Podcasts about old masters

In the second episode of Season 21 of Star Wars: In a Galaxy, Eli and Jacob discuss the third, fourth, and fifth episodes of Season 1: "Fighter Flight", "Rise of the Old Masters", and "Breaking Ranks". Among their discussion:– Why "Fighter Flight" isn't just about fruit.– Ezra and Zeb becoming friends!– An introduction to Morad Sumar. – Ezra presses a button (no, seriously, this is important).– The history of The Spire. – Luminara Unduli will be such a great master for Ezra... right? – The brilliant Jason Isaacs as the animated version of The Grand Inquisitor stuns. – The seven forms of lightsaber dueling are canon (we're kinda obsessed with them)!– Imperial philosophy in both their military and their prisons.– Zare Leonis, Jai Kell, Nazhros Oleg, and many more REBELS side characters.– A brief aside about Servants of the Empire and REBELS Season 1 tie-ins. The next episode of Star Wars: In a Galaxy will release on June 6, 2025.Follow us on BlueSky, Instagram, and Threads: @InaGalaxyPod/@inagalaxypod.bsky.appFollow our spinoff trivia show on BlueSky: @inagalaxytrivia.bsky.socialFollow Eli everywhere:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://linktr.ee/_ochifan327⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Leave us a 5-star rating and review on Apple and Spotify! It really helps!You can email us at swinagalaxy@gmail.com

Sheryl McCarthy interviews Patrick Bringley, author of All the Beauty in the World, about his decade as a guard at the Metropolitan Museum of Art. He reflects on how the job helped him heal from the grief of losing his brother, offering him peace through the museum's quiet spaces. Patrick shares his connection to the art, particularly the Old Masters, and how the experience led to his bestselling memoir and a play. He also discusses his non-traditional writing journey, his insights into museum life, and his hope to bring the play to New York.

Join and Elle and Ash on a journey through the evolution of cosplay competitions since the pandemic. They will dive deep into how the expectations have changed since 2020. They will discuss the good, and also confusing, aspects of this expensive evolution in cosplay. Included is input from the community on how the changes are impacting "Old Masters" as well as new competitors. Ultimately they will examine the question: Is it time for La Vie Cosplay to retire from competitive cosplay?Special Mentions:Say No To Scrunchies https://www.instagram.com/saynotoscrunchies/Hakc (low tech foundational tutorials) https://www.instagram.com/its.hakc/Produced by LVC Productions. You can find us on facebook, instragram, twitter, and vero at La Vie Cosplay. Our podcast instagram is podcastscs. Our website is laviecosplay.com. Have a fun, crazy con or cosplay related story? Absurd cosplay question? Or just something in general to share with us? Email us at podcastscs@gmail.com or DM us at podcastscs. If you like what you heard please rate, review, and subscribe wherever you get your podcasts. Thank you for listening and remember; just because you can, doesn't mean you should.https://www.instagram.com/podcastscs/https://www.instagram.com/laviecosplay/https://www.tiktok.com/@laviecosplayhttps://linktr.ee/podcastscs for additional listening platforms

Remembering the great Audrey Flack (1931–2024). Earlier this year, I interviewed Flack over a series of interviews before she passed away on 28 June 2024. Audrey was a force, and I hope you enjoy listening to her powerful and moving words. If you want to learn more, I highly recommend her memoir: With Darkness Came Stars: A Memoir (https://www.psupress.org/books/titles/978-0-271-09674-2.html) -- I couldn't be more excited to say that my guest on the GWA Podcast is the esteemed American artist, sculptor, photo-realist painter, and native New Yorker, Audrey Flack. Hailed for her sculptures of divine goddesses and Biblical characters; her paintings evocative of Old Masters that explore the historic subjects but with pop imagery; and abstract canvases, made in the 1940s and 50s, filled with swathes of movement, colour, and vigour – Audrey Flack, has been at the forefront of the art world. Brought up in New York City, Flack studied at Cooper Union and then Yale, where she was one of the only women and was taught under Josef Albers – in the early 1950s Flack found herself amongst the burgeoning downtown art scene, where she frequented the Abstract Expressionist haunt, the Cedar Bar, and hung out with her friends who included Lee Krasner, Joan Mitchell, Grace Hartigan. Audrey Flack knew them all. At the onset of Pop, she turned to photorealist painting, capturing in it distinctively feminist subjects, such as traditional objects associated with femininity and beauty, and then it was to sculpting female archetypes, taking back ancient-old stories steeped in misogynism, and reworking them for a 20th and 21st century audience. Whilst she paints and sculpts – and is in the collections of museums such as the Met and MoMA, – Audrey also takes the role of lead vocals and banjo with her band “Audrey Flack and the History of Art Band”, where she centres her songs around female injustice, the most recent being about the French sculptor, Camille Claudel. At 93 years old, you can often find her wearing t-shirts emblazoned with slogans such as Feminist AF, posing in front of her large-scale works, and wearing sunglasses inside. Flack has written it all down in a memoir – With Darkness Came Stars, one of the most moving, extraordinary books I've ever read. Not just for her artistic insights and incredible first-hand analogies of those who she knew in the 20th Century New York artworld, but, for writing, in such genuine words, the truth of what it's like being a mother, a mother and an artist, and a mother to an autistic child. I was moved to tears a number of times. It made me realise, so acutely, how women and mothers have been treated with such injustice, yet had so much resilience to fight for their voice, their art, their children, and their path. I couldn't recommend it highly enough. -- THIS EPISODE IS GENEROUSLY SUPPORTED BY THE LEVETT COLLECTION: https://www.famm.com/en/ https://www.instagram.com/famm_mougins // https://www.merrellpublishers.com/9781858947037 Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Nada Smiljanic Music by Ben Wetherfield

We're back, Bucketheads!It's the fourth episode of Rebels season 1 and we get an Inquisitor and some Clone Wars intrigue! Strap on your buckets, let's go!Please follow the show at:Mando_Vision on Twitter and Instagram. Email: MandoVisionTom@gmail.comPlease, like, subscribe and share the show with your friends on all of your favorite podcast platforms and if you can take the time to write a 5-Star review, it will be read on the show! Thank for all the support, please stay safe and take care of each other. Music by Dirty Sweet and used with permission.All audio clips from any “Star Wars” material is copyright of Disney Enterprises Inc. and is only used for the sole purpose of promotion of Disney property and to provide context for talking points. Mando Vision is copyright Thomas Pritchard 2024. ★ Support this podcast on Patreon ★

It's finally time! The 4 part series finale of our recap of Avatar:The Last Airbender as we cover all four parts of what is essentially an hour and a half movie. We talk about if what Aang did in the end was right, the emotional moments,and what this show has meant to both of us. Plus we announce what show we will cover next year! Follow Billy and Raul on Twitter @MasterOfPuns196 and @raulvaderrdz as well as the main show @SYNSPod

In this episode, Eric sits down with talented and celebrated artist, illustrator and author… Kadir Nelson! They discuss how he first discovered his artistic inclination and how it had been fostered from an early age; having been mentored by artist and art teacher Michael Morris; his uncle. His educational journey in art — having received a scholarship to study art at the Pratt Institute in Brooklyn and upon graduating with highest honors, how he was summoned by DreamWorks Pictures to create conceptual artwork for Steven Spielberg's Oscar® nominated feature, “Amistad” and the animated feature “Spirit: Stallion of the Cimarron”. They explore his artistic style and how it evolved through the years. From creating paintings and portraits, to illustration and sculpture! His distinct style of urban realism and how it's reminiscent of turn of the century American painters and historical subjects, often telling a story with his art and emphasizing the heroic. They discuss Nelson's process — what moves him and where he draws inspiration from.  How he's displayed his works at notable exhibitions and in the permanent collections of several esteemed institutions… including the United States House of Representatives, The National Baseball Hall of Fame, the World Trade Center, the Smithsonian's National Portrait Gallery, the National Museum of African American History and Culture and most recently, the Lucas Museum of Narrative Art. They delve into exciting stories about how Nelson was commissioned by a host of distinguished clients including music legend John McClain; creating works in honor of Marvin Gaye... painting the cover artwork for Michael Jackson's posthumously released album, “Michael” and recording artist Drake's multi-platinum selling album, “Nothing Was the Same”. His experience of creating cover artwork for the New Yorker magazine; that pay tribute to historical and contemporary American figures in New York City and abroad. How Nelson has authored and illustrated several award-winning New York Times Best Selling picture books including, “WE ARE THE SHIP: The Story of Negro League Baseball” and the great honor he had of becoming the recipient of the prestigious Caldecott Medal for illustration..! Guest Bio: Kadir Nelson (b. 1974) is an award-winning American author and artist based in Los Angeles, California. He is the recipient of multiple awards from the Society of Illustrators in New York, including the prestigious Hamilton King Award as well the 2020 recipient of the Caldecott Medal and Coretta Scott King Award for illustration. He adds this to multiple Caldecott Honors, Coretta Scott King Author and Illustrator Awards, New York Times Best Illustrated Book Awards, several NAACP Image Awards and an Olympic Art Bronze medal, among others. Mr. Nelson has also created artwork for a host of distinguished clients, including but not limited to National Geographic, HBO, Nike, Disney, Hennessy, and Sony Music, for whom he painted the cover artwork for Michael Jackson's posthumously released album, “Michael,” which was listed in the Guinness Book of Records® for the largest poster in the world. Nelson's artwork was also featured on the cover of recording artist Drake's multi-platinum selling album, “Nothing Was the Same”; over a dozen commemorative US postage stamps honoring American legends, such as Major League All-Stars Ted Williams and Joe DiMaggio, NBA great Wilt Chamberlain, and most recently Motown's Prince of Soul Marvin Gaye, which altogether have sold several million stamps. Nelson's primarily figurative paintings and sculptures focus on historical narratives and heroic subjects in American culture and are often informed by the Old Masters like Ingres, Michelangelo, Hopper, and Tanner. His sumptuous settings and characters, rich palette, and realistic, yet painterly technique speaks to both modern urban realism and masterly works of turn-of-the century American painters.

