French painter
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12 episodes with paul cezanne
3 episodes with paul cezanne
3 episodes with paul cezanne
2 episodes with paul cezanne
2 episodes with paul cezanne
2 episodes with paul cezanne
4 episodes with paul cezanne
2 episodes with paul cezanne
2 episodes with paul cezanne
American and Chinese delegations are meeting in London for a new round of trade talks, with US tariffs and Chinese export restrictions on rare earth minerals at the top of the agenda. Also in this edition: Japan pushes its own trade talks with Washington, and French art lovers protest a construction project near the site of Paul Cezanne's most famous landscapes.
In this first episode of the new series of A brush with…, Ben Luke talks to the painter Celia Paul about her influences—including writers as well as contemporary and historic artists—and the cultural experiences that have shaped her life and work. Paul was born in 1959 in Trivandrum, India, and now lives in London. She makes intense yet ruminative paintings of people close to her, the spaces in which she lives and works, and landscapes of poignant significance. Her paintings are made from life but are pregnant with memory, poetry and emotion, which she imbues in her distinctive painterly language. Her art possesses a rare tranquillity in which one perceives deep feeling; Paul wrote in her memoir that her paintings are “so private and personal that there's almost a ‘Keep Out' sign in front of them”. At once a singular figure yet also connected to strands of recent and historic figurative painting in Britain, she has been admired widely throughout her career but only recently been recognised as a major figure in British art of the past 40 years. She discusses the fact that she began painting before she knew about art, but when she was introduced to Old and Modern Masters, she discovered El Greco and Paul Cezanne, who remain important to her today. She also reflects on the compassion in Rembrandt and Vincent van Gogh, the stillness and scale of Agnes Martin and the elementary power of the novels of the Brontë sisters. She also describes her response in painting to the artists of the School of London, including Lucian Freud, with whom she was once in a relationship, and Frank Auerbach.Celia Paul: Colony of Ghosts, Victoria Miro, London, until 17 April 2025. Celia Paul: Works 1975–2025, published by MACK, £150 (hb) Hosted on Acast. See acast.com/privacy for more information.
Viaxamos á Francia da 2ª metade do s. XIX, para descubrir algo máis sobre a Historia da Arte Contemporánea, seguindo a guia das obras seleccionadas polo grupo de Historia de Arte da CIUG para as probas PAU.Obras de Paul Cézanne:Natureza morta con tarteira.Os xogadores de cartas.Serie: Historia da Arte Contemporánea, Historia da Arte, 2º de Bacharelato. Músicas da sintonía (Creative Commons Attribution 3.0): District Four, de Kevin MacLeod (https://incompetech.com), Temptation March, de Jason Shaw (http://audionatix.com).Música:Tanhausser, de Richard Wagner, Public Domain Mark 1.0 Universal,O holandés errante, de Richard Wagner, Attribution-NonCommercial-NoDerivs 3.0 UnportedEste pódcast está baixo a licencia CC BY-NC 4.0.Máis recursos en: facemoshistoria.gal
This is Part 2 of Mandolyn Wilson Rosen and my review of "Lifeline: Clyfford Still" 2019 directed by Dennis Scholl. It's a juicy art bio tell-all with a crusty curmudgeon as its talented but embittered subject. Don't forget to listen to Part 1 too! Find the film on Amazon ($2.99 SD) or for free on Kanopy Find Mandolyn online at: https://mandolynwilsonrosen.com and on IG at @mandolyn_rosen Artists mentioned: Philip Guston, Barnett Newman, Jackson Pollock, Willem DeKooning, Frank Stella, Donald Judd, Paul Cezanne, Ad Reinhardt, Mark Rothko, Thomas Hart Benton, Art Problems Podcast Thank you, Mandy! Thank you, Listeners! Visit RuthAnn, a new artist-run gallery in Catskill, NY at @ruthanngallery and ruthanngallery.com All music by Soundstripe ---------------------------- Pep Talks on IG: @peptalksforartists Pep Talks website: peptalksforartists.com Amy, your beloved host, on IG: @talluts Amy's website: amytalluto.com Pep Talks on Art Spiel as written essays: https://tinyurl.com/7k82vd8s BuyMeACoffee Donations always appreciated!
Odwiedziliśmy region uchodzący za najbardziej malowniczy we Francji. Tam można na nowo poznać smak życia. W Prowansji znajdują się urokliwe miasteczka położone wśród winnic, gajów oliwnych i rozległych pól lawendy, które stanowiły inspiracje dla takich malarzy, jak Vincent van Gogh, Paul Cezanne czy Pablo Picasso. Nikt nie oprze się magii rzymskiego Arles, teatralnego Awinionu, lazurowego Saint-Tropez. Gościem Jerzego Jopa była Grażyna Woźniczka, współtwórczyni i współwłaścicielka Polka Travel, kulturoznawca, latynoamerykanistka i filolog.
In this episode, we have a lively conversation about Paul Cezanne's famous paintings of the same mountain. We exchange thoughts on the importance of curating art exhibits well using Cezzane's work as a primary example but also including modern art exhibits like the Van Gogh Experience in our discussion.
Jennifer Coates, friend of the pod, is back to help me consider a new way forward (artwise) after the destabilizing event of the US election. She, herself, is finding comfort in the long history of rocks, geology and the cosmos, while I find myself turning to a book about how Matisse and his daughter, Marguerite, both reacted to the trauma of WWII in opposite yet valid ways. It's a bit of a potpourri, but we promise some great galvanizing art historical quotes and an inspiring double pep talk for the ages. Alternative title of ep: Rock Paper Scissors! Come hang out with us! Media mentions: The Weekly Show w Jon Stewart (ep with Heather Cox Richardson), Alexandria Ocasio-Cortez on IG/Tiktok Rock mentions: The Makapansgat pebble, Paleo "Venuses," Venus de Willendorf, baetyl stones, "The Living Stones" by Ithell Colquhoun, Paul Cezanne's drawings of Fontainbleu Quarry/MOMA show , John Elderfield and Terry Winters discuss Cezanne's Rock and Quarry Paintings for the Brooklyn Rail , "Turning to Stone: Discovering the Subtle Wisdom of Rocks" by Marcia Bjornerud, new minerals elalite and elkinstantonite discovered in 2022 in Somalia from a meteorite Art mentions: Cat Balco, Adie Russell, Elisabeth Condon, Pierre Bonnard, Edvard Munch & "White Night" 1900, Dada Movement, Hannah Hoch & “Cut with the Kitchen Knife," Man Ray, "Matisse the Master" by Hilary Spurling, "The Unknown Matisse" by Hilary Spurling, Henri Matisse ”Bathers by a River" 1917 and "The Chapelle du Rosaire de Vence" 1947-51, "Verve Magazine" Issue No 8 Vol 2 (1940), "Les Fleurs de Mal" Baudelaire/Matisse poetry book, Marguerite Matisse, Max Beckmann Jennifer's website and IG: https://www.jenniferlcoates.com/ @jennifercoates666 Thank you, Jennifer! Thank you, Listeners! All music by Soundstripe ---------------------------- Pep Talks on IG: @peptalksforartists Pep Talks website: peptalksforartists.com Amy, your beloved host, on IG: @talluts Amy's website: amytalluto.com Pep Talks on Art Spiel as written essays: https://tinyurl.com/7k82vd8s BuyMeACoffee Donations always appreciated! --- Support this podcast: https://podcasters.spotify.com/pod/show/peptalksforartistspod/support
Silvester im Jahr 1999. Die ganze Welt fiebert dem Feuerwerk und dem neuen Jahrtausend entgegen. Aber einer will nicht feiern, sondern die Gelegenheit für einen ausgefuchsten Diebstahl nutzen. Von Sarah Ziegler.
