Podcast appearances and mentions of paris salon

For the 32nd episode of "Reading the Art World," host Megan Fox Kelly speaks with Mary Morton, Curator and Head of the Department of French Paintings, and Kimberly Jones, Curator of 19th Century French Paintings at the National Gallery of Art in Washington, D.C. Together, they discuss their work on the landmark exhibition, “Paris 1874: The Impressionist Moment,” and the accompanying exhibition catalogue.The conversation centers on the daring spirit of the first Impressionist exhibition in 1874, a moment that saw artists defy the prestigious Paris Salon to showcase new ways of capturing modern life. Jones and Morton share insights into the forces behind Impressionism's revolutionary appeal, from the political and social upheavals in France to the transformation of Paris under Haussmannization. They explain how these changes inspired artists to redefine not only the subjects they painted but also how art itself was exhibited and experienced.This exhibition and catalog shine a light on lesser-known figures who were critical to the movement's evolution, challenging visitors to unlearn what they think they know about Impressionism. With its juxtapositions of Salon and Impressionist works, “Paris 1874: The Impressionist Moment” allows audiences to feel the radical nature of these pieces that once shocked critics but are now beloved worldwide.“Paris 1874: The Impressionist Moment”  is on view at the National Gallery of Art in Washington, D.C. through January 19, 2025. Learn more here: https://www.nga.gov/exhibitions/2024/paris-1874-impressionist-moment.htmlABOUT THE CURATORSMary Morton has been curator and head of French paintings at the National Gallery of Art since 2010. She previously served as associate curator of paintings at the J. Paul Getty Museum (2004–2010) and associate curator of European art at the Museum of Fine Arts (MFA), Houston (1998–2004). In 2018, Morton was awarded the Chevalier of the Order of Arts and Letters by France's Ministry of Culture. Morton received her PhD from Brown University (1998), concentrating on 19th- and early 20th-century European painting. She also holds a BA in history from Stanford University (1987).Kimberly A. Jones has been curator of nineteenth-century French paintings at the National Gallery of Art since 2016. A former museum fellow at the Musée national du château de Pau (1990–1991) and the Musée d'Orsay, Paris (1993–1994), she joined the curatorial staff of the National Gallery of Art in 1995 as assistant curator of French paintings. Jones holds a PhD and MA from the University of Maryland with specialization in 19th-century European and American art, as well as a dual degree in art history and studio art from Western Maryland College (now McDaniel College).PURCHASE THE BOOK: https://shop.nga.gov/paris-1874-the-impressionist-moment SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new pub

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Explore the fascinating and eerie history of John Singer Sargent's "Madame X", a painting that has captivated art lovers for centuries. Created in 1884, this stunning portrait of Virginie Gautreau has been shrouded in controversy and rumors of a curse. From its scandalous debut at the Paris Salon to its modern-day reputation as a haunted masterpiece, "Madame X" continues to inspire and unsettle all who see it. Join us as we delve into the painting's complex history, the artist's intentions, and the strange occurrences surrounding this iconic work of art. Discover why "Madame X" remains one of the most fascinating and feared paintings in the world. ----------------- Head to the Strange Places home website, asylum817.com to keep up with all things Strange Places, as well as the host. Billie Dean Shoemate III is an author with over 40 novels published, a master-trained painter, host of the No Disclosure Podcast, and multi-instrumentalist musician with multiple albums released. To check out Billie's books, albums, paintings and other artistic ventures, head to asylum817.com. ----------------- This podcast can also be heard on Spotify, Apple Podcasts, iHeart Radio, Pandora, and wherever you get your Podcast listening experience. ----------------- to support the show, check us out on Patreon- http://www.patreon.com/asylum817 ----------------- DISTROKID AFFILIATE LINK: https://www.distrokid.com/vip/seven/3128872 ----------------- Want to promote your brand, YouTube channel, Etsy page, charity, event or podcast on the show? I am selling the show's ad space! Mid roll ads, beginning ads, bottom of the show ads, all of it. Click the link below to get yourself some of that sweet, sweet ad space on the fastest growing paranormal podcast on the planet. If you want to advertise here, click the LINK BELOW! https://www.fiverr.com/share/mgzw1R ----------------- This episode is brought to you by the Sarcasm & Orgasms Podcast! LINKS BELOW: Instagram - www.instagram.com/sarcasm__orgasms Spotify - https://open.spotify.com/show/4SsO5p8RNt1zVAzsuL24NY Apple Podcasts - https://podcasts.apple.com/us/podcast/sarcasm-orgasms/id1608839702 ------------------ This episode is brought to you by www.candyshopuniversity.com!! --- Send in a voice message: https://podcasters.spotify.com/pod/show/strangeplacespod/message Support this podcast: https://podcasters.spotify.com/pod/show/strangeplacespod/support

The Le Random team of ⁠thefunnyguys⁠, Peter Bauman (⁠Monk Antony⁠) and Conrad House (⁠Nemo Cake⁠) spoke to special guest and acclaimed gallerist Kate Vass about a whirlwind ⁠one hundred years of generative art history (1850-1949)⁠,the Modern Era. This episode corresponds with: ⁠Generative Art Timeline: Chapter 2 10 Significant Modern Era Moments (Covered in the talk)⁠ The Great Exhibition of London Lights Early Spark of the Arts & Crafts Movement (1851) Modern art Begins: Manet's Work Rejected by Paris Salon (1863) + Cézanne's Mont Sainte-Victoire Series (1870-1906) Les Demoiselles d'Avignon by Picasso kicks off Cubism (1907) The Ten Biggest, No 7 by Hilma af Klint (1907) Tatlin and Rodchenko Found Constructivism and Malevich Stages the 0.10 Exhibition with Black Square. (1915) Walter Gropius Founds Bauhaus (1919) Marcel Duchamp and Man Ray Create Rotary Glass Plates (1920) Gunta Stölzl Named Director of Bauhaus Weaving Workshop (1927) Birth of digital computing: Konrad Zuse Completes the Z3 (1941) + ENIAC (1945) 10. Cybernetics Is Born: Norbert Wiener's Cybernetics + Claude Shannon's "A Mathematical Theory of Communication.” (1948)