Join Tamara for an interview with Henry Dean, who works in various modes (drawing and mixed media works on paper, installation, painting, sculpture, video), and is also a Foundations professor at SCAD.  Our talk centered around his recently completed "Now and Then," a national immersive land-art project inspired by Nature and Cosmos - specifically the April 8th, 2024 total eclipse. As an Arts-Science initiative it imagines Nature and environment as unique and wonderful attributes of the cosmic whole (and was a project two years in the making!).  Henry graduated St. Andrews University, Scotland (1980, MFA honors, Geography and Fine Arts combined), and Savannah College of Art and Design (2003, MFA Painting). Check out his work and the "Now and Then" project specifically, and follow him here: https://www.henrydean.art/  https://www.instagram.com/nowandtheneclipse24/  Topics in their chat include: Before Henry moved from Philadephia to Savannah in 1999, he was mostly making and selling very large, plein air landscape paintings; his theories on why North America has had 2 total eclipses a few years apart, after not having had any for years; we try to wrap our heads around the experience of the Old Masters who created art in obscurity, died, and then were discovered & lauded throughout the world for centuries (!); how a long creative career always involves different waves of work, including transitional periods, and how craftspersonship can carry your work through successfully; coming to see that "Now and Then" was not specifically about the eclipse, but really about people, honoring communities and landscapes, expressing a wonder for nature, shared experiences, and tying communities together; and the details on that project: two years' worth of work and planning, 15 sculptures across 6 locations, driving across the country reaching out to local governments and chambres of commerce to make pitches for an art project that hadn't yet been completely designed.   Tune in and get all the details!

Today we get to have a deep conversation with Gigi Chen, an artist and painter based in New York City.  Gigi Chen's work creates an aesthetic that combines her training as a traditional animator and painter, along with her love of  the techniques of Old Masters. Entrenched in the art of storytelling, the work pulls together her love of  contemporary idioms of cartooning, photo realism, texture and design to produce works that coalesce into Love, Craft and Fun.  Born in Guang Dong, China and raised in New York, Gigi's exhibition credits include Stone Sparrow Gallery, Superfine! Art Fair, Deep Space Gallery and Antler Gallery.  http://www.gigichen.com/ @gigichen.art

Ben Luke talks to Michaël Borremans 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. Borremans, born in 1963 in Geraardsbergen in Belgium, is one of the most original painters working today. He marries a technical brilliance, born of a careful study of the style and touch of the Old Masters, with a sensibility and atmosphere that are completely his own. Though they depict figures, objects and environments, his paintings remain enigmatic, refusing to settle into easily readable narratives. They are full of uncanny detail and incident which is all the more pronounced because of his sensual handling of the paint. Though he is a perceptive observer of people, things and space, Borremans says he paints culture as opposed to nature. When he makes a painting of a human face, for instance, he is not concerned with the mimetic process of portraiture, rather with a perception of the ineffable nature of human psychology; with what it might mean to be—and to represent—a human being today. Even though it is characterised by an often absurd playfulness, an abiding sense of isolation and disquiet permeates Michaël's work. He discusses the ongoing influence of Francisco de Goya, Diego Velázquez and Jean-Siméon Chardin, the inspirational comedy of Monty Python, the profound writing of Vladimir Nabokov, and his love of music by everyone from Franz Schubert to Taylor Swift. He gives insight into life in the studio and answers our usual questions, including the ultimate: what is art for?Michaël Borremans: The Monkey, David Zwirner, London, opening in London Gallery Weekend, 31 May-2 June, and then 6 June-26 July; Michaël Borremans: The Promise, Prada Rong Zhai, Shanghai, China, until 9 June; Michaël Borremans, Museum Voorlinden, Wassenaar, the Netherlands, 30 November-23 March 2025 Hosted on Acast. See acast.com/privacy for more information.

Today we have a special edition of the Old Masters Series. I've convened a “board meeting” of six of our favorite Old Masters: David Ogilvy, Vic Schwab, Joe Sugarman, Gene Schwartz, Claude Hopkins and John Caples. If you've read Think and Grow Rich, you know how Napoleon Hill used to have imaginary meetings with dead presidents? Well, this one's like that, but a little different. I've taken actual quotes from these six featured Old Masters and organized the quotes into three categories, to answer the question: How can you improve the quality and response of your video ads on Facebook, youtube and TikTok? You'll be surprised and maybe delighted to find out that these guys had some wisdom they published before there even was an internet that applies 100% today—and we'll show you how. Because some things never change. Download.

Jonquil O'Reilly, Head of Sale for Old Master Paintings in New York, shares her favorite way of looking at classic paintings– through the surprisingly fascinating lens of fashion.  Along the way Jonquil also discusses the thrill of attributing a painting to a specific artist, our ever-changing tastes across generations, and the current state of the Old Masters market.

Thank you for listening to this episode of the Trials of Saint Patrick. This episode is brought to you by the Mission Circle, a community that helps Catholics understand, live, and share their faith. To become a member, go to Mission Circle.You can listen to this series and other great Catholic content at FORMED.org.Sign up for a 7-day free trial of FORMED.org.

The US Congress is refusing to scroll past the app's links to China. If the bill they passed becomes law, the video-sharing network will be forced to find new owners. Binyamin Netanyahu's emergency war-time budget has just been approved. What is the cost of Israel's ongoing war (10:40)? And, snapping up Old Masters in Maastricht (18:14).Get a world of insights for 50% off—subscribe to Economist Podcasts+ Sign up for a free trial of Economist Podcasts+. If you're already a subscriber to The Economist, you'll have full access to all our shows as part of your subscription. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

The US Congress is refusing to scroll past the app's links to China. If the bill they passed becomes law, the video-sharing network will be forced to find new owners. Binyamin Netanyahu's emergency war-time budget has just been approved. What is the cost of Israel's ongoing war (10:40)? And, snapping up Old Masters in Maastricht (18:14).Get a world of insights for 50% off—subscribe to Economist Podcasts+ Sign up for a free trial of Economist Podcasts+. If you're already a subscriber to The Economist, you'll have full access to all our shows as part of your subscription. For more information about how to access Economist Podcasts+, please visit our FAQs page or watch our video explaining how to link your account. Hosted on Acast. See acast.com/privacy for more information.

One of the first two books I devoured and then recommended to people who bought my course was by Old Master Joe Sugarman, who passed away two years ago. The book was called “Advertising Secrets of the Written Word.” Just about everything in that book is valid today, and Sugarman writes like a friendly human being, not an imposing overlord of advertising. It's a very easy book to read, but it is chock-full of detailed, high-powered value. Today, as we continue our streak of Old Masters Series episodes, we're going to talk about the book and talk about Joe. The good news is, the whole book is available for less than half of what I paid for it in 1999. And I marvel at how much good stuff he was able to get in there. We're going to cover some of his most important points today. Resources: (same book, new title, better price): The Adweek Copywriting Book, by Joe Sugarman: https://www.amazon.com/dp/0470051248 My new book, The Persuasion Story Code: http://shorturl.at/pzAEQDownload.