Ein wertvolles Gemälde des Malers Paul Cezanne ist in England verschwunden. Die Polizei bekommt erste Hinweise - aber kann die Polizei das Bild damit wiederfinden? Von Sarah Ziegler.
Nick brings on Stephy and Dogukan to discuss howPaul Cezanne came to be, what is it that influencedhis art and what did he learn that impacted hisstyling? Who is Ambroise Vollard and how did heimpact Cezanne's life and bring other avant-gardeartists to the limelight? Lastly, of course, what was isit that Cezanne painted and what techniques does heemploy the most? We explore all of that, and howCezanne impacted 19th Century Impressionism and20th Century Cubism.
The last painting made by Gustav Klimt, left on his easel when he died in 1918 of illnesses relating to the Spanish flu epidemic of that year, has sold at auction in Vienna for €35m including fees. But much remains unclear about the picture, including its sitter, its commissioner and what happened to it in the Second World War. Ben Luke talks to Catherine Hickley, The Art Newspaper's museums editor, about whether this murky provenance contributed to its relatively low price for a Klimt in the saleroom. A retrospective of the pioneering German artist Rebecca Horn opens this week at the Haus der Kunst in Munich, and we talk to Jana Baumann, its co-curator, about the show. And this episode's Work of the Week is Mont Sainte Victoire, one of dozens of paintings made by Paul Cézanne of the towering limestone peak near Aix-en-Provence in France. Painted in 1886-87, it is in the collection of the Phillips Collection in Washington, D.C. Elizabeth Steele, the Phillips's Head of Conservation, describes how she revealed the painting from a century of discoloured varnish and dust as it goes on view in the exhibition Up Close with Paul Cezanne, which is at the Phillips until 14 July.Rebecca Horn, Haus der Kunst, Munich, Germany, 26 April-13 OctoberUp Close with Paul Cezanne, Phillips Collection, Washington D.C., until 14 July.Subscription offer: subscribe to The Art Newspaper for as little as 50p per week for digital and £1 per week for print and digital, or the equivalent in your currency. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.
Alex Katz talks to Ben Luke about his influences—from writers to musicians, film-makers and, of course, other artists—and the cultural experiences that have shaped his life and work. Katz, born in Brooklyn in 1927, is one of the most distinctive and influential painters of recent decades. Since he began making art in the 1940s, he has aimed to paint what he has called “the now”: to distil fleeting visual experiences into timeless art. It might be a spark of interaction between friends or family, the play of light across water, a field of grass or between the leaves of a tree, the movements of dancers, the electric illumination of an office building at night, or—more than anything else—stolen glances, everyday gestures and intimate exchanges with his wife Ada, who he has painted more than 1,000 times since they married in 1958. From the start, Katz has aimed to match what he calls the “muscularity” of the Abstract Expressionist artists that were dominant in New York when he emerged onto the art scene there in the 1950s, while never giving up on observed reality. He has said “the optical element is the most important thing to me”. He discusses the early influence of Paul Cezanne, the enduring power of his forebears, from Giotto to Rubens and Willem de Kooning, and his admiration for artists as diverse as Utamaro, Martha Diamond and Chantal Joffe. He reflects on the “emotional extension” of the poet Frank O'Hara and his interest in jazz maestros like Pres and Charlie Parker. Plus, he answers our usual questions, including the ultimate: what is art for?Alex Katz: Claire, Grass and Water, Fondazione Giorgio Cini, Venice, Italy, 17 April-29 September; Alex Katz: Wedding Dresses, Portland Museum of Art, Portland, Maine, US, until 2 June; Alex Katz: Collaborations with Poets, The Butler Institute of American Art, Youngstown, Ohio, 15 September-15 November. Hosted on Acast. See acast.com/privacy for more information.
The Rich Zeoli Show- Hour 3: 5:05pm- On Monday, the United States Supreme Court heard oral argument in Murthy v. Missouri—a case which will determine whether officials within the federal government can use their power to coerce social media platforms into censoring speech they unilaterally deem harmful and/or misinformation. While questioning the U.S. Principal Deputy General Brain Fletcher, Justice Samuel Alito seemed to suggest that government pressuring social media companies to do their bidding is violative of the First Amendment, explaining: “The only reason why this is taking place is because the federal government has got Section 230 and antitrust in its pocket…it's got these big clubs available to it—so it's treating Facebook and these other platforms like they are subordinates. Would you do that to The New York Times or The Wall Street Journal or the Associated Press?” 5:10pm- During oral argument in Murthy v. Missouri, Justice Ketanji Brown Jackson voiced concern that ruling against the federal government in this case could result in “hamstringing” their ability to curate speech online—suggesting that the government has a “duty” to police harmful statements. 5:30pm- While appearing at a Mexican restaurant in Phoenix, Arizona, President Joe Biden said of Latino voters: “I need you badly.” According to most polling data, Biden is currently several points behind Republican presidential candidate Donald Trump in Arizona. 5:40pm- Are landscape paintings racist? Cancel culture comes for Vincent van Gogh, Claude Monet, and Paul Cezanne.
