi, voilà, pour cette fin d'année : Anne-Laure et moi vous emmenons à Montparnasse, à la découverte de ce quartier des artistes. Quels premiers noms vous viennent à l'esprit ? Ceux des artistes ou bien de leurs cafés de prédilection comme le Dôme, la Coupole ou la Rotonde ? Bien sûr, nous allons les croiser : Picasso, Modigliani, Soutine, Marie Vassilief, Chagall, et tous les autres.  www.onethinginafrenchday.com  

Er ist vielleicht nicht ganz so berühmt wie Picasso oder Matisse, aber seine Bilder haben die gleiche Kraft und den gleichen Wiedererkennungswert. Modigliani gehört zu den großen Vertretern der Klassischen Moderne, die im Paris des frühen 20. Jahrhunderts ihre Kunst schufen. Seine weiblichen Akte lösten bei seiner ersten Einzelausstellung einen handfesten Skandal mit Polizeieinsatz aus. Die Stuttgarter Staatsgalerie hofft und erwartet eine großen Publikumsandrang, bei der ersten Modigliani-Schau seit 15 Jahren in Deutschland. Marie-Christine Werner diskutiert mit Dr. Nathalie Lachmann – Kuratorin der Ausstellung in der Staatsgalerie Stuttgart; Prof. Dr. Markus Müller – Leiter des Kunstmuseums Pablo Picasso in Münster; Eva-Susanne Schweizer – Repräsentantin für Baden-Württemberg vom Auktionshaus Christie's

El cine le ha sacado mucho partido tanto a los grandes maestros de la pintura (Modigliani, Miguel Ángel, Picasso, Van Gogh,…) como a otros artistas ficticios surgidos de la mente de los guionistas. Nuestros maduritos, Andrés Aberasturi y José Luis Garci, acompañados del actor Miguel Rellán, ponen toda su atención en todos esos títulos de la gran pantalla que han mirado al lienzo. No es lo único en lo que se centran, también hay tiempo para recordar a figuras de la talla de Tony Leblanc y para hablar de la película de esta semana del Cine Clásico de La 2: El color púrpura. Escuchar audio

Ullner, Jens-Henningwww.deutschlandfunkkultur.de, Fazit

durée : 00:15:13 - Les Nuits de France Culture - par : Albane Penaranda - La compositrice Germaine Tailleferre donnait en 1975 dix entretiens sur sa vie et son oeuvre au micro de Michel Manoll. Au programme du volet 6/10, elle évoque avec humour sa vie mondaine, débutée dans les années 1910 avec Picasso, Modigliani, Cocteau, Colette, Anna de Noailles, Ravel, Satie, etc. - invités : Germaine Tailleferre Compositrice française

This episode of Making a Mark explores the printmaking practice of Yinka Shonibare CBE (b. 1962), a globally celebrated artist whose work examines race, class, and constructions of cultural identity. We meet Shonibare in his busy East London studio, surrounded by his prints and rolls upon rolls of Batik fabric, a symbolic and distinct feature of the artist's work. Listen in as Shonibare explains why this fabric has become a recurrent motif for everything he wants to say about identity, politics, colonialism, and postcolonialism. Shonibare discusses how in recent years he has returned to two-dimensional work in the form of printmaking. Find out about the complex way he makes his woodblock prints and about his subject matter, including how the election of Donald Trump informed his first ever print project with Cristea Roberts Gallery and how the imagery of a large-scale print made in response to the Black Lives Matter movement in 2020, was born from a rejected commission, deemed too controversial. We also find out why in his recent prints, Shonibare has chosen to illustrate the radical influence of African artefacts on the work of western modernists, from Picasso, Derain, Modigliani, Matisse to Man Ray and his fellow artists in the Dada and Surrealist movements. Contributors include gallery director, David Cleaton-Roberts and curator, writer and broadcaster Ekow Eshun. Presented by writer and critic, Charlotte Mullins. Click here to purchase a book featuring an interview between Yinka Shonibare CBE and Charlotte Mullins. Making a Mark is a podcast by Cristea Roberts Gallery exploring the relationship between artists and printmaking.⁠ Artworks discussed in the episode can be viewed online via https://cristearoberts.com/podcast/ Photo: Leon Foggitt #yinkashonibare #ekoweshun #printmaking #printstudio #artiststudio #woodblock #africanmodernism #africanart #donaldtrump #blm #blmmovement #britishempire #colonialism #culturalidentity