Cezanne is widely celebrated today, but he struggled early on. He was rejected by Beaux Arts multiple times. He went back home to work at the bank for a while but he felt compelled to pursue the arts and he persisted. He met other artists like Renoir and Monet who had also been rejected by academic establishment and many critics of the day. The supported each other and learned from each other. In 1863, people were so sick of being rejected by the Paris Salon, they actually set up “Salon des Refuses” (salon of the rejected) next to the official salon to exhibit works by Monet, Manet, Pissarro. Cezanne would have loved to have his paintings exhibited in The Paris Salon, but his work hung in The Salon des Refuses. Related episodes to check out: Paul Cezanne (full episode) Art Smart - Impressionism & Post Impressionism Check out my other podcasts  Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices

 Learn the magic of marketing  with us here at BoldBrush!https://www.boldbrushshow.com/Get over 50% off your first year on your artist website with FASO: https://www.FASO.com/podcast/---On this episode we sat down with Mathieu Nozieres, a French oil painter based in the US with a passion for creating complex narrative oil paintings reminiscent of the Paris Salon painters of the 19th century. We discuss the importance of listening to your inner voice even when your teachers are telling you the opposite, why branding can be useful so long as you're still true to your authentic voice, how to learn illustration techniques to create narrative paintings that look realistic, and why what your art says is just as important if not more so than only creating a beautiful painting. Finally we talk about his current group exhibition at Haven Gallery where both his painting and his wife's painting are hanging side by side for a show called Duality, his upcoming group exhibition with Beautiful Bizarre Magazine happening later this year, and finally he tells us about his new prints coming out soon! Follow Mathieu on Instagram:https://www.instagram.com/mathieunozieres/Check out Mathieu's website:https://www.mathieunozieres.com/

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The Daily Quiz - Art and Literature Today's Questions: Question 1: Whose Nude Olympia In 1863 Outraged The Paris Salon Question 2: Who Penned the Novel 'The Pelican Brief'' That Was Made Into A Film Starring Julia Roberts And Denzel Washington? Question 3: In The Book The Secret Diary Of Adrian Mole, What Was The Name Of Adrian's Girlfriend Question 4: Who wrote 'The Canterbury Tales'? Question 5: "Which author penned the novel titled (Brave New World)?" Question 6: A group of English painters formed in 1848. These artists attempted to recapture the style of painting preceding Raphael. They rejected industrialized England and focused on painting from nature, producing detailed, colorful works. Question 7: Who Wrote The Murder Of Roger Ackroyd Question 8: In Which City Is The Encyclopedia Britannica Published Question 9: Who killed Macbeth? Question 10: A figurative movement that emerged in the United States and Britain in the late 1960s and 1970s. The subject matter, usually everyday scenes, is portrayed in an extremely detailed, exacting style. It is also called superrealism, especially when referring to sculpture. Question 11: Who Wrote `The Hitchhikers Guide to the Galaxy'? Question 12: What Type Of Transport Was Featured In Sarah Ferguson's Childrens Book Question 13: "Which playwright is credited with writing the play titled 'Hay Fever'?" This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Berthe Morisot was among the most successful French Impressionist painters during her lifetime. Today she is less well known than her peers like Claude Monet and Pierre-Auguste Renoir, but in the 19th century, she was the more bankable artist. She was accepted in the Paris Salon, but ultimately she left the salon to participate in the first exhibition of the Impressionists. In this episode we discussed Morisot's painting The Cradle which depicts her sister Edma looking at her baby in a cradle. Both Berthe and Edma were tremendously talented painters who found success exhibiting their work. Edma got married and stopped painting to take on the traditional roles as a wife and mother while Berthe was the breadwinner in her family maintaining her career while her husband looked after their kid. Fill out the Airwave Media Network survey to give me feedback and get a chance to win a $500 gift card: www.surveymonkey.com/r/airwave  Check out my other podcast Art Smart Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Connect with me: Website | Twitter | Instagram | Tiktok Learn more about your ad choices. Visit megaphone.fm/adchoices