The Rich Zeoli Show- Full Episode (03/20/2024): 3:05pm- On Tuesday, the Supreme Court decided to temporarily permit Texas's Senate Bill 4 to take effect pending a lower court's review. The bill makes it a crime for migrants to illegally enter Texas—allowing for Texas officials to arrest and/or deport anyone who recently entered the state unlawfully. However, several hours later a Fifth Circuit panel voted 2 to 1, effectively blocking Texas from enforcing SB 4. You can read more here: https://www.wsj.com/us-news/law/supreme-court-ruling-deportation-texas-sb4-f8328b6d?mod=hp_lead_pos4 3:10pm- On Wednesday, the House Oversight Committee held a hearing which included testimony from business associates of Hunter Biden. Biden's “former business partner Tony Bobulinski publicly accused the first son and his uncle, Jim Biden, of lying under oath about the nature of their business dealings with Chinese conglomerate CEFC,” writes James Lynch of National Review. You can read the full article here: https://www.nationalreview.com/news/former-biden-business-partner-accuses-hunter-jim-of-lying-under-oath-about-chinese-dealings/ 3:20pm- During his testimony before the House Oversight Committee, former Hunter Biden business partner Tony Bobulinski said that he was “1,000% sure” that Joe Biden was the “big guy” referred to in several email communications regarding a business deal with a Chinese-based energy corporation—suggesting that Joe may have derived some financial benefit from his family's foreign business transactions. 3:30pm- Ben Schreckinger of Politico reports: “Prosecutors said a business associate of Jim Biden conspired to defraud Medicare alongside an alleged leader of the Colombo crime family in a brief filed Friday in federal court in New Jersey. The government's accusation is likely to intensify scrutiny of the ties between President Joe Biden's brother and the associate, Mississippi businessman Keaton Langston. The Justice Department named Langston as a co-conspirator in the ongoing fraud case just three weeks after congressional investigators grilled Jim Biden about his relationship with the Mississippi businessman. In the course of a previous prosecution, the Justice Department identified a defendant in the fraud case, Florida businessman Thomas Farese, as a high-ranking member of the Colombo crime family, according to court filings.” You can read the full report here: https://www.politico.com/news/2024/03/18/doj-jim-biden-associate-mafia-boss-00147626 3:50pm- Chick-fil-A pizza? Rich says it sounds repulsive—but Matt and Henry are excited to try it. 4:05pm- Coral Davenport of The New York Times reports: “The Biden administration on Wednesday issued one of the most significant climate regulations in the nation's history, a rule designed to ensure that the majority of new passenger cars and light trucks sold in the United States are all-electric or hybrids by 2032. Nearly three years in the making, the new tailpipe pollution limits from the Environmental Protection Agency would transform the American automobile market. A record 1.2 million electric vehicles rolled off dealers' lots last year, but they made up just 7.6 percent of total U.S. car sales, far from the 56 percent target under the new regulation. An additional 16 percent of new cars sold would be hybrids.” You can read the full report here: https://www.nytimes.com/2024/03/20/climate/biden-phase-out-gas-cars.html 4:10pm- Does cross dressing make you a better intelligence officer? Spencer Lindquist of The Daily Wire reports: “Agents at the Central Intelligence Agency, the Federal Bureau of Investigation, and throughout the intelligence community were distributed a newsletter that celebrated an intelligence official for crossdressing, saying that dressing up in women's clothes makes him ‘a better intelligence officer.'” You can read the full article here: https://www.dailywire.com/news/bidens-top-intelligence-agency-says-crossdressing-makes-man-better-intelligence-officer-internal-docs-show 4:30pm- Ben Brasch of The Washington Post reports: “It is the driver who takes tourists on Jeep tours. It is the veteran who works as a carpenter. It is the person who works at the Whole Foods that sells sashimi-grade salmon for $44.99 a pound. They all live a precarious life sleeping every night in their cars parked somewhere around Sedona, Ariz. It's become a big problem for the tony tourist town, which is why the Sedona City Council approved a program last week that temporarily converts an empty parking lot into a place where families or workers or students can live while trying to find a permanent home. Detractors said they feared it would eventually become an encampment of tents, which aren't allowed under the program.” You can read the full report here: https://www.washingtonpost.com/nation/2024/03/19/sedona-homeless-sleep-car-housing-crisis/ 4:40pm- According to reports, New York Attorney General Letitia James does not believe Donald Trump is “truly unable” to post the $450+ million bond in his civil fraud case. Earlier this year, New York Judge Arthur F. Engoron found that the former president inflated the value of assets controlled by the Trump Organization in past financial statements. With no jury, Judge Engoron unilaterally chose to fine Trump and barred him from conducting business in New York for three years. Notably, in 2018, while campaigning to become New York Attorney General, Letitia James vowed to “sue” Trump and routinely spoke of how she would like to see him imprisoned—providing evidence to the defense's legal argument that this civil suit was entirely political. 4:50pm- Kate-Gate! What's the latest online conspiracy theory involving Kate Middleton and the Royal Family? PLUS, are landscape paintings racist? Cancel culture comes for Vincent van Gogh, Claude Monet, and Paul Cezanne. 5:05pm- On Monday, the United States Supreme Court heard oral argument in Murthy v. Missouri—a case which will determine whether officials within the federal government can use their power to coerce social media platforms into censoring speech they unilaterally deem harmful and/or misinformation. While questioning the U.S. Principal Deputy General Brain Fletcher, Justice Samuel Alito seemed to suggest that government pressuring social media companies to do their bidding is violative of the First Amendment, explaining: “The only reason why this is taking place is because the federal government has got Section 230 and antitrust in its pocket…it's got these big clubs available to it—so it's treating Facebook and these other platforms like they are subordinates. Would you do that to The New York Times or The Wall Street Journal or the Associated Press?” 5:10pm- During oral argument in Murthy v. Missouri, Justice Ketanji Brown Jackson voiced concern that ruling against the federal government in this case could result in “hamstringing” their ability to curate speech online—suggesting that the government has a “duty” to police harmful statements. 5:30pm- While appearing at a Mexican restaurant in Phoenix, Arizona, President Joe Biden said of Latino voters: “I need you badly.” According to most polling data, Biden is currently several points behind Republican presidential candidate Donald Trump in Arizona. 5:40pm- Are landscape paintings racist? Cancel culture comes for Vincent van Gogh, Claude Monet, and Paul Cezanne. 6:05pm- On Wednesday, the House Oversight Committee held a hearing which included testimony from business associates of Hunter Biden. Biden's “former business partner Tony Bobulinski publicly accused the first son and his uncle, Jim Biden, of lying under oath about the nature of their business dealings with Chinese conglomerate CEFC,” writes James Lynch of National Review. You can read the full article here: https://www.nationalreview.com/news/former-biden-business-partner-accuses-hunter-jim-of-lying-under-oath-about-chinese-dealings/ 6:15pm- During his testimony before the House Oversight Committee, former Hunter Biden business partner Tony Bobulinski said that he was “1,000% sure” that Joe Biden was the “big guy” referred to in several email communications regarding a business deal with a Chinese-based energy corporation—suggesting that Joe may have derived some financial benefit from his family's foreign business transactions. 6:30pm- A new study suggests intermittent fasting can be bad for your health. Rich hopes the research isn't accurate—because he does it almost every day! 6:40pm- Andrew Restuccia of The Wall Street Journal documents how local governments across the country are just handing out cash. He writes: “Houston is joining dozens of American cities and counties—most led by Democrats—that are experimenting with guaranteed-income programs amid growing wealth inequality in the U.S. The programs are part of a trend at the local and national level toward providing direct, largely unconditional payments to Americans for everything from pandemic relief to child assistance. They reflect a growing sentiment among economists, tech industry leaders and Democrats that distributing money without strings is one of the most effective and least bureaucratic ways to help struggling Americans.” You can read the full article here: https://www.wsj.com/politics/policy/governments-across-the-u-s-are-handing-residents-cashno-strings-attached-7f602ea6?mod=hp_lead_pos8
The Rich Zeoli Show- Hour 2: 4:05pm- Coral Davenport of The New York Times reports: “The Biden administration on Wednesday issued one of the most significant climate regulations in the nation's history, a rule designed to ensure that the majority of new passenger cars and light trucks sold in the United States are all-electric or hybrids by 2032. Nearly three years in the making, the new tailpipe pollution limits from the Environmental Protection Agency would transform the American automobile market. A record 1.2 million electric vehicles rolled off dealers' lots last year, but they made up just 7.6 percent of total U.S. car sales, far from the 56 percent target under the new regulation. An additional 16 percent of new cars sold would be hybrids.” You can read the full report here: https://www.nytimes.com/2024/03/20/climate/biden-phase-out-gas-cars.html 4:10pm- Does cross dressing make you a better intelligence officer? Spencer Lindquist of The Daily Wire reports: “Agents at the Central Intelligence Agency, the Federal Bureau of Investigation, and throughout the intelligence community were distributed a newsletter that celebrated an intelligence official for crossdressing, saying that dressing up in women's clothes makes him ‘a better intelligence officer.'” You can read the full article here: https://www.dailywire.com/news/bidens-top-intelligence-agency-says-crossdressing-makes-man-better-intelligence-officer-internal-docs-show 4:30pm- Ben Brasch of The Washington Post reports: “It is the driver who takes tourists on Jeep tours. It is the veteran who works as a carpenter. It is the person who works at the Whole Foods that sells sashimi-grade salmon for $44.99 a pound. They all live a precarious life sleeping every night in their cars parked somewhere around Sedona, Ariz. It's become a big problem for the tony tourist town, which is why the Sedona City Council approved a program last week that temporarily converts an empty parking lot into a place where families or workers or students can live while trying to find a permanent home. Detractors said they feared it would eventually become an encampment of tents, which aren't allowed under the program.” You can read the full report here: https://www.washingtonpost.com/nation/2024/03/19/sedona-homeless-sleep-car-housing-crisis/ 4:40pm- According to reports, New York Attorney General Letitia James does not believe Donald Trump is “truly unable” to post the $450+ million bond in his civil fraud case. Earlier this year, New York Judge Arthur F. Engoron found that the former president inflated the value of assets controlled by the Trump Organization in past financial statements. With no jury, Judge Engoron unilaterally chose to fine Trump and barred him from conducting business in New York for three years. Notably, in 2018, while campaigning to become New York Attorney General, Letitia James vowed to “sue” Trump and routinely spoke of how she would like to see him imprisoned—providing evidence to the defense's legal argument that this civil suit was entirely political. 4:50pm- Kate-Gate! What's the latest online conspiracy theory involving Kate Middleton and the Royal Family? PLUS, are landscape paintings racist? Cancel culture comes for Vincent van Gogh, Claude Monet, and Paul Cezanne.