The gang learns rule number 1 of Star Wars, that it is, in fact, a trap! --- Support this podcast: https://podcasters.spotify.com/pod/show/starwarsrewatch/support

Aang meets the Lion Turtle and talks with his past lives for some words of wisdom. Zuko reunites with Iroh, and the die is cast for the rest of the series. Peter and Eli theorize about Momo and Avatar Kuruk. This is episode 60 of Avatar: The First Viewing, the podcast where two first time viewers and a series veteran watch Avatar: The Last Airbender from start to finish. We go episode by episode to recount Aang's story. If you're a fan of ATLA or The Legend of Korra — or are watching for the first time — join us as we recount the series!

Welcome to Season 5 of Decorating the Set: From Hollywood to Your Home with Beth Kushnick!  Beth and Caroline are back for a brand new season of pulling back the curtain on the magic of making television and film, and bringing the tips and tricks of the pros right into your home! This week, the ladies sit down with Noelle Giddings, an immensely talented artist whose tremendous career has taken her from being one of the first female comic book artists to Beth's go-to artist for creating bespoke, set-specific 'cleared' art of the highest quality. The Interview with Noelle begins at Time Code: 6:36. GUEST BIO: NOELLE GIDDINGS Noelle Giddings, creator, painter and illustrator, creates set-specific, original though highly evocative, 'cleared' art for television and film. She has enjoyed a long relationship with CBS, creating most of the art needed for standing sets as well as an episode-by-episode basis for shows such as The Good Wife, Braindead, Instinct, Main  Justice, and The Good Fight. Other networks include FX  and the upcoming Y The Last Man, and the film Danielle Isn't Real. Formally trained at The Parsons School of Design (holding an MFA), Noelle combines sophisticated technique and craft with a broad visual literacy and vocabulary. This unusual versatility enables her to infuse each piece with the aesthetic sensibility of any period, movement, or school--from the Old Masters to Contemporary Art. Additionally, Noelle, one of the early (and few) female comic book artists, has over twenty years experience working for Dark Horse, Marvel, and mostly DC Comics (pencils, inks, color, and covers) with hundreds of credits--among them: Batman, Superman, Aquaman, etc. A particularly proud part of her comic book history was helping to start Milestone Media, a lone company dedicated to producing multicultural comics, where as Color Editor she designed and colored the universe known as Dakota. Noelle is also an accomplished animator having worked on the Nickelodeon series, Doug, as well as the Disney movie, Anna Karenina. Noelle has taught art at The Cooper Hewitt International Design Museum as well as at The Children's Museum of the East End. Noelle's actively works on projects ranging from Wake Board Design to Wine Labels, and has commissioned artwork in many private collections. She has had paintings shown in the juried art show, Woman Painting Woman (2014 and 2017) at the RJD Gallery in Bridgehamtpon NY, near where she currently, and happily, resides. Follow Noelle online at noellegiddings.com Instagram: @noelle.giddings ### For over 35 years, Beth Kushnick has created character-driven settings for countless award-winning television series and feature films. As a Set Decorator, she's composed visuals that both capture and enhance any story. Now, she wants to help you capture and enhance YOUR story. Join Beth and her co-host, Caroline Daley, each week as they go behind the scenes of Hollywood's magic, and give you approachable, yet sophisticated tips to realize the space that best expresses who you are. ### Follow Beth Kushnick on Social Media:  Instagram: @bethkushnick Twitter: @bethkushnick Website: DecoratingTheSet.com  Follow Caroline Daley on Social Media: Twitter: @Tweet2Caroline Website: PodClubhouse.com ### Credits: "Giraffes" by Harrison Amer, licensed by Pod Clubhouse. This is an original production of Pod Clubhouse Productions, LLC. Produced, engineered and edited at Pod Clubhouse Studios. For more information, visit our Website.

You can have the greatest product, the greatest headline, the greatest targeting, the greatest offer, and the greatest price. But you know what's going to torpedo your entire promotion in a New York minute? It's: if your prospect doesn't believe you. We covered one aspect of believability last week, but we have some fresh tips today. Because believability is the pass/fail test every ad must pass in order to work. Period. But that's not the end of the story. In today's Old Masters Series episode, we draw on the considerable wisdom of the great John Caples, and a new book I just found out about. Unlike the classic Caples work Tested Advertising Methods, this book is readily available on Amazon for the low, low price of $8.86. And the Kindle is even less. It's called Making Ads Pay, and it's worth far more than the asking price. In this book Caples has a whole chapter on making ads believable. We're going to talk more about that today. Making Ads Pay, by John Caples: https://www.amazon.com/dp/048648601X Download.

You can have the greatest product, the greatest headline, the greatest targeting, the greatest offer, and the greatest price. But you know what's going to torpedo your entire promotion in a New York minute? It's: if your prospect doesn't believe you. Believability is the pass/fail test every ad must pass in order to work. Period. But that's not the end of the story. In today's Old Masters Series episode, we draw on the considerable wisdom of the great John Caples, and a new book recommended on twitter/x by a current copywriting master and friend of the show, Doug D'Anna. Unlike the classic Caples work Tested Advertising Methods, this book is readily available on Amazon for the low, low price of $8.86. And the Kindle is even less. It's called Making Ads Pay, and it's worth far more than the asking price. In this book Caples has a whole chapter on making ads believable. We're going to talk about that today. Making Ads Pay, by John Caples: https://www.amazon.com/dp/048648601X Download.

At the end of the show a question from Andrew Anderson Recommendations Stuart: ‘Poor Things' From filmmaker Yorgos Lanthimos and producer Emma Stone comes the incredible tale and fantastical evolution of Bella Baxter (Stone), a young woman brought back to life by the brilliant and unorthodox scientist Dr. Godwin Baxter (Willem Dafoe). Under Baxter's protection, Bella is eager to learn. Hungry for the worldliness she is lacking, Bella runs off with Duncan Wedderburn (Mark Ruffalo), a slick and debauched lawyer, on a whirlwind adventure across the continents. Free from the prejudices of her times, Bella grows steadfast in her purpose to stand for equality and liberation. https://www.searchlightpictures.com/poor-things/ Eamonn: Napoleon (Film) Napoleon is a spectacle-filled action epic that details the checkered rise and fall of the iconic French Emperor Napoleon Bonaparte, played by Oscar®-winner Joaquin Phoenix. Against a stunning backdrop of large-scale filmmaking orchestrated by legendary director Ridley Scott, the film captures Bonaparte's relentless journey to power through the prism of his addictive, volatile relationship with his one true love, Josephine, showcasing his visionary military and political tactics against some of the most dynamic practical battle sequences ever filmed. https://www.napoleon.movie/home/ My Rembrandt (Doc) Aristocrats cherish, experts rule, art dealers hunt, collectors crave and museums battle for Rembrandt. 350 years after the grand master of intimacy's death, entire nations are more than ever obsessed with his paintings. My Rembrandt is an epic art thriller into the super exclusive world of the Old Masters collectors. https://tv.apple.com/gb/movie/my-rembrandt/umc.cmc.6fjqvjy45ins0rtvlbas04yst David: The Legacy Of Mark Rothko (Paperback) At the time of Mark Rothko's apparent suicide in 1970, the deeply troubled, pioneering artist of Abstract Expressionism was at the height of fame and financial success yet within months of the funeral, his three trusted friends, acting as executors, relinquished his entire legacy of 800 paintings to the powerful, international Marlborough Galleries (run by Frank Lloyd) for a fraction of their real worth on terms suspiciously unfavourable to the estate. The suit that Rothko's daughter brought against the executors and Marlborough rocked the art world with its shocking revelations of corruption in the international art trade: from the deceptions practiced on Rothko when he was alive to the scandals after his death involving conspiracies and cover-ups, double dealings and betrayals, missing paintings and manipulated markets, phony sales and laundered profits, forgery and fraud. https://www.waterstones.com/book/the-legacy-of-mark-rothko/lee-seldes/9780306807251 MARK ROTHKO Exhibition - Fondation Louis Vuitton The Fondation Louis Vuitton presents the first retrospective in France dedicated to Mark Rothko (1903-1970) since the exhibition held at the Musée d'Art moderne de la Ville de Paris in 1999. The retrospective brings together some 115 works from the largest international institutional collections, including the National Gallery of Art in Washington D.C., the Tate in London and the Phillips Collection in Washington D.C., and from international private collections, including the artist's family collection. https://www.fondationlouisvuitton.fr/en/events/mark-rothko