Pháp là điểm đến du lịch hàng đầu thế giới từ ba thập niên. Năm 2019, hơn 90 triệu du khách đã đến Pháp. Kế hoạch đón 100 triệu du khách nước ngoài vào năm 2020 tan thành mây khói do đại dịch Covid-19, kéo theo khoảng 237.000 việc làm trong ngành khách sạn-nhà hàng đã bị “xóa sổ” năm 2020-2021. Hiện giờ, Pháp đang thực hiện kế hoạch “Destination France” (Điểm đến nước Pháp) để phục hồi và chuyển đổi ngành du lịch, đặc biệt trong bối cảnh Paris đón Olympic 2024. Chưa bao giờ, ngành du lịch Pháp phải đối mặt với tình trạng thiếu nhân công như hiện nay, chỉ trong mùa xuân 2023 đã cần tuyển khoảng 360.000 người. Rất nhiều nhà hàng phải đóng cửa một số ngày trong tuần vì thiếu phục vụ bàn, nhiều khách sạn không khai thác phòng ở một hoặc nhiều tầng do thiếu nhân viên. Trong “Sách Trắng” gửi đến bộ trưởng Du Lịch Olivia Grégoire, Liên minh Du lịch Pháp (Alliance France Tourisme) - gồm các đại tập đoàn trong lĩnh vực - nhận định “cho dù đỉnh khủng hoảng đã qua nhưng khó khăn về tuyển dụng vẫn tồn tại”.Bỏ nghề “làm dâu trăm họ”Làm thế nào để thuyết phục, thu hút giới trẻ đến với ngành du lịch nói chung ? Một mạng lưới gồm 6 trường đại học chuyên ngành du lịch đã đến giới thiệu chương trình đào tạo tại Hội chợ Du Lịch Quốc tế Paris (Salon mondial du Tourisme) từ ngày 16-19/03/2023. Tiếp theo, lần đầu tiên Tuần lễ các ngành nghề Du lịch (Semaine des métiers du tourisme) được tổ chức trên cả nước từ ngày 03-09/04.Tại sao một lĩnh vực quan trọng của nền kinh tế Pháp, đóng góp đến 8% GDP, liên quan trực tiếp và gián tiếp đến 2 triệu việc làm, lại bị khủng hoảng như vậy ? Bà Sylvie Durand, giám đốc Dịch vụ, Trường Du lịch, Văn hóa và Hiếu khách - ESTHUA, Đại học Angers, giải thích với RFI Tiếng Việt tại Hội chợ Du lịch Quốc tế Paris :“Thực ra, đại dịch Covid-19 đã khiến một số người làm trong các ngành nghề liên quan đến du lịch, ví dụ khách sạn-nhà hàng, nhận ra rằng điều kiện lao động của họ khó khăn hơn những người làm việc văn phòng vì họ phải đi làm trong khi người khác được nghỉ, họ phải làm việc thứ Bẩy, Chủ Nhật với các ca trực khác nhau. Khi làm trong ngành khách sạn hoặc nhà hàng, người ta phải làm việc tối khuya và cả hai ngày cuối tuần. Vào tháng Bẩy, tháng Tám, khi những người khác được nghỉ hè thì họ lại phải làm việc nhiều hơn.Đến lúc xảy ra dịch Covid-19, một số người trong ngành thấy rằng nhịp sống của họ hơi bị lệch nên họ muốn điều khác nên rất nhiều người thôi việc. Và hiện giờ, phải thuyết phục giới trẻ rằng đó là những nghề cao đẹp, cần tính kiên nhẫn”.Ngành du lịch theo nghĩa rộng bao gồm 9 lĩnh vực hoạt động với khoảng 100 ngành nghề khác nhau, từ giao thông hàng không, đường bộ đến lữ hành, hay hoạt động giải trí và thể thao, lưu trú, nhà hàng, cũng như lĩnh vực văn hóa. Chỉ riêng mảng khách sạn-nhà hàng, Liên hiệp các ngành nghề công nghiệp khách sạn (Union des Métiers et des Industries de l'Hôtellerie, Umih), được trang 20 minutes trích dẫn ngày 27/01/2023, cho biết hiện thiếu 100.000 nhân viên, từ dọn phòng, quản lý hoặc trợ lý quản lý.Tuyển người cao tuổi và người nhập cưTheo văn phòng tuyển dụng PageGroup, có hơn 10 bộ phận được tìm kiếm nhiều trong năm 2023. Ví dụ, trong lĩnh vực nhà hàng-khách sạn là các vị trí lễ tân, quản lý khách sạn, phụ trách bộ phận, giám đốc nhà hàng, bếp trưởng, phụ trách rượu hoặc giám đốc cụm nhà hàng ăn nhanh. Còn trong lĩnh vực lữ hành là các vị trí chịu trách nhiệm tổ chức các chuyến công tác, đại lý du lịch, giám đốc nhà nghỉ hoặc làng nghỉ dưỡng, nhân viên bán vé…Giải pháp trước mắt để giảm thiểu phần nào tình trạng thiếu nhân lực, được Liên minh Du lịch Pháp nêu trong Sách Trắng gồm 10 điểm. Trong số này có đề xuất đa dạng hóa lý lịch nhân viên ngành du lịch, có thể mở rộng đến ba đối tượng chính : người cao tuổi, người tìm việc trong những lĩnh vực khác và người nhập cư. Đối với người lớn tuổi, điều kiện lao động cũng được điều chỉnh thích ứng như làm việc bán thời gian và tái bố trí trong trường hợp gặp vấn đề sức khỏe. Các doanh nghiệp cũng cải thiện điều kiện làm việc nói chung, ví dụ làm việc 4 ngày/tuần, ấn định những đợt nghỉ hai ngày cuối tuần, lương trong lĩnh vực nhà hàng-khách sạn được tăng 16,3%. Hiện còn có đề xuất không đánh thuế thu nhập tiền thưởng pourboire khai báo từ sau năm 2023…Về khả năng tuyển người nhập cư, các công ty tư nhân đã đi trước một bước. Ví dụ tập đoàn Accor đã kết hợp với các tổ chức tiếp nhận người di cư, còn Liên hiệp Umih dự kiến ký thỏa thuận với Maroc hoặc Tunisie. Tuy nhiên, theo Sách Trắng, “Pháp vẫn bị chậm so với nhiều nước du lịch khác”, như trường hợp Tây Ban Nha, gần đây đã nới lỏng các quy định liên quan đến thị thực lao động cho người nước ngoài để giảm tình trạng thiếu nhân lực trong ngành du lịch.  