Auckland art gallery has been gifted 15 masterpieces worth $178 million, in what is considered to be one of the most significant philanthropic gifts in local history. Included are works by Pablo Picasso, Salvador Dalí, Henri Matisse and Paul Cezanne, in the gift from the late American collectors Julian and Josie Robertson. More than 300 guests gathered for the exhibition opening on Thursday night. Auckland Art Gallery curator Kenneth Brummel spoke to Ingrid Hipkiss.
Stanley Whitney talks to Ben Luke about his influences—from writers to musicians and, of course, other artists—and the cultural experiences that have shaped his life and work. Whitney, born in Philadelphia in 1946, makes abstract paintings that feature interlocking rectangles, squares and bands of paint whose intense colours hum with musical resonance and rhythm. Rigorously structured yet full of improvisation and unexpected incident, his paintings are both arresting and slow-burning: they grab you with their bold hues and hold you with their complex harmonies and dissonances, their sense of constant movement. He is particularly known for his square-format paintings of the past two decades but his career has been a lifelong search for a distinctive form of painting—one that, as he has said, is defiantly abstract yet contains “the complexity of the world”. He reflects on his encounters with an early mentor, Philip Guston; being painted by Barkley Hendricks, a fellow student at Yale; and his close friendship with David Hammons. He discusses his love of Paul Cezanne, Vincent van Gogh, Paolo Veronese and Henri Matisse, as well as the work of Gees Bend quilters. And explains how he connects this deep love of painting to musical greats including Miles Davis, Charlie Parker and Charlie Mingus. Plus he discusses in detail his life in the studio and answers our usual questions, including “what is art for?”Stanley Whitney: How High the Moon, Buffalo AKG Art Museum, Buffalo, US, 9 February-27 May; Walker Art Center, Minneapolis, US, 14 November-16 March 2025; Institute of Contemporary Art /Boston, US, 17 April 2025–1 September 2025; Stanley Whitney: Dear Paris, Gagosian, Paris, until 28 February. Hosted on Acast. See acast.com/privacy for more information.
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
In this episode you will hear a little about 3 of our host's favourite artists: Salvador Dali, Andy Warhol and Paul Cezanne. Link to referenced artwork, 'The Persistance of Memory': https://www.moma.org/collection/works/79018
“Time and reflection change the sight little by little 'til we come to understand.” - Paul Cezanne / with time and steady reflection for wisdom will take root / Striving For the Bhakti Tipping Point / Bhakti carries the potential to transcend all religious differences / No one has a monopoly on God / incessant transcendental bliss flows in the minds of those who taste a drop of Krishna's glories / happiness of sense gratification is merely a reflection / how to become they the real friends of everyone / the beggars may be the experts at achieving the real goal in life SB 6.9.38-39
“Time and reflection change the sight little by little 'til we come to understand.” - Paul Cezanne / with time and steady reflection for wisdom will take root / Striving For the Bhakti Tipping Point / Bhakti carries the potential to transcend all religious differences / No one has a monopoly on God / incessant transcendental bliss flows in the minds of those who taste a drop of Krishna's glories / happiness of sense gratification is merely a reflection / how to become they the real friends of everyone / the beggars may be the experts at achieving the real goal in life SB 6.9.38-39
Als je het hebt over de Nederlandse abstracte kunst, dan denk je misschien aan Gerrit Rietveld of Piet Mondriaan, maar eigenlijk moet dat Jan van Deene zijn. Samen met vrienden ontwikkelde hij aan het begin van de twintigste eeuw een absolute schilderstijl. En dat nog voor de kunstbeweging van De Stijl zijn intrede had gedaan. Janine Abbring spreekt erover met conservator beeldende kunst 20ste eeuw, Ludo van Halem.Wil je weten hoe dit schilderij eruitziet? Ga dan naar www.rijksmuseum.nl/podcastIn het Rijksmuseum is powered by ING.
Je reçois Hadrien France-Lanord, philosophe, pour parler des possibilités de se libérer de l'oppression propre à notre temps.Le livre d'Hadrien : https://www.editionsducerf.fr/librairie/livre/20200/A-l-ecoute-du-moderneMots clé : Plonger au coeur du moderne. À travers la philosophie, la peinture, la musique et toute forme de poésie en général, il s'agit ici de s'aventurerdans la révolution moderne, qui bouleverse nos systèmes de représentation et interroge nos concepts traditionnels. C'est pourquoi ce n'est pas une révolution simplement esthétique, mais également éthique, voire politique – le moderne engage un déplacement du regard, des modes d'agir et des manières d'habiter le monde. Le moderne est un geste auquel on peut s'exercer.Voilà ce que nous propose cet ouvrage à la fois original et vivant. Grâce à un travail d'écoute, des exercices de lecture, sans érudition, mais ancrés dans nos vies, notre quotidien, nos corps.Une invitation à découvrir les oeuvres fondatrices de notre temps, pour mieux saisir le monde dans lequel nous vivons. Un appel à réfléchir de manière libre, en retravaillant sans cesse nos appuis.Agrégé de philosophie et professeur en khâgne à Rouen, Hadrien France-Lanord est également associé à l'équipe Identité et subjectivité de l'Université de Caen. Philosophe passionné des arts, il est aussi membre de la Société Paul Cezanne, et donne régulièrement des séminaires à Reso – L'École de méditation. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.