It's 2024!!!! HAPPY NEW YEAR!!!! We meet iconic writer, director, and producer RYAN MURPHY, best known for American Horror Story, Dahmer, Pose, The Andy Warhol Diaries, Ratched, The Watcher and Glee. We explore his love of collecting and preserving artworks including Old Masters, his passion for artists Andy Warhol, Patrick Angus, Helen Frankenthaler, restoring and safeguarding Hans Hofmann's house/studio, how art inspires his own creativity and writing, plus we discuss the forthcoming new TV series Feud: Capote vs The Swans, produced by Ryan and co-starring Talk Art's very own Russell Tovey.Born November 9, 1965 in Indianapolis, Indiana, US as Ryan Murphy is responsible for creating such hits as Nip/Tuck (2003), Glee (2009) and American Horror Story (2011). He attended a Catholic school till the eighth grade and graduated from Warren Central High School. He went on to study journalism at the Indiana University Bloomington, where he was also a member of a vocal ensemble, and went on to intern in the style section of The Washington Post in 1986. In 1990 he got into screenwriting, but only in 1999 was his first story produced: it was Popular (1999), a teen comedy show, which he co-created with Gina Matthews and which run for two seasons. In 2003 he created Nip/Tuck (2003), which brought him his first Emmy nomination. He won the award six years later, when in 2009 he directed the pilot of his hit series Glee (2009) which he co-created with Ian Brennan and Brad Falchuk. In 2011 he and Falchuk co-crated another highly popular series, American Horror Story (2011).In 2015 he was awarded the Award for Inspiration from amfAR, The Foundation for AIDS Research. In 2018 Murphy signed a five-year $300 million development deal with Netflix. He is a pan equal opportunities activist, both through his movies and television projects which very often focus on the LGBTQ+ community, and as a creator of the Half Initiative, which aims at making Hollywood more inclusive for women and minorities. In 2023, Murphy received the prestigious ‘Carol Burnett Award' at the Golden Globes. He has won five Golden Globes and has been nominated 16 times for his work. He's been married to photographer David Miller since 2012. They have three sons, Logan Phineas, Ford, and Griffin Sullivan.Follow @RyanMurphyProductions on Instagram. Stream 'Feud: Capote Vs. The Swans', which premieres on January 31, 2024, on FX and will then stream on Hulu. The series will also be available worldwide to stream via Disney+ including the UK and Europe. Hosted on Acast. See acast.com/privacy for more information.

Painters Christina Quarles and Jenna Gribbon join curator and host Gemma Rolls-Bentley in discussing their methods for constructing queerness in their lives and artworks, the importance of holding a viewers gaze, lesbian intensity, and CAMP! This episodes title is a line from “School Note,” a poem by Audre Lorde.Jenna Gribbon's oil paintings constitute an important new entry in the long lineage of figurative art, extending its narrative possibilities to explore the act of looking. Her vivid portraits, frequently nudes or partial nudes, depict those closest to her, and sometimes the artist herself, in candid poses, during uncanny moments. Her recent work most prominently features her partner, Mackenzie Scott, whose recurrence both personalizes and simultaneously establishes her as a kind of avatar; shifting the focus of the painting away from the figure and toward the way the figure is framed. By painting otherwise fleeting scenes, the artist adds texture, depth, and a sense of permanency to these temporal images, highlighting themes of pleasure, joy, and expanding the lexicon of queer iconography. Recent exhibitions include Living Histories: Queer Views and Old Masters, The Frick Collection, New York (2022); and I will wear you in my heart of heart, FLAG Art Foundation, New York (2021); and Paint, also known as Blood: Women, Affect and Desire in Contemporary Painting, Warsaw Museum of Modern Art, Poland (2019). Find her on IG @jennagribbon.Christina Quarles lives and works in Los Angeles. She received an M.F.A. from the Yale School of Art in 2016 and holds a B.A. from Hampshire College. Quarles was a 2016 participant at the Skowhegan School for Painting and Sculpture. She was the inaugural recipient of the 2019 Pérez Art Museum Miami Prize and in 2017 she received the Rema Hort Mann Foundation Emerging Artist Grant. In 2021 Quarles joined the board of trustees of the Museum of Contemporary Art, Los Angeles. Learn more about her practice at www.christinaquarles.com. Find her on IG @cequarles.Christina's work in the exhibition, Tilt/Shift, is acrylic on canvas, see the work here.Jenna's works, Me looking at her looking at me, and To share a common memory, are two of three pieces in the exhibition.A full transcript of the episode is available here.This podcast series is produced by the Leslie-Lohman Museum of Art. Dreaming of Home is on view September 7–January 7, 2024. Learn more about the show at leslielohman.org/exhibitions/dreaming-of-homeShow music: Fantasy Island Obsession by Tom Rasmussen ft. Kai-Isaiah Jamal, with thanks to Globe Town Records. Hosted on Acast. See acast.com/privacy for more information.

Have you ever written a really good sales page or video sales letter script, and you're sure you've done everything right, but it's still not converting the way you know it should? Sometimes it all boils down to that final push. More than a call to action, the final push is a collection of simple but crucial elements to help your prospect get across the finish line. These tips were discovered from rigorous testing and study by an old Master, Clyde Bedell. We're going to share some of his best ones on today's show. So, we've done a couple of different Old Masters series episodes before on Clyde Bedell. To refresh your memory, besides being a highly successful advertiser, he was a prominent teacher. For example, he built a national sales training program for Ford Motor Company in the 1930s. When he was teaching copywriting at Northwestern University, he couldn't find a suitable textbook, so he wrote one. That turned into “How To Write Advertising That Sells.” It was first published in 1940—13 years before I was born. The book is 8-1/2 by 11 and a massive 539 pages. It's pretty hard to find a copy these days, but I found one copy on Amazon for $736. Lucky for me, I got my copy years ago when it was easier to get and not quite as expensive. Today we look at Chapter 8, which he simply called “Try For Action.” It's chock-full of tips on how to get your prospect across the finish line to click the buy button. Download.

Caleb and Isaac continue their push towards the end of Avatar: The Last Airbender, now rounding out the second part of the four part finale, as they settle down to meet some Old Masters. And boy do we get a lot of them! So join your hosts as they discuss the turning point for our heros; families will be reunited, choices will be made, in this epic second part!   This episode was recorded on Oct. 1st, 2023.    Email the show at tnebendingthelements@gmail.com or reach out to us on twitter @CalebAlexader

This week Susie and Gyles dive into the linguistic canvas of words. Join use as we explore the rich tapestry of illustrations and pictures as we trace the origins of these expressive terms. Together let's uncover the hidden strokes of meaning as we paint a linguistic masterpiece, exploring the artistry behind the words we use to capture and convey the visual world. We love hearing from you, find us @SomethingRhymes on Twitter and Facebook, @SomethingRhymesWith on Instagram or you can email us on our NEW email address here: purplepeople@somethingrhymes.com Want even more purple, people? Join the Purple Plus Club by clicking the banner in Apple podcasts or head to purpleplusclub.com to listen on other platforms' Don't forget that you can join us in person at our upcoming tour, tap the link to find tickets: www.somethingrhymeswithpurple.com  Enjoy Susie's Trio for the week:  Eleutheromania: A frantic desire for freedom. Selcouth: Unfamiliar, unusual, rare; strange, marvellous, wonderful. Snuggery: A cosy or comfortable place, especially someone's private room or den. Gyles' poem this week was 'Musée des Beaux Arts' by 'W. H. Auden' About suffering they were never wrong, The Old Masters: how well they understood Its human position; how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer's horse Scratches its innocent behind on a tree. In Breughel's Icarus, for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water; and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, had somewhere to get to and sailed calmly on. A Sony Music Entertainment production.   Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts     To bring your brand to life in this podcast, email podcastadsales@sonymusic.com  Learn more about your ad choices. Visit podcastchoices.com/adchoices

When you sit down to write your copy, do you shake in fear because of the terror of the blank page? Or, maybe you're not terrified, but you're frustrated because you don't know where to start? Today we talk about a game-changing method developed by one of our industry's great Old Masters, Eugene Schwartz. He delivered a powerful secret in an obscure talk he gave in the early 1990s to Rodale Press. You won't find this secret in either of his landmark books, Breakthrough Advertising or the Brilliance Breakthrough. The secret is explained in these words from his talk: “You do not write copy. You assemble it. You ware working with a series of building blocks and putting the building blocks together, putting them in certain structures. You're building a little city of desire for your person to come and live in. You are assembling claims that are simply images that people will pay for.” The key idea here is assembling, not writing. And that's a very important insight. Which we'll really get into today. Resources: Copywriters Podcast notification list: https://www.garfinkelcoaching.com/podcast/ My new book, The Persuasion Story Code: https://www.amazon.com/dp/B0CFD2KXNQ Download.