Cải tổ chương trình đào tạo đại học du lịch Về lâu dài, Pháp tập trung vào đào tạo đại học chính quy và tại chức để hình hành một thế hệ quản lý có chuyên môn hoặc cải thiện kiến thức, kĩ năng của những người đã làm trong nghề. Đây là điểm đầu tiên của 5 trụ cột trong kế hoạch 10 năm “Destination France” được thủ tướng Pháp Jean Castex giới thiệu ngày 20/11/2021. Bà Sylvie Durand, Trường ESTHUA, Đại học Angers, giới thiệu mạng lưới các trường du lịch Pháp :“Hệ thống trường đại học về du lịch có tổng cộng 6 trường. Mục đích là giúp ngành đạo tạo du lịch được biết đến rộng rãi hơn và hấp dẫn hơn đối với thanh niên. Tại sao ư ? Bởi vì sau cuộc khủng hoảng, thủ tướng Pháp đã thông báo kế hoạch “Điểm đến nước Pháp” nhằm hỗ trợ lĩnh vực du lịch gặp khó khăn.Vì thế, nhiệm vụ của chúng tôi là quảng bá cho các chương trình đào tạo về du lịch. Sáu trường đại học của chúng tôi gồm Đại học Angers với Viện ESTHUA điều phối dự án, Đại học Toulouse với Viện ISTHIA (Đào tạo Du lịch, Khách sạn và Đồ ăn),Đại học Paris I - Panthéon Sorbonne với Viện IREST (Nghiên cứu và Cao học ngành Du lịch), Đại học Gustave Eiffel với Viện  IFIS (Kỹ thuật Dịch vụ Ile-de-France), Đại học Nice Côte d'Azur và Đại học Savoie Mont-Blanc với các chuyên ngành đào tạo du lịch của Viện Quản lý Doanh nghiệp (IAE).Mạng lưới được hình thành tháng 11/2021. Đến đầu năm 2022, chúng tôi bắt đầu làm việc cùng nhau và đã có những chương trình đạo tạo vừa học vừa làm đầu tiên vào tháng 09/2022. Sáu đại học có hơn 100 chương trình đào tạo về du lịch, từ trình độ cử nhân đến cử nhân chuyên ngành và thạc sĩ, có nghĩa là những bằng cấp được Nhà nước công nhận. Sáu trường cũng có tổng cộng hơn 6.000 sinh viên được đào tạo hàng năm về  du lịch”.Bà Marithé Crozet, phụ trách chương trình đào tạo đại học chuyên ngành Du lịch, Viện Quản lý Doanh nghiệp (IAE), Đại học Savoie-Mont Blanc, cho biết thêm : “Chúng tôi đề xuất từ cấp đại học, đại học chuyên ngành đến các bằng cao học. Chúng tôi có những chương trình vẫn gọi là “truyền thống” đi từ đào tạo ban đầu hoặc vừa học vừa làm. Còn đối với những người làm ngành du lịch muốn học chuyên sâu, cải thiện kinh nghiệm, nâng cao năng lực, chúng tôi sẽ đề xuất những chương trình đào tạo thường xuyên ở mỗi trường đại học tham gia mạng lưới. Có một điểm quan trọng cần lưu ý là chúng tôi đào tạo các nhà quản lý, đó là những người sau này sẽ đồng hành, phát triển du lịch tại chỗ, tại địa phương”. Dịch Covid đã kéo theo nhiều thay đổi về phương pháp làm việc và giảng dạy, đặc biệt qua hình thức trực tuyến. Đây là một lợi thế, được sáu trường dạy về du lịch khai thác để phổ biến “kiểu đào tạo hỗn hợp, một phần học trực tuyến từ xa và phần còn lại học trực tiếp”. Lợi thế tiếp theo là chương trình học giữa các trường được liên thông, theo giải thích của bà Sylvie Durand, phụ trách điều phối mạng lưới :“Ý tưởng là để giúp sinh viên của chúng tôi bắt đầu học ở một trường có thể tiếp tục học ở một trường khác trong mạng lưới  tùy theo kế hoạch nghề nghiệp của họ. Chúng tôi muốn cùng cố gắng mang lại cho sinh viên quá trình đào tạo thú vị nhất, triển khai những công cụ để đồng hành với sinh viên, ví dụ các khóa đào tạo trực tuyến, những môn học có thể chia sẻ giữa các trường trong mạng lưới, triển khai hoạt động đào tạo dành cho giới chuyên nghiệp. Vì vậy, việc hình thành mạng lưới mang lại sức mạnh hơn, đồng hành giới trẻ và những nhà chuyên ngành du lịch được tốt hơn”.Tại nhiều địa phương, vai trò của nhà tuyển dụng trong ngành khách sạn-nhà hàng và ứng viên đã thay đổi. Ví dụ Phòng Thương mại và Công nghiệp tỉnh Finistère (miền tây Pháp) tổ chức “Job'tourisme”, ngày hội tuyển dụng “dạo” ở 13 địa điểm, từ ngày 25/02 đến 05/04. Trong cuộc gặp bàn tròn, mỗi nhà tuyển dụng có 3 phút để thuyết phục ứng viên với những điều kiện lao động, đãi ngộ thích hợp. Có thể thấy tương lai sự nghiệp trong ngành du lịch nói chung sẽ rất sáng lạn cho người lao động trẻ, theo giải thích của bà Marithé Crozet và bà Sylvie Durand : “Điều chắc chắn là khi làm việc trong ngành khách sạn, du lịch hay tổ chức sự kiện, khoảng 80-90% sinh viên các trường chúng tôi tìm được việc làm trong vòng 6 tháng. Đúng là có nhiều cơ hội tìm được việc làm”.“Vì thế, mục tiêu của mạng lưới các trường dạy du lịch là quảng bá rộng rãi những chương trình đào tạo về du lịch và biến những nghề này trở nên hấp dẫn hơn, tạo cảm hứng cho giới trẻ dấn vào những ngành nghề du lịch vì du lịch chiếm đến 8% GDP của Pháp. Có đến 2 triệu việc làm trực tiếp và gián tiếp liên quan đến lĩnh vực này nên có rất nhiều việc làm. Vì thế, điều quan trọng là tạo được cảm hứng cho thanh niên tham gia những ngành nghề đó”. Pháp đặt tham vọng trở thành điểm du lịch số 1 thế giới, du lịch bền vững. Và để thực hiện được mục tiêu này, kế hoạch 10 năm của chính phủ đặt ra 5 trục phát triển chính : thu hút nhân tài trong ngành du lịch ; hỗ trợ nâng cao chất lượng phục vụ du lịch ; nâng cao và củng cố lợi thế du lịch của Pháp ; đáp ứng những thách thức trong việc chuyển đổi của ngành, bằng cách thúc đẩy du lịch bền vững, giảm tác động sinh thái, đầu tư vào cơ sở hạ tầng du lịch bền vững hoặc chuyển đổi kỹ thuật số ; quảng bá “điểm đến Pháp” và củng cố thị phần thông qua việc đẩy mạnh các hoạt động truyền thông với khách du lịch và các nhà đầu tư nước ngoài.