Episode: "Perspectives on Luxury with Robert Charles" Host: Nikki Klugh Welcome to Create Your Sacred Space Podcast with Nikki Klugh. the podcast that unveils the soul of architecture and design. Join us as we explore the passion, creativity, and purpose behind the most inspiring spaces and projects and dive deep with those who create them consistently. I'm your host, Nikki Klugh, and I'll be your guide as we journey through the hearts and minds of sacred space architects and designers who are driven by compassion and authenticity. _________________________________________________ Robert Charles Bio: Robert Otis Charles was born in the projects of East Orange, New Jersey. He is a descendant of Costa Rican and West-Indian parents. Robert is the second youngest of four children. Robert established his career based on his creative talents. He developed his passion for multi-disciplinary creativity around the age of five. He held on to his creativity because he was very limited in his physical ability because of his long-term battle with chronic asthma and his encounter with bone cancer at age 21. Robert drew with crayons; built with his beloved Lego and wooden blocks; built go-carts and tree houses of wood; built scale models; supported his father in providing professional photography; and initiated an ongoing livelihood with the trumpet all before his teenage years. He was introduced to architecture by his older sibling and developed a distinct love for architectural design at the age of twelve. His father, (Neil Charles, Sr.), kindled his fire for drawing with excellence. “Pop” Charles purchased Robert's first drafting table shortly after his demonstrated commitment to architecture, drawing, and building. Robert's father continually invested in his career from his youth and procured a large loan that initiated his architectural college training. Robert was educated at Florida Agricultural & Mechanical University where he received both his undergraduate and professional degrees in Architecture. He has received several architectural awards including the distinguished Alpha Roe Chi Medal of Leadership, Service, and Merit, and led design on award-winning projects over his 30-year career. He is a current member of the American Institute of Architects and the lead design architect at LBA Architects. Also, in 1998, Robert established ROC STUDIOS INTERNATIONAL, INC which is his own multi-disciplinary design studio. His studio provides visual arts, creative branding, and professional photography. The following famous architects and artists influence his style of designing buildings and producing graphic works. The architects that inspire Robert are Frank Lloyd Wright, Kenzo Tange, Le Corbusier, Richard Meier, Frank Gehry, Santiago Calatrava, Eliel Saarinen, and Alvar Aalto. Artists like Salvador Dali, Pablo Picasso, Paul Cezanne, and Georges Braque inspire Robert's style of producing abstract graphics. Photographers such as Neil Charles, Sr., Ansel Adams, David Eggleston, and a host of others influence Robert's photography. Prominent political officials, doctors, lawyers, architects, business leaders, bishops, pastors, other artists, organizations, churches, and the general public have collected his artworks and photography. His works have also been displayed in public facilities including those that he designed. Robert is a passionate man who is a joyfully exuberant nerd and enjoys staying fit, public speaking, and playing his horns. Robert readily acknowledges his many blessings including his creatively gifted wife (Shantae). __________________________________________ Thank you for being a part of our heart-centered community, and until next time, may your life be filled with sacred spaces that reflect the beauty of your soul. Remember, FIRST We shape our buildings; thereafter they shape us.
Angela O'Keeffe is the author of Night Blue which was nominated for the Prime Minister's Literary Award. Today I've brought you her latest novel The Sitter A writer sits in a hotel room in Paris early 2020. By her side is the disembodied form of Hortense Cezanne. The writer has traveled to France to capture the essence of Hortense for a book about the wife and muse to Impressionist painter Paul Cezanne. Hortense has returned to the country of her birth for reasons not yet clear to her. Now the two are confined to their hotel room as the world descends into a strange and unknowable illness, forced to observe the quietening world outside. The Sitter is a strange beast of a novel. Narrated in turns by the long dead Hortense and the reminiscences of the unnamed writer the book asks the reader to ponder creativity both from the perspective of the creator and their subject. When we meet Hortense Cezanne she is variously the wife and muse of the painter Cezanne and the freshly reincarnated spirit of the same grappling with her place in the world a century after her death. This is no fantastical mode of the author but rather a realisation of the author's work in creating. So often I've spoken with authors who talk of their characters being ‘real' to them. O'Keeffe takes this a step further inserting Hortense into the narrative as she grapples with becoming a reality through the writer's words. O'Keeffe's writer must in her turn work to discover the reality of the Hortense who sits by her side. This disembodied spirit is perhaps not enough to justify her book but how can she discover and then in her way create a fuller figure? The books turns on an empty street near the center of Paris. As the world succumbs to the early days of the as yet unknown Coronavirus the writer witnesses a tragedy that turns her thoughts inwards. Now she can no longer simply write Hortense's story. Stuck in her hotel room she is drawn to a new narrative. Abandoning Hortense's story the writer turns to her memories to write the story of her own drive and creativity. I was fascinated by The Sitter for its exploration of the creative process and its questioning of the artists motivations. Hortense is given voice to expose how she has been silenced and the writer must delve into her own silence to uncover the story she needs to tell. Both of these stories ruminate on women's bodies and the ways they are made subject and subjected to a process that renders them voiceless. A process that is rectified somewhat in the ultimate telling of the tale. The Sitter is an intriguing work and please don't doubt that I have oversimplified it even as I worked to understand it. I'll be going back. This is the sort of novel that rewards rereadings and asks of its reader that they take the time to think about the voices and the characters given voice.
In this podcast, we will be focusing on two artists Paul Cezanne and Ambrose Vollard. We will talk about different aspects of art and the different styles that the artists used in their paintings. And we end up talking about the incident between them and who's fault it was. · Artist and Title for Music: Peaceful Paradise by Taizo Audio
In the realm of art history, few figures captivate the imagination quite like Ambroise Vollard and Paul Cezanne. Ambroise Vollard, a renowned French art dealer, emerges as an enigmatic force, credited with providing exposure and emotional support to a multitude of the-unknown artists. His influence reached the likes of Paul Cezanne, Pablo Picasso, Vincent van Gogh, and many more, shaping the course of art history. Meanwhile, Cezanne, often regarded as the father of modern art, mesmerizes with his groundbreaking exploration of form, color, and light. Through his landscapes, still lives, and portraits, Cezanne invites viewers into a world where multiple viewpoints and fragmented forms unveil the essence of his subjects. Together, Vollard and Cezanne intertwine their narratives, leaving us with a rich tapestry of artistic brilliance, tantalizingly shrouded in mystery and awaiting our exploration.
In this podcast you will hear us discuss Ambroise Vollard and Paul Cezanne among other important topics in French art and business. We focused on these French artist and discussed influential artwork that they are known for. We exchange ideas and opinions as well as discussed Vollard's contribution to the support of French artists and their contributions as well. We utilize some of the concepts we have learned so far to share our appreciation and critiques. We also discussed paintings like Diana Bathing and Temptation of Saint Anthony. In our case study we focused on the discussion of 19th century French art in terms of business, styles and movements.
In the realm of art history, few figures captivate the imagination quite like Ambroise Vollard and Paul Cezanne. Ambroise Vollard, a renowned French art dealer, emerges as an enigmatic force, credited with providing exposure and emotional support to a multitude of the-unknown artists. His influence reached the likes of Paul Cezanne, Pablo Picasso, Vincent van Gogh, and many more, shaping the course of art history. Meanwhile, Cezanne, often regarded as the father of modern art, mesmerizes with his groundbreaking exploration of form, color, and light. Through his landscapes, still lives, and portraits, Cezanne invites viewers into a world where multiple viewpoints and fragmented forms unveil the essence of his subjects. Together, Vollard and Cezanne intertwine their narratives, leaving us with a rich tapestry of artistic brilliance, tantalizingly shrouded in mystery and awaiting our exploration.
An audio excerpt from M. Allen Cunningham's talk "Reading, Seeing, and Self-Forgetting," delivered recently in an undergraduate creative writing course. Cunningham considers what a creative writing course can and cannot achieve, and explores the imaginative value of honing one's perceptions by "going beyond the edges" of one's own identity, perspectives, imagination, and discipline. One springboard for this lecture is Ali Smith's Artful, an assigned book for this course Other touchpoints include Rainer Maria Rilke, Paul Cezanne, Harold Bloom, C.S. Lewis, Nabokov, Virginia Woolf, James Baldwin, Michael Oakeshott, and Lynda Barry. (NB: Cunningham's particular discussion of Rilke originates with Letters on Cezanne, edited by Joel Agee, and draws on the observations in Agee's introduction to that book.)Visit www.MAllenCunningham.com to learn more about Cunningham's work as a writer, teacher, and publisher. Hosted on Acast. See acast.com/privacy for more information.