The podcast features Lauren Bedula, Hondo Geurts, Whitney McNamara and Pete Modigliani discussing national security, the future of innovation in Natsec and how the private industry can support the growth of the industrial network.  Whitney & Pete are both members of the Atlantic Council and share their experience in both Government service and in the private sector highlighting how to be a good rebel in big institutions, remaining intellectually curious in your career and the importance of exposure to multiple points of view early in your career.  The conversation touches on the changing landscape of national security and the integration of commercial technology in National Defense. The guests discuss the challenges faced in collaboration between the private sector and the defense community, including policy and cultural barriers. Lauren, Hondo discuss with today's guest:Getting started in the national security arena.Transforming the acquisition process.Barriers to collaboration with DOD.Adoption of new technology.The Currency of Good Ideas.Tension between the commercial sector and the DOD.Leveraging the tech talent and culture of defense prime.

En el 50º aniversario de la muerte de Picasso, en Documentos RNE hemos querido mirar al tiempo en el que el universal pintor malagueño aún no había desarrollado su genio creativo y todavía estaba por trazar su camino artístico. Lo más importante estaba por suceder cuando un jovencito Pablo Ruiz Picasso llega a París en el comienzo del siglo XX y se termina instalando, junto a amigos artistas, en el Bateau Lavoir (Barco Lavadero). Un edificio cochambroso en la colina de Montmartre donde va a suceder un episodio clave de la historia del arte moderno. El documental, con la firma de Antonio Delgado desde París, recrea los años en el que el genio andaluz convivió en el Bateau Lavoir –ente 1904 y 1912- con otros creadores fundamentales del arte que acabaría llamándose vanguardista: Apollinaire, Braque, Max Jacob, Juan Gris, Manolo Hugué, Pablo Gargallo, Modigliani o Henri Rousseau el Aduanero. En el taller del Barco Lavadero Picasso creó, de espaldas al mundo y entre miseria, polvo y suciedad, obras que cambiarán el curso de la pintura del siglo XX como Los saltimbanquis, El retrato de Gertrude Stein o Las señoritas de Aviñón. En esos años Picasso se desarrolló artísticamente y vivirá una evolución que le hará pasar de su etapa azul a la rosa hasta desembocar en lo que se conocerá como cubismo. Documentos RNE ha conseguido entrevistar en exclusiva a Jeannine Warnod, crítica de arte de 102 años, que guarda memoria directa de los protagonistas de esta epopeya artística, porque nació en Montmartre y su padre, el también crítico de arte André Warnod, formó parte de la llamada Banda de Picasso. Sus recuerdos recrean aquel Montmartre, un suburbio rural de París, bohemio y sórdido, en donde la genialidad artística se mezclaba con la droga y la delincuencia. Además, exploramos en las memorias de Fernande Olivier, el primer gran amor parisino de Picasso, que compartió miseria y hambre con él en aquellos años, y que nos permiten entrar en el taller y la intimidad del malagueño. Para completar el documental contamos con los testimonios de la historiadora Annie Cohen Solal; el director de cine Luis Revenga; Juan Manuel Bonet, ex director del Museo Reina Sofía; y Brigitte Leal, ex directora del Museo Pompidou. El resultado de Picasso, el capitán del Barco Lavadero, es un fresco sobre el París de principios del siglo XX y sus movimientos artísticos, y también un relato biográfico de Pablo Ruiz Picasso antes de ser Picasso, el icono mundial de la pintura contemporánea. Escuchar audio

Le 20 mai 2010 au musée d'art moderne de Paris, sans déclencher aucune alarme, cinq toiles de Picasso, Matisse, Modigliani, Braque et Léger, sont dérobées. Des toiles évaluées par son propriétaire, la mairie de Paris, à 109 millions d'euros. Vjéran Tomic, surnommé l'homme araignée, est l'auteur de ces vols. invité : Maitre David-Olivier Kaminski, avocat de Vréjan Tomic.

Hosted by Jane Pauley. In our cover story, David Pogue looks at art created by artificial intelligence, and the downsides it poses. Plus: Mark Whitaker explores a remarkable tale of 19th century deception, and a couple's escape from slavery; Jim Axelrod interviews actress Pamela Anderson about her memoir, "Love, Pamela"; Kelefa Sanneh talks with Maryland's Governor-elect Wes Moore; Serena Altschul visits a Philadelphia exhibition of works by Modigliani; Lee Cowan talks with the stars, and the inspirations, of the football comedy "80 for Brady".See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.