We meet legendary artist Julian Schnabel to explore more than 40 years of painting. Since his first solo exhibition in 1976, Schnabel has been on a quest to express the inexpressible. Best known for his multidisciplinary practice that extends beyond painting to include sculpture and film. His use of preexisting materials not traditionally used in art making, varied painting surfaces and modes of construction were pivotal in the reemergence of painting in the United States. Resisting the turn to traditional conventions of painting and sculpture that characterized the 1980s, he began his series of Plate Paintings, representational works with sculptural surfaces produced by layering shards of found pottery with thick applications of pigment. Throughout his career, he has sustained his use of found materials and chance-based processes, transforming the conventions of painting and opening the door for a new generation of young artists.The works on display in Schnabel's upcoming show were made in concert with the preparation of his seventh feature film, In the Hand of Dante, an adaptation of Nick Tosches's novel of the same name. For Schnabel, filmmaking and painting exist in a continuum in which subject matter crosses between mediums, assuming myriad forms. This relationship resonates throughout the exhibition, where indecipherable narratives emerge from a process of imagery central both to Schnabel's film and to the paintings on view.Celebrated for his vast and experimental practice that extends into the realms of sculpture and filmmaking, the artist has always been a painter first and foremost. Since 1978, when he created the first plate painting, The Patients and the Doctors—a work which abandoned traditional canvas in favor of a surface composed of broken plates—his use of unconventional, found materials has led to the invention of entirely new modes of painting. Dispensing with traditional distinctions between abstraction and figuration, Schnabel's plate paintings, and his works on velvet, reinvigorated interest in painting as a medium for contemporary art. Moreover, in the early years of his practice, Schnabel decided to make paintings that incorporated the history and materiality of the medium itself, embracing a singular approach to both form and subject.With these new velvet paintings, Schnabel considers the ways that the material appears as subject matter throughout the history of art—particularly in the works of Titian, Goya, and other Old Masters—and its symbolic weight in the history of humanity itself. But rather than creating illusionistic depictions of velvet, the artist uses the material for the surfaces of his works, inventing a new, contemporary kind of history painting in the process.Among Schnabel's recent velvet works in the exhibition is the ten-panel Buñuel Awake (for Jean-Claude Carrière) or Bouquet of Mistakes (2022), a large-scale composition that evokes the grandeur of retablos, architecturally scaled paintings that loom behind the altars of Renaissance and Baroque churches across southern Europe. Also included in this body of new works is Gesù Deriso. Jesus Mocked (2023), which refers directly to an enigmatic Renaissance fresco by the Dominican monk Fra Angelico in the famous monastery of San Marco in Florence.Julian's new exhibition 'Bouquet of Mistakes' is now open and runs until October 28th 2023.Visit: pacegallery.com/exhibitions/julian-schnabel-new-york/Follow @JulianSchnabel and visit his official website: www.julianschnabel.comSpecial thanks to @PaceGallery. Hosted on Acast. See acast.com/privacy for more information.

Join Tamara for an interview with Faran Riley - local artist, geology enthusiast, fine jewelry connoisseur, and aspiring surfer. A Savannah native, she was one of the first classes to go through Savannah Arts Academy. After living in both Boston and NYC, she returned to town in 2020 and now works out of Sulfur Studios, exhibiting her drawings, paintings, and rock collections. Faran begins her paintings with abstract imagery in Sumi ink (and sometimes acrylic paint), then "carves the image out," adding backlighting and moments of realism and surrealism using colored pencils. Her fantastical landscapes are inspired by a combination of her Night Walks around Savannah, and time spent at her family home in coastal Maine. Check out Faran's work and follow her here: https://www.instagram.com/faranriley/ https://www.faranriley.com/ Topics in their chat include: Working on performance art and installation while attending the School of the Museum of Fine Arts in Boston, including a diner in her studio made of cardboard, operating 24 hours a day; the emotional turmoil of her college critiques and review boards; her post-college years living in NYC and working as a studio assistant to Yunhee Min; Faran's thoughts about the contemporary versions of the Old Masters artists who subcontracted parts of their painting work to assistants; her interest in gemstones and diamonds, stemming from working for years in a high-end jewelry boutique; getting back into art by taking drawing classes at the 1898 NYC institution, The National Arts Club; how she moved back home to Savannah at the start of Covid; using materials to experiment with markmaking in order to depict textures in her landscapes; the well-loved NYC art model Madeline; Savannah's new gallery space Ology Gallery near Bonaventure Cemetery; her current pieces merging the foliage and landscape of Savannah with her family's home in Maine; and her final words about Savannah feeling like such a supportive community because there are enough artist opportunities to go around without us competing. Tune in and get all the details!

Welcome to Halloween in August. This week's Rebels episodes are a spooky bunch. “Rise of the Old Masters” and “Breaking Ranks” (Season 1, episodes 5–6) take us to a remote fortress called the Spire where Luminara Unduli is being held captive, and the inside of the Imperial child soldier academy. They're callbacks to classic Clone Wars plotlines: the Rako Hardeen arc, Boba Fett infiltrating Tipoca City, and the Citadel arc. And they also take us to new understandings of childhood (or the lack thereof) in Star Wars, being a teacher even when you don't feel ready, and choosing the family you have. This is a great time to sign up for our Patreon for bonus audio content! This week, we're sharing leftover topics from this week's episode: debates on the quality of Stormtroopers as soldiers, and how Star Wars handles Blackness.  And you can join us next week for episodes 7–8 of Star Wars Rebels: Out of Darkness and Empire Day.  Timestamps: 00:00:00 Plot Overview 00:14:44 Rise of the Old Masters Discussion 00:27:25 Child Soldiers and Childhood in Star Wars 00:44:51 Luminara Discussion 00:47:53 Bae Watch 00:53:10 End Credits --- Send in a voice message: https://podcasters.spotify.com/pod/show/growingupskywalker/message

This is Commander Meiloorun speaking. Rebels is very silly and we love it very much. We're a little later than normal this week due to updated podcast guidelines from SAG-AFTRA in light of the writer and actor strike. But, we are able to be in your earbuds this week with a recap of Rebels Season 1, episodes 3–4, “Droids in Distress” and “Fighter Flight.”  In our recap, we talk about how Rebels holds dark themes very lightly, and how that makes it a time capsule for 2014. We discuss the morality of the Spectres, fellow rebels, the Empire, and Agent Callus in particular. We talk about brotherhood and being parents of unruly children. And we also cackle about the straight-into-the-vein injection of pure delight that is “Fighter Flight.” This is a great time to sign up for our Patreon for bonus audio content! And join us next week for the Star Wars Rebels: Rise of the Old Masters and Breaking Ranks.  Timestamps: 00:02:31 Plot Overview 00:13:06 Meta Themes of the Arc 00:16:10 Characters Discussion 00:28:20 Fighter Flight Discussion 00:40:58 Morality and Darkness Discussion 00:55:03 Bae Watch 00:59:17 End Credits --- Send in a voice message: https://podcasters.spotify.com/pod/show/growingupskywalker/message

"it imploded that story in upon us"

'What's left to do? To keep people interested in old art. To make that art interesting and relevant. Perhaps relevant isn't the right word… But if you look at the art market; the biggest money, right now, is in modern and contemporary art. You see it in auction houses, too. The content of the sales is different than it was 20 years ago. Old Masters remain a challenge. But then, you'll get a Vermeer exhibition, like at the Rijksmuseum—where the tickets sell out on the second day. And so I'm optimistic about the future, when it comes to the Old Masters.' —Jane Turner For the thirteenth episode of ‘Dutch Art & Design Today', I sat down with Jane Turner; an editor, scholar, specialist in Dutch and Flemish Old Master drawings and prints, the former Head of the Print Room at the Rijksmuseum in Amsterdam, and has been the Editor in Chief of journal Master Drawings—covering Old Master drawings—since 2004. Jane studied art history at Smith College in Northampton, Massachusetts, and quickly found her way to working at the college's art museum. She studied in Paris for a year while at Smith, refining her eye and interests in Old Master art; and after graduation, decided to move to Manhattan, where she worked at the Cooper Hewitt Museum and the Morgan Library, where she began specializing in Netherlandish drawings of the sixteenth and seventeenth centuries. During her museum days in New York, she became known for compiling catalouges of collections, imbuing her with editorial expertise, particularly concerning hefty tomes. In the late-1980s Jane moved to London, where she worked for over a decade on the 36-volume Dictionary of Art; a powerhouse of a print publication, the likes of which will never be produced again, and which itself, was progressive in its approach to global art. In 2011 Jane was appointed Head of the Print Room at the Rijksmuseum, retiring from it in 2020. Through her work, Jane's become a globally renowned museum scholar and connoisseur of Netherlandish drawings. In this meanderingly playful talk, Jane and I discuss the course of her career and trace its origins from her hometown of Cincinnati, Ohio—where I was, coincidentally, also born; to her youth spent in Cleveland, and what life was like in terms of her early-exposure to museums and modern art; and then move on to discuss some of the ideas and subjects she was interested in as a student. Jane spends a large portion of our conversation underlying the importance of mentorship within her work and discusses some of the programs and initiatives she has put in place, which advocate for the advancement of young scholars of drawings and prints. While at the Rijksmuseum, Jane was responsible for leading numerous digital catalogue projects that made the print room's drawings digitally accessible, with full descriptions, technical research and provenance information. She also was responsible for innovative exhibitions put on by the print room, including one titled 'XXL', which featured eccentric, huge works on paper, and another titled 'Frans Post. Animals in Brazil', which saw plush insects 'overtake' the museum. Lastly, Jane ponders what the future holds for Old Master drawings and museums—and indeed, is hopeful for both.  You can learn more about the Rijksmuseum's Print Room over on their website. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press.