Was haben Jean Michel Basquiat, Vincent van Gogh, Francis Bacon und Paul Cezanne gemeinsam? Sie alle waren Autodidakten in der Kunst und erlernten ihre Meisterschaft im Selbststudium der Farben.
Although ekphrastic poetry (‘poetry about art') has been around for a long time, the majority of ekphrastic writing does little more than recapitulate and describe a painting. In ArtiFact #36, Alex Sheremet is joined by Jessica Schneider to discuss her recent book of ekphrastic poetry, “Ekphrasm”, and how her approach is different. From the use of recurring characters, to combining observations on photography with those on painting, to characterizing her various poetic narrators, to the use of psychological tricks, there is more to ekphrasis than meets the eye. Painters covered include Edouard Manet, Claude Monet, Paul Cezanne, Hilma af Klint, and others. Buy Jessica Schneider's “Ekphrasm”: https://www.amazon.com/Ekphrasm-French-Painters-Paintings-Natures-ebook/dp/B0B53ZB2TV Jessica Schneider's first poetry collection, “Wordshapes”: https://www.amazon.com/WordShapes-Selected-1999-2009-Jessica-Schneider-ebook/dp/B07HRDL58B/ To get the patron-only B Side to this conversation, support us on our Patreon page and get patron-only content: https://www.patreon.com/automachination B Side topics: Enneagram Type 5 & over-preparation; the role of enjambment, punctuation in poetry; does YouTube have an unfilled niche for great short poetry; Alex makes plans for capturing footage of the old brothel he grew up next door to; how footage of the 1945 Victory Day parade in Russia suddenly veers into greatness for 30 seconds; Bruce Ario as the most commercial and viral of poets; Jessica's earrings interfere with the show; “you're only as good as your last poem” as a psychological motivator; Alex's first draft of his Lunar New Year (2023) poem; exclusivity in the arts; Alex and Joel Parrish traveling to Minneapolis for footage related to Bruce Ario; on Malik Bendjelloul's “Searching for Sugar Man”, a biopic on Sixto Rodriguez; Sixto Rodriguez's excellence as a singer-songwriter; the emotional dilemmas of great artists; why animals can serve as a great example for human beings; Americans take the wrong lesson from Office Space; why every Twitter personality, no matter their politics or beliefs, sounds exactly the same; Russia Russia Russia; what gets lost in translation; Jim Morrison, The Doors, The Beatles and commercialism; Nuri Bilge Ceylan; Nassim Taleb snipes at Lex Fridman; do we need 6 months to read & digest The Brothers Karamazov; pitfalls of highly commercial marijuana legalization Subscribe to the ArtiFact podcast on Spotify: https://spoti.fi/3xw2M4D Apple Podcasts: https://apple.co/3wLpqEV Google Podcasts: https://bit.ly/3dSQXxJ Amazon Music: https://amzn.to/2SVJIxB Podbean: https://bit.ly/3yzLuUo iHeartRadio: https://ihr.fm/3AK942L Jessica Schneider's interview on ekphrasis with Ethan Pinch of @AnthropomorphicHorse – https://www.youtube.com/watch?v=xbjuQX_r_ho Vivian Maier footage used in video: https://www.youtube.com/watch?v=vDewAU-rgIM Read more from the automachination universe: https://automachination.com Read Alex Sheremet's (archived) essays: https://alexsheremet.com Follow us on Twitter: https://twitter.com/automachination Timestamps: 0:18 – an icebreaker: Jessica Schneider's disrespectful emails in preparation for our show 3:18 – how Jessica's approach to ekphrasis is different; Jessica's initial frustration with her poem on Mariupol & how it was improved 9:22 – Jessica Schneider's poem “Manet's Mirror”, after Edouard Manet's famous “A Bar at the Folies-Bergère”; how the introduction of Landon at the end of the poem takes it out of the painting's own diegetic universe; the Wallace Stevens / Sunday Morning connection; why memorizing poetry is excellent for poets 21:40 – Jessica Schneider's poem “What Monet Said”, after Claude Monet's “Woman with a Parasol – Madame Monet and Her Son”; Leonard Shlain's “Art And Physics” 29:35 – the drawing of Paul Cezanne's son; Jessica Schneider's “A Young Paul Asleep”; how details totally outside of Cezanne's drawing make their way into the poem 36:37 – Jessica Schneider's poem on Mariupol; how Cezanne's paintings of a forest serve as a ‘spiritual' backdrop to a seemingly unrelated poem 42:28 – poem on Paul Cezanne's father reading a newspaper; there has always been a lack of family support for artists; “reading” Cezanne's painting vs. writing the poem 50:54 – Camille Pissaro's Voisins; extracting (unexpected) value from a title 56:27 – Jessica's poem after Vivian Maier's photography; on the nature of “selfie” / self-portrait poetry; Alex gets in touch with his feminine side 01:05:34 – a poem after Hilma af Klint's “swan” series; how a series can change individual artistic objects; speculation on Hilma af Klint's desire to publicly release her work only after a substantial amount of time passed after her death 01:14:08 – discussing the patron-only show & a final, autobiographical poem from Jessica Schneider; a non-ekphrastic poem that nonetheless taps into some concepts of ekphrasis Tags: #poetry, #painting, #photography, #artpodcast, #cezanne, #monet
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
*) Ukraine liberates dozens of towns Ukraine says dozens more towns and villages have been liberated in the south of the country. It comes as Ukrainian forces continue their advance towards the strategically vital city of Kherson. Russians have announced they're withdrawing from the city but there's considerable scepticism about that. *) Leaders of Turkic nations meet in Uzbekistan Turkish President Recep Tayyip Erdogan is among leaders from the Organization of Turkic States attending the OTS summit in Samarkand. The theme of the summit will be “New Era for Turkish Civilization: Towards Common Development and Prosperity.” At the summit important decisions will be taken that will form the first five-year implementation guide of the vision document, which constitutes the 20-year roadmap of the organisation. Addressing the summit, Erdogan said the bloc has accepted the Turkish Republic of Northern Cyprus as an observer state. *) Biden to meet Xi US President Biden will meet his Chinese counterpart, Xi Jinping, on the sidelines of next week's G20 summit in Indonesia. This will be the first face-to-face meeting between the two since Biden took office, though they have talked via video conference. Relations between the two largest economies have grown worse. That's as tensions rise over Taiwan and China's growing political and military presence around the world. *) Russian hackers behind medical record theft: Australian police Russian hackers are behind a cyberattack on a major Australian healthcare company that breached the data of 9.7 million people, including the country's prime minister, police say. The hackers started leaking the data earlier this week after Medibank -- the country's largest health insurer -- refused to pay a 9.7 million dollars ransom. Australian Federal Police commissioner Reece Kershaw blames the attack on Russia-based "cyber criminals". And finally… *) Paul Allen's art collection fetches record $1.5B at auction Five dozen works from Paul Cezanne, Vincent van Gogh and other revered artists fetch $1.5 billion at an auction. The auction is part of the vast collection of paintings and sculpture amassed by late Microsoft co-founder Paul Allen. The total represented the highest amount ever collected at a single art auction, according to the auction house, Christie's in New York. Proceeds will be donated to philanthropic causes in accordance with the wishes of Allen, who died in 2018.