Cezanne is widely celebrated today, but he struggled early on. He was rejected by Beaux Arts multiple times. He went back home to work at the bank for a while but he felt compelled to pursue the arts and he persisted. He met other artists like Renoir and Monet who had also been rejected by academic establishment and many critics of the day. The supported each other and learned from each other. In 1863, people were so sick of being rejected by the Paris Salon, they actually set up “Salon des Refuses” (salon of the rejected) next to the official salon to exhibit works by Monet, Manet, Pissarro. Cezanne would have loved to have his paintings exhibited in The Paris Salon, but his work hung in The Salon des Refuses. Related episodes to check out: Paul Cezanne (full episode) Art Smart - Impressionism & Post Impressionism Arts Madness Tournament links: Check out the Brackets Tell me which artist you think will win this year's tournament Give a shoutout to your favorite teacher (I'll send a $50 Amazon gift card to the teacher who gets the most shoutouts on this form by Feb 27) Who ARTed is an Airwave Media Podcast. Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation As always you can find images of the work being discussed at www.WhoARTedPodcast.com and of course, please leave a rating or review on your favorite podcast app. You might hear it read out on the show. Learn more about your ad choices. Visit megaphone.fm/adchoices

THIS WEEK on the GWA Podcast, we interview Sonal Khullar on one of the most acclaimed artists of the 20th century, AMRITA SHER-GIL! Amrita Sher-Gil (1913–41) was India's foremost artist in the early twentieth century. Her paintings give prominence to real people at real moments, and exude pathos and strength. “I can only paint in India, Europe belongs to Picasso, Matisse, Braque and the rest. But India belongs only to me.” Born in Budapest and raised in Shimla, northern India, between 1929 and 1932 Sher-Gil attended the École des Beaux-Arts in Paris, as the first Indian student to do so, where she was able to study from nude models. Acclaimed for her Expressionistic figurative painting, she exhibited at the Paris Salon. Soon enough, she was drawn back to India: "I began to be haunted by an intense longing to return to India, feeling in some strange inexplicable way that there lay my destiny as a painter." Abandoning her European style, Sher-Gil's figurative work transformed into studies of saturated colour with fluorescent fabrics and glittering textures. The subject of solo exhibitions, and a recipient of multiple prizes, Sher-Gil showed her work in Delhi and Bombay. But soon after set- tling in Lahore with her new husband, she was overcome with illness and died at the age of twenty-eight. Her acute sensibility is evident in her paintings, which capture not just the electricity of colour, and the merging of global styles, but also the world of her sitters, no matter what their status. Dr Sonal Khullar received her BA from Wellesley College, and her MA and PhD from the University of California Berkeley in art history, and has taught in the History of Art and Gender Studies departments of the University of Washington, and since 2020, at the University of Pennsylvania. Her research, specialising in work from the 18th century onwards, focuses on conflict, collaboration and globalisation in contemporary art from South Asia, and has looked at postcolonial art worlds, feminist geography, and the anthropology of art. LINKS: https://www.nytimes.com/2018/06/20/obituaries/amrita-shergil-dead.html?smid=tw-nytobits&smtyp=cur http://amrita-sher-gil.com https://artsandculture.google.com/story/amrita-sher-gil-artworks-from-the-collection-of-national-gallery-of-modern-art-national-gallery-of-modern-art-ngma-new-delhi/twWRBeSmWwQA8A?hl=en https://web.archive.org/web/20210121160223/https://www.tate.org.uk/whats-on/tate-modern/exhibition/amrita-sher-gil/amrita-sher-gil-room-1-early-years-paris Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Research assistant: Viva Ruggi Sound editing by Nada Smiljanic Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/ -- THIS EPISODE IS GENEROUSLY SUPPORTED BY CHRISTIES: www.christies.com

An audacious inspiration, Luncheon on the Grass launched the salon of the rejected. In France, called Salon des Refusés, this formed in 1863. That was the year the venerable Paris Salon rejected more the five thousand artworks. Many of these rejects later earned the title "masterpiece". Le Déjeuner sur l'herbe (the french title) sets a perfect example. It was a shocker. The unidealized and central nude figure among clothed compatriots stunned viewers as did Manet's iconoclastic technique. Read LadyKflo's collected works and learn about more masterpieces with a click through to LadyKflo's site. https://www.ladykflo.com/category/masterpieces/ Checkout her socials too: https://www.instagram.com/ladykflo/ https://twitter.com/ladykflo

It's SPRING BREAK and another exciting week on Tunnel Talk, where we discuss whether we've done a 360 or a 180 on Jade -- the consensus is that it must be a 180, because we love her now. We also get into the excitement of Christian Cage going full disappointed-dad on Jungle Boy, whether Ricky Starks and Brian Cage should take the tag team belts (yes, obviously, you big dumb bitch), and the fun of Keith Lee and Swerve Strickland finally having a promo together. Do they have a Paris Salon where they discuss art and literature? In Allie's head they do. Jamie Hayter and Toni Storm do yet another of their patented terrible promos, still terrible no matter how many other women are added to the mix, and we continue to swim against the FTR zeitgeist by thinking they're garbage no matter HOW much they tell us they're in love. Also did you know that they're 34 and 37 years old??? All this, Shida's hot new outfit, Daniel Garcia's desperate quest for Eddie Kingston's attention, Scorpio taking the TNT title back, and much more!

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/french-studies

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/digital-humanities

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries.

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/european-studies

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/british-studies

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

Painting by Numbers: Data-Driven Histories of Nineteenth-Century Art (Princeton UP, 2021) presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity. Allison Leigh is Assistant Professor of Art History and the SLEMCO/LEQSF Regents Endowed Professor in Art & Architecture at the University of Louisiana at Lafayette. Her research explores masculinity in European and Russian art of the eighteenth through the early twentieth centuries. 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

SITE INTERNET : https://www.metropolegrandparis.fr/fr

SITE INTERNET : https://www.metropolegrandparis.fr/fr Radio Immo, première webradio d'information immobilière

Painting by Numbers presents a groundbreaking blend of art historical and social scientific methods to chart, for the first time, the sheer scale of nineteenth-century artistic production. With new quantitative evidence for more than five hundred thousand works of art, Diana Seave Greenwald provides fresh insights into the nineteenth century, and the extent to which art historians have focused on a limited—and potentially biased—sample of artwork from that time. She addresses long-standing questions about the effects of industrialization, gender, and empire on the art world, and she models more expansive approaches for studying art history in the age of the digital humanities. Examining art in France, the United States, and the United Kingdom, Greenwald features datasets created from indices and exhibition catalogs that—to date—have been used primarily as finding aids. From this body of information, she reveals the importance of access to the countryside for painters showing images of nature at the Paris Salon, the ways in which time-consuming domestic responsibilities pushed women artists in the United States to work in lower-prestige genres, and how images of empire were largely absent from the walls of London's Royal Academy at the height of British imperial power. Ultimately, Greenwald considers how many works may have been excluded from art historical inquiry and shows how data can help reintegrate them into the history of art, even after such pieces have disappeared or faded into obscurity.