On December 1, 1975, a giant in direct mail died. That was Ed Mayer, who had written a definitive book on the subject 25 years earlier, called “How To Make More Money With Your Direct Mail.” Mayer was a man of many hats—a practitioner, an industry executive, and a teacher. In his obituary, the New York Times reported that Mayer had taught more than 20,000 college students and business executives the hands-on secrets of direct mail. Now you might reasonably assume the following: That was then and this is now. So much has changed. Today, we found out. To prepare for the show, I combed through the book and found 10 great tips that apply whether you were doing direct mail in the 1950s or online marketing today. In some cases, I updated the tips. But more often than not, what worked then works almost exactly the same today. I selected these 10 tips based on this simple idea: Just leaving out ONE of these could crater your sales—or vastly reduce them, at the very least. So even if you tell yourself you know these… ask yourself, are you doing the updated version of every one of these? Because if you're not, you're probably leaving money on the table. Let's take that money off the table and put it back in your pocket. The tips we covered spanned the whole of direct marketing. Mayer knew it all: copywriting, offer creation, fulfillment, list selection and list management. He was truly an industry expert. Our topics included: the one thing that stops sales from happening, more than anything else… the one thing every piece of copy needs to do… why research makes the difference between success and failure in direct marketing… the kinds of words you should never use in your copy… when it's a good idea to use the same copy over and over again… and much more. The book is called How To Make More Money With Your Direct Mail, by Ed Mayer. It's out of print and extremely hard to find. Not on Amazon. A couple on eBay. Download.

Make a better life for horses... ~

I'm so excited to be bringing you the first of a NEW offering on the Art of History podcast!

As It's Pablo-matic: Picasso According to Hannah Gadsby opens at the Brooklyn Museum, New York, we talk to Catherine Morris and Lisa Small, who have curated the show with the Australian comedian. Floods at the end of last month have caused widespread damage to heritage in the Italian region of Emilia Romagna; we speak to James Imam, our correspondent in Rome, to gauge the extent of the damage and explore the Italian government's response. And this week marks the centenary of the birth of the great US abstract painter Ellsworth Kelly. This episode's Work of the Week is Kelly's Spectrum IX (2014), one of a series of paintings based on a spectrum of colours made by Kelly across his seven-decade career. Yuri Stone, the assistant curator at Glenstone in Potomac, Maryland, US—where the piece is part of a retrospective of Kelly's work—tells us more.It's Pablo-matic: Picasso According to Hannah Gadsby is at the Brooklyn Museum, New York, until 24 September. Previous Picasso items on this podcast include a tour of Tate Modern's Picasso 1932 on 8 Mar 2018, and a look at his response to Old Masters on 3 June 2022.Ellsworth Kelly at 100 continues at the Glenstone, Potomac, Maryland, US, until March 2024; for more on the anniversary events visit ellsworthkelly.org/centennial Hosted on Acast. See acast.com/privacy for more information.

The question is: How do you bring your prospect right there when they are reading words you have written, maybe thousands of miles away? The answer was revealed 99 years ago, but it's not widely talked about in copywriting. Until today. In this special episode of our Old Masters Series, we look at a book by George Hotchkiss published in 1924. He has some ideas about using techniques novelists and hypnotists use. But using them in your copy, to bring your offer to life. To get your prospect to see and experience the best of what you have to offer. All through the words you choose. The book is simply called Advertising Copy. To the best of my recollection, superstar copywriter David Deutsch told me about this book many years ago. So thanks, DD! Now the author, George Hotchkiss, was both a successful copywriter and a major educator in copywriting. He started out as a newspaperman, and then went on to become a copywriter for the George Batten Company, which later became the giant ad agency BBDO. Also, he joined the faculty at New York University in 1908 and went on to start NYU's Department of Advertising and Marketing. And stayed with them for decades. Guy knows how to write copy and how to teach. On this podcast, we talked about something else from the book Advertising Copy in a show three years ago. The topic at that time was Reason-Why Copy. But what we're going to talk about today appeals to a different part of the prospect's brain, and in many ways may be more important. On the show, we talk about six great techniques to amp up your copy. For now, though, let's look at the power of what we're about to explore. Let's say you accidentally cut your finger with a knife, and you're looking for some sympathy. You could say, “I injured a part of my hand in an accident.” Not very powerful. Or, you could say, “I cut my finger with a knife by mistake.” OK, that might work better. But let's take it to the next level. How about: “I was cutting up some onions for soup I was making. The knife slipped and wouldn't you know it, I cut my index finger. It hurt like hell. Felt like an electric shock that came out of nowhere. I howled, and then, suddenly, blood was spurting all over the place. I had to wash it and put some ointment on it, and wrap it up tight with a gauze bandage until the bleeding stopped.” There you go. Now you've got a much better shot at getting some sympathy. Why? Because you brought your senses and emotions into the description. And, along the way, your listener's senses and emotions, too. That was a gory example, so let's turn to something a little more pleasant. Your sweetheart buys you some fine Swiss chocolates for Valentine's Day. What do you say to your friends, to make them jealous? You could say, “Dylan bought me some chocolates for Valentines.” OK. That's nice, but it's a little vague, right? To make your statement more evocative, you might say, “Dylan got me some Lindt dark chocolate truffles for Valentines.” Better. But how about, “I was so happy with what Dylan got me for Valentines. Lindt dark chocolate truffles. They are so smooth and creamy, and I get a jolt of pleasure each time I eat one.” Again, the description of emotion -- happy -- and sensory experience -- smooth, creamy -- makes it all seem so much more real. And sometimes you want to take your prospect right into the experience of your offer. That's what we'll talk about today. Everything we've just looked at and cover today is based on an important rule: Demonstration is the most powerful form of selling. We're going to talk about how to demonstrate, in your copy, the specific things that make people more likely to buy. For this kind of verbal demonstration, Hotchkiss uses three different terms at different points in the chapter we're taking this from. Those terms are mostly interchangeable, and they are: “Descriptive Copy, Human-Interest Copy, and Direct Sense Description. The best copywriters all use these techniques at key points in their copy. Some of them do it on purpose, knowing how and why they're doing it. But I suspect most of them just do this by instinct, because they know intuitively that these techniques work. One top copywriter, my good friend John Carlton, is very deliberate and explicit about this. His copy is filled with examples worth studying. And in his teaching, he talks about power words. A lot of them, especially the strong verbs he suggests, are very evocative of specific images, feelings and emotions. So today, we look at what descriptive copy is, why it matters, when it works and when it doesn't, and how to use it. Download.

Dedicated television watchers know that you can only learn so much from a show's pilot episode. Performances might not be dialed all the way in yet. The show's style of composition, blocking, editing, and other cinematic elements is still under construction. Hell, even the tone and attitude might be up in the air. But by episode 5, all that wet cement has started to set into a more final shape. And it is exactly here, at episode 5 of Rebels, that we learn just how hard this show is going to go... Show Notes   Hosted by Rob Zacny (@RobZacny) Featuring Alicia Acampora (@ali_west), Austin Walker (@austin_walker), and Natalie Watson (@nataliewatson) Produced by Ricardo Contreras (@a_cado_appears) Music by Jack de Quidt (@notquitereal) Cover art by Xeecee (@xeeceevevo)    