We meet Alex Rotter, Chairman of Christie's 20/21 Art Departments, to discuss Christie's New York forthcoming auction 'Visionary: The Paul G. Allen Collection' which runs from 9–10 November 2022 at Rockefeller Center. The collection of philanthropist Paul G. Allen, co-founder of Microsoft, includes more than 150 masterpieces spanning 500 years of art history. Reflecting the depth and breadth of Paul G. Allen's collection, the auctions connect this visionary innovator to a range of ground-breaking artists, joining Paul Cezanne with David Hockney, Alberto Giacometti with Louise Bourgeois, Georges Seurat with Jasper Johns and Agnes Martin with Yayoi Kusama. Valued in excess of $1 billion, The Paul G. Allen Collection is poised to be the largest and most exceptional art auction in history. Pursuant to his wishes, the estate will dedicate all the proceeds to philanthropy.From 29 October – 8 November 2022, view The Paul G. Allen Collection in-person at Christie's Rockefeller Center galleries in New York. Follow @ChristiesInc and visit their official website: https://www.christies.com/en/events/visionary-the-paul-g-allen-collection/overviewFrom Canaletto's famed vistas of Venice and Paul Cezanne's magisterial vision of the Mont Sainte-Victoire to Gustav Klimt's Birch Forest, Georgia O'Keeffe's 'Red Hills with Pedernal, White Clouds', and latterly, David Hockney's joyful depictions of his native Yorkshire, the collection highlights landmark moments in the development of landscape painting through centuries. Botticelli's Madonna of the Magnificat, Georges Seurat's pointillist masterwork Les Poseuses, Ensemble (Petite version) and Lucian Freud's Large Interior, W11 (after Watteau) demonstrate the enduring power of the human figure in art, while the polyvalent practice of artists such as Max Ernst and Jasper Johns show how artists can subvert tradition to move art forward. We explore some of our own personal favourite works by Georgia O'Keeffe, Agnes Martin, David Hockney, Louise Bourgeois, Bridget Riley and Barbara Hepworth.Alex Rotter grew up in a family of art dealers in his native Austria, and studied at the University of Vienna. He currently lives in New York and is responsible for overseeing a global team of specialists spanning the full scope of 20th and 21st Century art. Rotter's progressive approach to presenting extraordinary works of art to the market has yielded many of the most groundbreaking moments in auction history. Career highlights include the 2017 sale of Leonardo da Vinci's Salvator Mundi , which sold for $450 million, becoming the most expensive object ever sold at auction, and Jeff Koons' Rabbit from the Collection of SI Newhouse, which sold for $91.1 million and set a world auction record for a living artist. Hosted on Acast. See acast.com/privacy for more information.
Paul Cezanne was an influencial post impressionist painter. He was a very thoughtful and deliberate painter taking an almost scientific approach to the landscape reducing nature to brush strokes that would indicate the various planes. He famously sought to reduce all subjects to a collection of geometric forms. For this episode, I was joined by Dr. Lex, host of the LuxeSci Podcast. Find her show on Apple Podcasts, Spotify, or wherever you listen to podcasts. 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
Orange you glad we're releasing this episode? Sorry. But not sorry for the topic! This episode is all about well-beloved fruit, the orange. Who knew that art and music embrace the orange as inspiration? Well, we didn't at first, but this episode revealed a lot of fun content, so join us as we explore the orange Orange! Art: Ryuryukyo Shinsai (1799-1823): Orange, Dried Persimmons, Herring-Roe and Different Nuts; Food Used for the Celebration of the New Year (19th century) Paul Cezanne (1839-1906): Pommes et oranges (1899) Claes Oldenburg (1929-2022): Dropped Bowl with Scattered Slices and Peels (1989) Music (Spotify playlist): Sergei Prokofiev (1891-1953): The Love for Three Oranges (1919)
The Edinburgh Festival Fringe 2022 series Elaine chats with director Katie Jackson about their new play Visiting Cezanne. We chat the industry as a whole, coming through the pandemic, being nonbinary in the arts and much more. Visiting Cezanne How does an artist keep going when all seems hopeless? Seeking an answer, a failed artist in New York visits the Metropolitan Museum of Art in 2016. From there she unexpectedly travels to an artist's studio in southern France in 1900. She desperately wants to get back to her home in 2016 but Paul Cezanne, another obscure artist with his own problems, is not being helpful. Also ensnared in this crisis are Cezanne's gardener and an art historian from Utah. This play's creative team is Glasgow-based. SHOW: TICKETS WEBSITE: redrovertheatre.com KATIE JACKSON Katie is a theatre director based between Glasgow and London. Having started out as a stage manager, Katie has worked professionally in theatre since 2014 and started to move into directing in 2019.During the pandemic, they relocated to Glasgow to study at the Royal Conservatoire of Scotland, completing a Master of Fine Arts Degree in January 2022. Katie's directing leans heavily into exploring naturalism on stage and delving into the realities of everyday existence for everyday people. When not directing, Katie works in the care sector, supporting vulnerable adults. Website: katiejacksondirector.com Instagram: @katie_jax Twitter: @katie_jax PLANNED PARENTHOOD DONATE DONATE ABORTION SUPPORT NETWORK UK ASN.COM- DONATE LINKTREE P&N Linktr PayPal https://www.paypal.com/paypalme/persistentandnasty for those who can donate. A million thanks and love. Resources https://www.samaritans.org/?nation=scotland http://www.rapecrisisscotland.org.uk/ https://rapecrisisni.org.uk/ https://rapecrisis.org.uk/ https://www.artsminds.co.uk/ https://www.bapam.org.uk/ https://freelancersmaketheatrework.com/sexual-violence-support-services/ Stonewall UK Trevor Project Mermaids UK Switchboard LGBT+ GATE WeAudition offer: For 25% off your monthly subscription quote: NASTY25 Backstage Offers: Get a free 12 months Actor Subscription: https://join.backstage.com/persistentnasty-uk-12m-free/
O, baktığı şeyin özünü, asıl gerçekliğini, ideasını görür, sonra kendi zihninde aynı şeyi ruhuyla birlikte resim formunda yeniden yaratırdı. Bıraktığı miras yüzlerce resme ilham kaynağı oldu. Hırsızımız bu bölümde Paul Cezanne'nın Yıkananlar tablosunu grup terapisinde konuşturuyor. Gelin zamanın geçişini görmek için ressamın gözüyle tek bir ana bakalım.