The complete audiobook is available for purchase at Audible.com: https://www.audible.com/pd/The-Making-of-Americans-Audiobook/B095Z3ST11?qid=1622366984&sr=1-1&ref=a_search_c3_lProduct_1_1&pf_rd_p=83218cca-c308-412f-bfcf-90198b687a2f&pf_rd_r=J3KJ3SSDWMM50SS767B1 The Making of Americans By Gertrude Stein This is a Voices of Today and Audiobooks Unleashed production, narrated by Sarah Sampino, Stephanie Nemeth-Parker, Melissa Green, Austenne Grey, Sara Sheckells, Lisa Ware, Aven Shore, Amy Soakes, Kendra Murray and Amanda Stribling. The classic Gertrude Stein novel, Making of Americans, follows a family through three generations in a fascinatingly unconventional style, exploring the psychology and personality of these characters through time. Gertrude Stein held a unique position at the center of the modernist movement. She was a novelist, poet, playwright, and art collector. Born in America, she moved with her family to Paris where she ran a Paris Salon frequented by many famous historical figures, such as Ernest Hemingway, Pablo Picasso, F. Scott Fitzgerald, Henri Matisse, Ezra Pound, Sherwood Anderson, and Sinclair Lewis. ©1925 Gertrude Stein (P)2021 Voices of Today, Audiobooks Unleashed

Is it a surprise that famous Modernist artists were problematic? Henri Matisse was a prominent Fauvist, but he benefited from French imperialism and he was a big fan of objectifying women. Join Klaire Lockheart as she shares the basics about Fauvism and explains the importance of art history education. Artists and Artwork: Albert Marque, Henri Matisse (Luxury, Calm and Pleasure; Blue Nude: Memory of Biskra; Woman with a Hat; Odalisque couchée aux magnolias), Vincent van Gogh, Paul Signac, Michelangelo Buonarroti (Night), André Derain (London Bridge), and Maurice de Vlaminck Additional Topics: Avant-Garde, Impressionism, Postimpressionism, Paris Salon, Packard Group National Exhibition, Autumn Salon, Louis Vauxcelles, Complementary Colors, Colonialism, Ariella Aïsha Azulay (Potential History: Unlearning Imperialism), African Art, Primitivism, Vili People, Orientalism, Odalisques and Amélie Matisse klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

In episode 59 of The Great Women Artists Podcast, Katy Hessel interviews acclaimed writer JENNIFER HIGGIE on the great Parisian painter, Suzanne Valadon (1863–1938) !!!! [This episode is brought to you by Alighieri jewellery: www.alighieri.co.uk | use the code TGWA at checkout for 10% off!] And WOW, is this one of the greatest stories in art history of the acrobat-turned-artist-model-turned-artist Valadon (born Marie-Clémentine), who grew up in Montmartre, the bohemian quarter of Paris; supported herself from the age of ten; but whose life took a turn after a fall from an acrobat in her early teens!  Modelling for the likes of Renoir to Toulouse-Lautrec, despite her lack of finances to afford formal art classes, she learnt via the backdoor: by studying her male acquaintances, and close friend Edgar Degas oversaw drawing.  Known as a wild character (who spent earnings on lavish fur coats), Valadon had a complicated personal life and was often caught up in passionate love affairs (including breaking the heart of composer, Erik Satie). Taking influence from the glittering, shard-like surfaces as pioneered by the Impressionists, at the dawn of the new century, she had developed a distinct language. By 1909, she was painting professionally. Defying all gender conventions and exuding the new freedoms of women, she painted herself nude alongside Utter, (her electrician lover twenty-one-years-junior), swept up in an overgrown Eden as characters Adam and Eve.  In 1911, at aged 46, Valadon had a solo exhibition at the gallery of renowned dealer (and former clown!) Clovis Sagot, and soon cemented herself as a regular exhibitor at the Paris Salon. Within the next few years, she would stage more successful exhibitions, and in the 1920s produced her best work yet. One of which was her monumental self-portrait, The Blue Room, 1923. Lying leisurely in striped trousers and a strapped top, with a cigarette hanging out her mouth and books pushed to the back of the bed, Valadon affirmed her independence and room of one’s own with assured confidence and character. She was a modern Parisian woman in the 1920s, who could do whatever she wanted, whenever she pleased. She rose to the peak of her fame in the 1920s, and had four major retrospective exhibitions during her lifetime. Through her paintings and prints, Valadon transformed the genre of the female nude by providing an insightful expression of women’s experiences. Don't miss this AMAZING story as told by Higgie, whose INCREDIBLE book "The Mirror and the Palette: 500 Years of Women's Self Portraits" has just been released! See here: https://www.waterstones.com/book/the-mirror-and-the-palette/jennifer-higgie/9781474613774 WORKS DISCUSSED! The Blue Room (1923)  Adam and Eve (1909) The Joy of Life (1911)  Family Portrait (1912) Self Portrait (1927) Portrait of Erik Satie (1892) PAINTINGS FEATURING VALADON! The Hangover (1889) by Toulouse-Lautrec Dance at Bougival (1883) by Renoir Follow us: Katy Hessel: @thegreatwomenartists / @katy.hessel Sound editing by Winnie Simon Artwork by @thisisaliceskinner Music by Ben Wetherfield https://www.thegreatwomenartists.com/

Born on March 16, 1822 in Bordeaux into a large family of artists.Her mother Sophie Marquis married Raymond Bonheur who was also her drawing teacher. Raymond painted landscapes of Bordeaux and portraits and instilled a love of art in all his children.As a child when Rosa was struggling at school her mother used her love of drawing to her advantage. Asking Rosa to draw an animal for each of the letters of the alphabet was just the trick she needed. Her mother died when she was young and her school life suffered. Expelled twice her father finally took her out of school and focused on teaching her how to paint. Raymond specialized in Realism and to help Rosa he had their Paris home filled with animals. From squirrels and rabbits to ducks and sheep the young artist had all she needed to begin her life as a painter of animals. Once she needed more subjects she would visit farms in Levalois-Perret and the Bois de Boulogne. Rosa was lucky to have an artist as a father as few women were able to find teachers at the time. Spending her days in the Musée du Louvre as a copyist always being pulled to the masters paintings of animals. At 19 year she was already showing her pieces at the Paris Salon and selling her paintings to avid collectors. As a female painter in the 19th century she was able to do something few other women did. She became an international star. The copies of the Horse Fair were selling all over England and the United States and Empress Eugenie was also an avid fan. In 1865 Eugenie urged her husband for quite some time to award Rosa the Legion of Honor for her work and spreading French art around the world. He finally gave in with the stipulation that he would have nothing to do with it and it would be given without a formal ceremony. On June 10, 1865 Eugenie traveled to the Chateau de By and presented Rosa with the highest award a civilian could get. Anna would later paint her wearing the metal, today it is still in the Chateau de By. Listen to the newest episode of La Vie Creative - Paris History Avec A Hemingway today. More info and photos: https://www.claudinehemingway.com/paris-history-avec-a-hemingway-podcast-1Support Claudine on Patreon and get more of Paris and all her stories and benefits like discounts on her tours, custom history and exclusive content  https://www.patreon.com/bleublonderougefacebook https://www.facebook.com/BleuBlondeRougeInstagram https://www.instagram.com/claudinebleublonderouge/Sign up for the weekly Blue Blonde Rouge newsletter  https://view.flodesk.com/pages/5e8f6d73375c490028be6a76Support the show (https://www.patreon.com/join/Laviecreative)