Flemish painter Michaelina Wautier's style was realistic and detailed, with a dark, almost somber color palette. And for a long time, she remained an unknown, even among art historians. Research: Atkins, Christopher D.M. and Jeffrey Muller, editors. “Michaelina Wautier and The Five Senses: Innovation in 17th-Century Flemish Painting.” CNA Studies. December 2022. Museum of Fine Arts, Boston. 2022. Atkins, Christopher and Alyssa Trejo. Email correspondence. Center for Netherlandish Art, Museum of Fine Arts Boston. 4/12/2023. “Six Paintings by 17th-Century Artist Michaelina Wautier Sought by Rubens House.” 4/26/2017. https://www.codart.nl/art-works/six-paintings-17th-century-artist-michaelina-wautier-sought-rubens-house/ Dill, Vithória Konzen. “5 Things You Should Know About Michaelina Wautier.” Daily Art Magazine. 1/8/2023. https://www.dailyartmagazine.com/michaelina-wautier/ Esterow, Milton. “For Centuries, Her Art Was Forgotten, or Credited to Men. No More.” New York Times. 12/5/2022. https://www.nytimes.com/2022/12/02/arts/design/michaelina-wautier-artist-boston.html Kairis, Pierre-Yves. “Interview with Pierre-Yves Kairis.” MAS. https://mas.be/en/page/interview-pierre-yves-kairis Kimball, Jill. “Student-curated MFA Boston exhibition spotlights long-forgotten female Flemish painter.” Brown University. 12/7/2022. https://www.brown.edu/news/2022-12-07/wautier Kunsthistorisches Museum Wien. “Looking at the Overlooked: A live conversation on the life and work of Michaelina Woutier.” Via YouTube. 12/9/2020. https://www.youtube.com/watch?v=HJArJm9kR7Q “Michaelina Baroque's Leading Lady.” Exhibition pamphlet. 2018. McCouat, Philip. “Forgotten Women Artists #4: Michaelina Wautier: Entering the Limelight After 300 Years.” Journal of Art in Society. 2019. https://www.artinsociety.com/forgotten-women-artists-4-michaelina-wautier-entering-the-limelight-after-300-years.html Museum of Fine Arts Boston. “Michaelina Wautier and ‘The Five Senses'.” https://www.mfa.org/gallery/michaelina-wautier-and-the-five-senses Needleman, Sam. “Michaelina's Boys.” The New York Review. 3/12/2023. https://www.nybooks.com/online/2023/03/12/michaelinas-boys/ Nordenfalk, Carl. “The Five Senses in Late Medieval and Renaissance Art.” Journal of the Warburg and Courtauld Institutes , 1985, Vol. 48 (1985). Via JSTOR. https://www.jstor.org/stable/751209 Van der Stighelen, Katlijne. “CHAPTER 6 Anna Francisca de Bruyns (1604/5–1656), Artist, Wife and Mother: a Contextual Approach to Her Forgotten Artistic Career.” Women and Gender in the Early Modern Low Countries, 2019. Via JSTOR. https://www.jstor.org/stable/10.1163/j.ctvrxk3hp.12 Van der Stighelen, Katlijne. “‘Doing justice to an artist no one knows is quite an undertaking'.” Apollo Magazine. 7/2/2018. https://www.apollo-magazine.com/doing-justice-to-an-artist-no-one-knows-is-quite-an-undertaking/ Van der Stighelen, Katlijne. “Michaelina Wautier 1604-1689: Glorifying a Forgotten Talent.” Rubenshuis and BAI Publishers. Translated. 2018. See omnystudio.com/listener for privacy information.

Today we return to Old Masters Series with a guy I'm going to call The Godfather of Creativity, Alex Osborn. He's best known for inventing brainstorming, which was first used at his advertising agency BBDO (the O was for Osborn). But he has done a lot more than that. For example, in 1954 he co-founded the Creative Education Foundation. And he's written a number of books. The best-known one was the bestseller Your Creative Power. However, a lesser-known book, Wake Up Your Mind: 101 Ways To Develop Your Creativeness, is what we're going to use today to get into some really interesting, practical ideas about creativity and writing copy. First, we went over over a few things about creativity as we define it. First of all, creativity is not coming up with harebrained ideas like lizards that play golf to sell life insurance. Not in the way we're talking about today. Creativity is finding better ways to get a prospect excited about and committed to buying what you are selling. No lizards required or desired. Second, in his book, Osborn says something dear to my heart: Schools teach the wrong things for creativity. This was back in the day; this book was published in 1952. I don't know what schools teach these days, but, if the main purpose of school is to teach kids to score high on standardized tests so they can get into a platinum-level college, that works against developing creative abilities. Someone named Burdette Ross Buckingham wrote a book in 1926 called “Research for Teachers,” and Osborn says ever since that book came out “educators have increasingly leaned on statistics. This has led to accumulation of facts, and deprecation of the generation of ideas.” He goes on, “Creativity necessarily lacks exactness.” One of the guiding questions of schools is, “Can it be tested?”, and Osborn says this question gets in the way of schools developing creativity skills. That is, since creativity is not exact, so you can't test or measure it. Now science, technology, engineering and math are survival skills in the jobs economy these days, but remember that the people who built the companies that hire all those people, had far greater imaginations than most of their employees. That is, they have much better practical creativity skills, among other things, than your average bear. Something to think about. The third thing that's really important before we got into these seven steps of creativity: In real life creativity may not work this way exactly, and Osborn says so in his book. Sometimes you take these steps out of order. Sometimes you don't take all of them. He writes: “The more I study and practice creativity, the surer I feel that its process is necessarily a stop-and-go, a catch-as-catch can, a ring-around-the-rosie; and the more I doubt whether it can ever be ‘exact' enough to rate as scientific.” Osborn says, “The most we can honestly say is that it usually includes some or all of these phases.” I would have to agree. There's no set formula for creativity, but knowing these seven steps will put you in a better place to come up with profitable creative ideas than not knowing them will. Osborn had an unusual comment about the importances of mental and emotional effort in creativity. He says “Writers recognize as ‘rhythms of creativity,' the ups and downs of their power to produce. Since each person's talent is the same from day to day, those cycles must be solely cycles of energy—a fact which helps prove how dependent upon our drive creativity can be.” We then proceeded to go through Osborn's Seven Steps, and added a tip about reading books a special way to increase your creativity. A good show, well worth taking in. Link to the out-of-print 1952 book this podcast is based on: Wake Up Your Mind-100 Ways To Develop Creativeness, by Alex Osborn https://www.amazon.com/Wake-Your-Mind-Develop-Creativeness/dp/B0000CI7JO Download.

What does that even mean? We don't know; ask Yoda! In this episode of Dark Side Divas, we discuss the Star Wars Rebels episode "Rise of the Old Masters" (s1e5). Kanan Jarrus has to teach Ezra about the force, but is he up to the challenge? The Ghost crew takes on a dangerous mission to save a Jedi Master rumored to have survived Order 66, but things don't go according to plan. Listen to what Stef and Chris say about the episode!

We've got a very special episode today in our Old Masters series—featuring some wisdom from David Ogilvy. He was legendary in advertising during the Mad Men days. Kenneth Roman wrote a book about Ogilvy called “The King of Madison Avenue.” I believe his book “Ogilvy on Advertising” was the only book on the subject to reach widespread bestseller status, far outside the reaches of the industry. Over 100,000 copies sold. For a business book, that's like over 1 million sold for a novel or general-interest book. Ogilvy was more of a team leader and team builder than a solo operator. More like a Joe Schriefer or a James Patterson—Patterson was an executive for J. Walter Thompson before he became a best-selling novelist—Ogilvy was more like those guys than like a Gene Schwartz or a Gary Halbert. But don't get me wrong. Ogilvy was also a terrific copywriter. He started out in direct response and understood the principles of that kind of copywriting inside out. I found something the other day, paging through Ogilvy's autobiography, that's a perfect fit for this podcast. Ogilvy had 11 rules for copywriting. Four of them are more focused on big ad agencies, but seven of them are great for us, and that's what we'll cover today. So what talked about today comes from is “David Ogilvy: An Autobiography.” This guy had quite an adventurous life, and after he retired he moved to live in a chateau in France. Here on the cover of the book you can see him staring menacingly at you, smoking a cigar. There are swans in the background. Ogilvy had this thing about trumpeter swans, which have the largest wingspan of any swan known to man. I don't know if those are trumpeter swans on the cover, but there's a really good chance they are. Ogilvy was an eccentric man with wide-ranging interests and an adventurous spirit. But when it came to copy, he was straightforward, and serious. And he was focused on getting results, even when he was writing consumer advertising with no response mechanisms. The rules we covered today come from his years of hard work, both writing copy himself and leading other copywriters. We talked about Ogilvy's stance on studying advertising throughout your career, how much difference in response you can get when you improve the copy in an ad, whether a Big Idea matters or not, and a lot more. A link to get the book “David Ogilvy, An Autobiography”: https://www.amazon.com/David-Ogilvy-Autobiography-Trailblazers/dp/0471180025 Download.

Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.“When I started and I had to decide what to do in life - because I was working with museums, in exhibition design, and on the restoration of buildings - and then at some point, I had the chance to arrive at the Venice Biennale and my whole perspective changed. And it changed because I was working with living artists and architects. Until that moment, I was working around Old Masters, works in museums, and things that were there with the aura of history. And all of a sudden I was dealing with living architects and artists, and this was, for me, the most incredible experience. So I decided to leave all the rest, because I was doing quite a lot at the same time, and to concentrate on the Biennale.And the very first lesson I learned is that we are there for the artists. And when I say artists, I mean also architects, of course. There would be no Biennale and probably no institution, no museum, without the artists. And to be able to deal with the artists, architects, curators, let's say the creative part of the process, you have to develop empathy and mutual respect and trust, but also you have to be very flexible and very decisive and firm when necessary. So it's quite easy to say, but it's not so easy to put it into practice, I must say.”www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enPhoto credit: Anselm Kieferwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

“When I started and I had to decide what to do in life - because I was working with museums, in exhibition design, and on the restoration of buildings - and then at some point, I had the chance to arrive at the Venice Biennale and my whole perspective changed. And it changed because I was working with living artists and architects. Until that moment, I was working around Old Masters, works in museums, and things that were there with the aura of history. And all of a sudden I was dealing with living architects and artists, and this was, for me, the most incredible experience. So I decided to leave all the rest, because I was doing quite a lot at the same time, and to concentrate on the Biennale.And the very first lesson I learned is that we are there for the artists. And when I say artists, I mean also architects, of course. There would be no Biennale and probably no institution, no museum, without the artists. And to be able to deal with the artists, architects, curators, let's say the creative part of the process, you have to develop empathy and mutual respect and trust, but also you have to be very flexible and very decisive and firm when necessary. So it's quite easy to say, but it's not so easy to put it into practice, I must say.”Manuela Lucá-Dazio is the newly appointed Executive Director of the Pritzker Architecture Prize. In this capacity, she works closely with the jury, however, she does not vote in the proceedings. She is the former Executive Director, Department of Visual Arts and Architecture of La Biennale di Venezia, where she managed exhibitions with distinguished curators, architects, artists, and critics to realize the International Art Exhibition and the International Architecture Exhibition, each edition since 2009. Preceding that, she was responsible for the technical organization and production of both Exhibitions, beginning in 1999. She holds a PhD in History of Architecture from the University of Roma-Chieti, Italy and lives in Paris, France.www.pritzkerprize.com www.pritzkerprize.com/jury#jury-node-2236 www.labiennale.org/enwww.creativeprocess.info www.oneplanetpodcast.org IG www.instagram.com/creativeprocesspodcast

Today we returned to the Old Masters Series, but with a twist. We used some secrets from one Old Master to look at the famous work of another. This all came about last week, when I was going over the chapter on Intensification in Breakthrough Advertising with a client. Breakthrough Advertising, of course, is Gene Schwartz's masterwork on copywriting. Part 2 of the book is seven chapters on “the basic techniques of breakthrough advertising.” And the first of those seven sets of techniques is what Gene Schwartz calls “Intensification.” Basically, how to get your hands on your prospect's feeling of desire, and push it through the roof. I was struggling with how to put this on a podcast. And then I had an idea: Why not take John Caples's famous ad, “They Laughed When I Sat Down At The Piano… ” and see how Caples used the intensification techniques. You might not be surprised that, even though the ad was written nearly 40 years before the book was, Caples knew what he was doing and used a bunch of the techniques. So, as we get started, you should know there are actually 10 Intensification steps in this chapter. Plus three other tricks. Again, this is all in one of 14 chapters of the book. We only covered five of the 10 Intensification steps today. First, because we did not have time for all 10. Second, I wanted to leave out five so you'll be encouraged to get your own copy of Breakthrough Advertising from Brian Kurtz. We'll give you a link in the show notes. Really, it's one of the best copywriting books ever written. As you have already gotten a glimpse of there is so much in each chapter that you can spend years, and make a fortune, learning what's in the whole book. Now, as to Caples. Gene Schwartz actually mentions this ad as a great example of one of the intensification steps, and we'll cover that step. But it turns out Caples included more of than one Instensification step. It's interesting to look at this ad, one of the most famous in history, because of the unusual way Caples uses the steps. He skips around from the normal order you would put them in. You'll see what I mean in the full podcast. Here are the five Intensification steps we covered: 1. Present the product. 2. Put the claims in action. 3. Bring in the reader. 4. Bring in an audience. 5. Make a damaging admission. And a link to get Breakthrough Advertising: https://breakthroughadvertisingbook.com/ Download.

Is the Old Masters market struggling? As Tefaf opens its fair in Maastricht, we look at this major moment in the market calendar and what it tells us about the strength or otherwise of the market for historic art. The Art Newspaper's Acting Art Market editor, Anny Shaw, joins us from the fair. The Institut du Monde Arabe, or Arab World Institute, in Paris has just received a major gift of more than 1,600 modern and contemporary works from the French-Lebanese dealer and collector Claude Lemand and his wife, France—a collection that will transform the displays in the institute's museum. We talk to the director of the museum, Nathalie Bondil, about her future plans and the €6m project to transform the institute. And this episode's Work of the Week is a self-portrait in red chalk by the Venetian Rococo artist Rosalba Carriera. Dagmar Kornbacher, the director of the Kupferstichkabinett in Berlin, tells me about the drawing, which is a key work in Muse or Maestra?, the museum's new exhibition of work by historic Italian women artists.Tefaf Maastricht, until 19 March.Muse or Maestra?: Women in the Italian Art World, 1400-1800, Kupferstichkabinett, Berlin, until 4 June. Hosted on Acast. See acast.com/privacy for more information.

Today's podcast is about a topic that is so important, we quote from three Old Masters, even though this is not an Old Masters Series show. The topic is: making your copy believable. Two of the Old Masters, right now. In his book “Ogilvy on Advertising,” David Ogilvy writes these words: “Says James Webb Young, one of the best copywriters in history: ‘every type of advertiser has the same problem: to be believed.'” And that only makes sense, when you think about it. Because no matter how good your copy is, if people don't believe it, what good is it at all? We're going a long way to solve that problem on today's show. First, something from the third Old Master. We did a show on this topic a year and a half ago as part of our Old Masters Series. I'll do a speed recap of the best of what we covered about believability then from a chapter A.O. Owen wrote in an old copy book about 100 years ago. His tips were: 1. Use exact numbers. Instead of “around 150,” use the actual amount, like, for example, 154—if that's what it is. 2. Use the actual names of streets, cities, states or provinces, countries, and people's name. Owen's example was It is more believable to say “styles now reigning from Rue de la Paix, Paris, to Fifth Avenue, New York,” than to say, “styles now reigning from the fashion centers of Europe to those of America.” 3. His third tip was what we call today “the damaging admission.” Basically, admit you're not perfect. In an sales letter by Million Dollar Mike Morgan that brought in over $10 million, one line that's a great example, in the voice of the finance guru he was writing for, went like this: “No one has a crystal ball to predict the future—not even me.” 4. And the fourth one from this podcast was to mention motivation—your reason-why for doing something or the self-interested reason why your prospect should respond. This from a successful promotion I wrote years ago for Mendelson Auto Body Inc. in San Ramon, California: Here's A Special Offer To Keep Your Car Looking New! Plus, You Get A FREE Gift To Protect Your Car All Summer Long Two very self-interested reasons for people to take him up on his offer. So those four tips from A.O. Owen, with some modern examples, are as valid in 2023 as they were 100 years ago. But let's move on to what we've got for today. It's brand new, yet the advice is eternal. I pulled most of what we're gonna talk about from a new book I'm writing which I'll tell you more about in a month or two, when I should be ready to publish. For today, I took some copy for a bonus in an imaginary info-products course. It was pretty good to start with. Then I screwed it up four times, each with a different believability destroyer. All in the service of hopefully helping you avoid making the same mistake! Download.

Our returning champion is Joshua Lee Henry, with a first: He came by to do a GUEST Old Master's Series show. Joshua asked me if he take a new look at the work of John Caples, the great copywriter and author. I said OK, as long he talked about something different than we have talked about on the many shows we've already done on Caples. Joshua put together a collection of unique items that filled the bill. So I was really happy to bring him back for this special show! As you may remember, Joshua is a high-powered copywriter and copy chief for Agora. He started his career 13 years ago writing fundraising letters for victims of the 2010 earthquake in Haiti. Joshua has been pastor of a megachurch and as a freelancer, has written for such famous clients as Jay Abraham, Brian Tracy and the Zig Ziglar corporation. Today, we found out what he discovered, digging into the archives of John Caples. Joshua broke it down into six lessons: 1. 4 Ways to Profit by Removing The Guesswork 2. How to Secure Testimonials 3. Appealing to the “Lazy Instinct” 4. The Value of Illusion 5. Write Long and Boil It Down 6. The Most Important Quality for a Writer is Sincerity Joshua rose to the challenge and we appreciate him for it! Here are a couple links: A training program Joshua's part of: World of Financial Copywriting, https://bit.ly/3CaB9S8 And if you want to reach Joshua personally, his email is: joshualeehenry @ activatemyadvertising.com Download.