The Impressionist movement has been appealing to art lovers for about 150 years. While Claude Monet was not the sole inventor of the style, the movement was actually named after one of his paintings. Claude Monet was born in 1840. The 19th century brought us innovations that drastically changed how artists saw their role and their process. The advent of photography allowed artists to shift their focus away from use of paint as a means of recording what important people, places and things looked like. Artists started to shift their focus toward being more creative in their paintings focusing on color, and the expressive qualities that a camera could not capture. The tube of paint was also a 19th century invention. While it does not seem like such a big deal, the tube of paint made a wider range of hues available to artists and made those paints more portable. Monet and the Impressionists were well known to love painting outside. They stood in the landscape carefully capturing the colors as they saw them rather than staying in the studio painting from memory. While audiences today might look at paintings by Monet and other Impressionists as pleasant compositions that are fairly realistic, at the time, Impressionist paintings were revolutionary and viewed as scandalously sloppy when compared to the more traditional works that would have been seen in the Paris Salon. For this episode, we discussed one of Monet's water lilies paintings from what is perhaps his best known and most beloved series. Check out Water Lilies for 1906 at this link or on the website www.WhoArtEdPodcast.com

When the Impressionist artists ruled Paris, there were a few women that made their way into the exclusive club. Known as Les Trois Grandes Dames, Berthe Morisot, Mary Cassatt, and Marie Bracquemond mixed and mingled with the likes of Manet, Degas, and Renoir. Marie Bracquemond however had a very different life than Morisot or Cassatt. Raised in a family that had very little money but with a love of painting early on, she created her own paint colors using flower petals. Without money or family support it was difficult to find a teacher until Auguste Vassor agreed to take her on. Under Vassor at just seventeen years old she finished and presented her first painting to the Paris Salon. The painting of her mother and sister was accepted and displayed for all to see including Ingres. Quite impressed with the young girl's talent, he invited her to his atelier to learn under the master. Ingres didn't take women very seriously and only gave them images of flowers and fruit to paint. Marie grew very tired and left looking for other challenges. Empress Eugene, wife of Napoleon III and a big promoter of women in art saw her work and commissioned her to paint a few paintings for her. Marie's career was really taking off until she met her future husband Felix Bracquemond. At first, he was supportive of her art, he was an artist himself. As an engraver and porcelain painter he would share his craft with her and also become angrier with her talent. Marie today is mostly forgotten and little of her work remains. Listen to her whole story and the few things that kept her going during her unhappy marriage in this week's episodeMore info and photos: https://www.claudinehemingway.com/paris-history-avec-a-hemingway-podcast-1Support Claudine on Patreon and get more of Paris and all her stories and benefits like discounts on her tours, custom history, and exclusive content  https://www.patreon.com/bleublonderougeFacebook https://www.facebook.com/BleuBlondeRougeInstagram https://www.instagram.com/claudinebleublonderouge/Sign up for the weekly Blue Blonde Rouge newsletter  https://view.flodesk.com/pages/5e8f6d73375c490028be6a76Support the show (https://www.patreon.com/join/Laviecreative)

You will know this week's lovely lady from the beautiful painting hanging in the Musée du Louvre by Jacques-Louis David.  Juliette Récamier was a fixture of the Paris Salon scene in the 19th century and lived a very interesting life. It all started with a rather strange story. Her mother Marie-Julie Matton came from a wealthy family and her father Jean Bernard was the notary and counsellor to the king. Growing up in Lyon, her father left for Paris to be the Postmaster General leaving Juliette and her mother in Lyon. However, there is a large question that Jean Bernard was actually her father. Her mother held Salons in Lyon and a frequent visitor was Jacques Récamier who would marry the young 15 year old girl. That's correct, her could be father was now her husband. Listen to the entire episode for more on how her life turns out. More info and photos: https://www.claudinehemingway.com/paris-history-avec-a-hemingway-podcast-1Support Claudine on Patreon and get more of Paris and all her stories and benefits like discounts on her tours, custom history and exclusive content  https://www.patreon.com/bleublonderougefacebook https://www.facebook.com/BleuBlondeRougeInstagram https://www.instagram.com/claudinebleublonderouge/Sign up for the weekly Blue Blonde Rouge newsletter  https://view.flodesk.com/pages/5e8f6d73375c490028be6a76Support the show (https://www.patreon.com/join/Laviecreative)

He loved the lines and beauty of classical art, yet he wanted to paint that beauty in a modern setting and experiment with his own techniques. And although he desperately wanted his paintings to be exhibited at the Paris Salon, he was continually rejected. Determined to persevere and create the art that was in him, he inspired a new generation of artists and effectively changed art forever. In this episode, we're going to learn about Édouard Manet.  

Rob Tracinski talks about the Paris Salon of 1863, the original Salon of the Refused, and their lessons for how to change the culture. Links to images mentioned in the podcast: The Birth of Venus, by Alexandre Cabanel Luncheon on the Grass, by Edouard Manet For more commentary and analysis, visit The Tracinski Letter at www.TracinskiLetter.com. Support this podcast at patreon.com/SalonoftheRefused.

Broadcast originally aired Monday, September 17 at 9:30am on www.WRCR.comThe program focused on the forgotten painter, inventor, couturier, textile designer and ceramist Edith Varian Cockcroft (1881-1962). Eve M. Kahn (Art Historian and New York Times contributor) appeared on the broadcast to tell us about what she has uncovered, including interviews with Cockcroft and reminiscences from people who knew her.Cockcroft, a Brooklyn native, studied art with William Merritt Chase and traveled widely in Europe before World War I. Critics lauded her atmospheric views of French and British coastal villages and portraits of nudes against vibrant fabric backdrops. Le Figaro observed that she succeeded at depicting peasant life with "ardor or roughness," and the New York Times praised the "character and vigor" of her work. (And many reviewers mistook her for a man, since she invariably left her first name off her signatures on canvas.) She exhibited at venues such as the Paris Salon, the National Academy of Design, the Pennsylvania Academy of the Fine Arts, and the Art Institute of Chicago. Collectors as elite as Moscow's Ivan Morosov acquired her work.In the 1920s, Cockcroft ran a Manhattan couture studio and patented methods for printing silk, in patterns partly based on Javanese batiks. Her blouse-making kits were marketed nationwide as a "silk sensation," and her clothes were worn by the performers Irene Castle and Jeanette MacDonald. In the 1930s, she moved to Sloatsburg, where she kept painting--from Europe to Haiti--and designing textiles while also producing dinnerware sets in metallic glazes.Kahn gave a lecture during a small exhibition of Edith’s artworks at Harmony Hall on October 14, 2018.Crossroads of Rockland History, a program of the Historical Society of Rockland County, airs on the third Monday of each month at 9:30 am,right after the Steve and Jeff morning show, on WRCR radio at www.WRCR.com. Join host Clare Sheridan as we explore, celebrate, and learn about our local history, with different topics and guest speakers every month.www.RocklandHistory.org

Art fair week in NYC... We did not go but we do discuss them! And Uber... having a bad few weeks... seemed like a good fit with art fairs. Enjoy. Show Notes: • Evan Roth http://www.evan-roth.com • Jeremy's early youtube work: Transhuman Dance Recital (2007) https://www.youtube.com/watch?v=DDs2J86RyCc Don't Mouse Around (2003) https://www.youtube.com/watch?v=fys_OccfbX8 • Vito Acconci, Seedbed (1971) https://www.moma.org/collection/works/109933 • Paris Salon https://en.wikipedia.org/wiki/Salon_(Paris) • The Armory Show https://www.thearmoryshow.com • Frieze Fair https://frieze.com/fairs • Art Basel https://www.artbasel.com • The Moving Museum http://www.themovingmuseum.com • The You Museum http://theyoumuseum.org • Art Basel Miami https://www.artbasel.com/miami-beach • Evan Roth on the Verge http://www.theverge.com/2017/3/4/14811560/technology-art-new-york-art-week • Jacolby Satterwhite http://jacolby.com/home.html • Howard Stern on Comedians in Cars http://comediansincarsgettingcoffee.com/howard-stern-the-last-days-of-howard-stern • Mad Magazine http://www.madmagazine.com/issues • Upstream Gallery http://www.upstreamgallery.com

Exactly how and when did the focus of European art move from Florence and Rome, to Paris? This episode explores the rise of the French academic system and the forerunners of the Ecole Des Beaux-Arts and the Paris Salon under the absolute monarchy of Louis XIV.

An examination of comic drawings about French Salon paintings created by the famous photographer Nadar (a.k.a. Felix Tournachon, 1820-1910). May 1, 2013 For transcript, captions, and more information, visit http://www.loc.gov/today/cyberlc/feature_wdesc.php?rec=6197

This demonstration of parental discipline of the Merovingian period remains shocking more than a century after its completion. It says much for the grotes-query of nineteenth-century Salon painting, of which it is so spectacular an example, that 'The sons of Clovis II' is still a collection favourite. Alarmed by her sons' rebellion against their absent father, King Clovis, their mother - the regent Sainte Bathilde - has their tendons cut before sending them, immobilised, downstream on a barge to their fate. Though Luminais foreshadows the salvation of the malefactors in the distant shape of a Benedictine monastery, he is clearly more concerned with their present gruesome predicament. His great success with this painting in the Paris Salon of 1880 was not repeated, its cadaverous sensationalism proving a hard act to follow. AGNSW Handbook, 1999.

In 1874 Impressionists Monet, Renoir, Pissarro and Sisley mounted a series of exhibitions in defiance of the powerful Paris Salon.

Rousseau began to paint Under the birches, evening in Berry in central France, at the lowest point of his official artistic career. After initial success at the Paris Salon from 1831 to 1835, all of his works were refused between 1836 and 1841. Discouraged, he then refrained from submitting works to the jury until after the 1848 Revolution, when the selection system was reformed. The artist then received an official commission, subsequent acceptance at the Salon, and honours from the state. In the early 1840s, however, when this painting was executed, Rousseau’s dreams of winning the Prix de Rome were over; nonetheless he continued to paint, in his own way. The atmosphere and charm of Under the birches, evening also characterise the artist’s better-known sojourns in the Forest of Barbizon, a place identified with Rousseau for three decades. In summer he worked outdoors in a little hut made for him, painting studies and sketches that were then finished in his studio in Paris.1 Most striking in the composition of Under the birches, evening is the theatrical presentation of a central clump of trees, birches bright with autumnal foliage and their unique black-and-white bark. The dark foreground is echoed by the steel blue–grey fading light of day, changing as night begins to fall. Light is concentrated upon a central oval, where a slight narrative interest is given by human presence in the form of the humble curé. No means of entry is provided to the viewer, however, no path, rising hill nor descent into a valley. The grove is presented as a visual fait accompli, a feature that struck the artist’s eye full-on. Rousseau’s debt to seventeenth-century Dutch landscape is obvious in his division of the canvas into three horizontal bands, concentrating on the middle ground, and his stubborn portrayal of the unexceptional, anti-Romantic theme. Contemporary English masters – Constable, Bonington, Turner – awoke painters in France to the importance of exact depictions of changing conditions: light, atmosphere, times of day. For Rousseau, the lessons of past Dutch and present English art meant a continuing attachment to his own country and its unique landscapes. There is nowhere more satisfying to be than here, under these trees at this moment, and no finer artist than Rousseau to describe the scene for us. Christine Dixon 1 Théodore Rousseau 1812–1867, Paris: Réunion des musée nationaux, 1967, cat. 22, p. 35.