Triển lãm ánh sáng về thế giới hội họa của hai nghệ sĩ Cezanne và Kandinsky đang diễn ra tại Trung tâm nghệ thuật số Atelier des Lumières, Paris. Bước qua cánh cửa vào phòng triển lãm, du khách sẽ đến với một không gian mờ ảo, lung linh, vẳng bên tai là những điệu nhạc lúc dặt dìu, khi dồn dập. Sự kết hợp độc đáo giữa nghệ thuật và công nghệ số, giữa hội họa và âm nhạc tại Atelier des Lumières đưa du khách tạm thoát khỏi những ồn ào xô bồ của cuộc sống ngoài kia. Trước mắt người xem mở ra thế giới sống động, rực rỡ sắc màu trong tranh của Cezanne và Kandinsky. Sau các danh họa Klimt, Van Gogh, Monet, Renoir, Chagall và Dali, nay đến lượt họa sĩ Pháp Paul Cezanne (1839-1906) và họa sĩ gốc Nga VassilyKandinsky (1866-1906) được Trung tâm nghệ thuật số Atelier des Lumières vinh danh. Triển lãm Cezanne - Kandinsky thực ra gồm hai cuộc triển lãm được trình chiếu liên tục và nối tiếp nhau : « Cezanne - Ánh sáng của vùng Provence » (khoảng 30 phút) và « Kandinsky - chuyến phiêu lưu của sự trừu tượng » (khoảng 10 phút). Nhưng đâu là mối liên hệ giữa Cezanne và Kandinsky ? Trả lời phỏng vấn RFI Tiếng Việt ngày 24/02/2022, chỉ vài ngày sau khi triển lãm khai mạc, ông Jacques de Tarragon, giám đốc Atelier des Lumières giải thích : « Cezanne là một nghệ sĩ phi thường. Ông là một tên tuổi lớn trong lịch sử nghệ thuật. Mọi người thường thích tranh của ông. Cezanne có khối tác phẩm đồ sộ. Cezanne đã vẽ 800 bức tranh, 400 tranh màu nước, có nghĩa là rất nhiều tranh, và tôi có thể nói rằng ông như một bảng màu, với rất nhiều màu sắc được phối trên những chất liệu khác nhau. Tất cả những điều đó khiến các tác phẩm của ông ấy nếu được giới thiệu, trong khuôn khổ một cuộc triển lãm kỹ thuật số tại trung tâm nghệ thuật số Atelier des Lumières, thì sẽ tạo nên điều phi thường. Quả thực, có một cây cầu nối giữa Kandinsky và Cezanne mà chúng tôi đã cố gắng khai thác. Trước tiên, chúng tôi muốn giới thiệu 2 nghệ sĩ. Có một sự khác biệt lớn giữa 2 nghệ sĩ lớn này, nhưng có một sự ngưỡng mộ, đặc biệt là sự ngưỡng mộ của Kandinsky đối với Cezanne. Chắc chị cũng biết, Kandinsky từng nói Cezanne có thể thổi hồn vào một tách trà. Tôi nghĩ rằng 2 cuộc triển lãm có một điểm chung, đó là một vũ trụ, một thế giới ngập tràn sắc màu, nhưng chúng cũng rất khác nhau. Chúng tôi muốn giới thiệu nhiều điều cho khách tham quan và bằng cách này, quý vị được cùng lúc tham gia 2 cuộc triển lãm có sự gắn kết với nhau nhưng cũng là ở hai không gian rất khác nhau ». Chuyến đi kỳ thú Hành trình tham quan của du khách sẽ diễn ra như thế nào ? Chắc chắn là không giống một chuyến tham quan như truyền thống ở các bảo tàng nghệ thuật thông thường. Giám đốc trung tâm nghệ thuật số giải thích : « Chuyến thăm quan của khách diễn ra như sau : khi quý vị bước vào trung tâm, dần dần ánh sáng sẽ giảm đi, không gian tối dần. Rồi quý vị đi vào một phòng kín tối đen. Quý vị sẽ làm quen dần với bóng tối. Phòng lớn đó, vốn là một xưởng đúc có từ năm 1835 và nay được chuyển đổi thành một trung tâm kỹ thuật số. Khi quý vị bước gian phòng triển lãm này, quý vị thực hiện một chuyến du hành, di chuyển bên trong phòng để khám phá, chiêm ngưỡng các tác phẩm được trình chiếu. Phòng triển lãm vẫn còn những thứ của xưởng đúc trước đây, như một bể nước, một bồn chứa, một lò sấy hình tháp mà các hình ảnh được chiếu ở bên trong và phía bên ngoài. Khách tham quan được khuyến khích đi dạo xung quanh và khám phá nhiều điểm, nhiều góc độ chiêm ngưỡng trong phòng triển lãm. Có một vị trí đặc biệt thú vị ở Atelier des Lumières, đó là gác lửng mà từ đó quý vị có thể có nhiều góc nhìn rất hay. Chỗ này nhô cao lên vài mét nên quý vị sẽ thấy cả phòng triển lãm ngập tràn hình ảnh. Toàn bộ gian phòng triển lãm cực kỳ tráng lệ, hoành tráng ». Cezanne nổi tiếng với những bức vẽ thiên nhiên, đặc biệt về quê hương Provence, miền nam Pháp, với phong cảnh nông thôn êm đềm, thanh bình, nổi bật là gam màu xanh của trời của biển xen với màu xanh của cây cối, vườn tược. « Nàng thơ » của ông là ngọn núi Sainte-Victoire, khung cảnh đã theo ông đến tận hơi thở cuối cùng. Niềm say mê của ông đã được tái hiện rõ nét trong triển lãm, đỉnh điểm là ở phần kết, khi 80 bức họa núi Sainte-Victoire được vẽ từ nhiều góc độ, vào những thời điểm khác nhau, lần lượt được chiếu trên các bức tường, dưới tiết tấu nhạc sôi động và ngày càng dồn dập … Nhưng thế giới của Cezanne không chỉ có vậy. Trong số khoảng 1000 tác phẩm, ban tổ chức chọn được 500 bức tranh để trình diễn ánh sáng. Ông Jacques de Tarragon giới thiệu khái quát triển lãm : « Du khách có thể khám phá một phần lớn trong thế giới sáng tạo của Cézanne qua những bức tranh tĩnh vật, tranh thiên nhiên, phong cảnh, những bức chân dung hay tác phẩm tự họa và vô số bức vẽ ngọn núi Sainte-Victoire. Cezanne đã vẽ hơn 80 bức tranh về núi Sainte-Victoire. Cuộc triển lãm được chia thành nhiều chương hồi : có 8 chương. Đây là một cuộc du hành, có một chương mở đầu, một chương rất hoa mỹ, tươi vui mà chúng tôi gọi là Vòm bình yên, rồi một chương nói về nét thầm kín của cơ thể con người, với những tác phẩm nổi tiếng khắc họa những người phụ nữ đang tắm. Cũng có một phần triển lãm về những giai đoạn cuộc đời Cezanne với nhiều nỗi day dứt, toát lên qua những bức tranh chân dung tự họa của ông. Vậy đấy, có thể nói, trong cuộc triển lãm chúng ta như lướt theo nhịp tâm trạng và các giai đoạn chính trong thế giới sáng tạo của Cezanne ». Thiên nhiên trong tranh Cezanne không tĩnh, mà rất sống động. Thiên nhiên cũng có tâm hồn. Và để làm toát lên cái hồn sống động đó, các nhà tổ chức, với sự trợ giúp đắc lực của công nghệ số, đã tái hiện thiên nhiên trong tranh của Cezanne, để du khách được hòa mình vào thiên nhiên, với tiếng chim lót líu lo, tiếng nước chảy róc rách, tiếng sóng vỗ, tiếng côn trùng rả rích, cả tiếng sấm ran ... chứ không phải chỉ là chắp tay đứng xem. Đến với triển lãm, khách thăm quan sẽ thấy những chiếc lá trong tranh Cezanne rung rinh, những vòm lá cây xao động trong gió, những sóng nước sông Arc lăn tăn mơn man dưới chân. Nổi tiếng với những bức tranh tĩnh vật, đặc biệt là tranh vẽ những trái táo, những tác phẩm này là một phần không thể thiếu trong triển lãm. Nhưng tĩnh mà động, với hiệu ứng ánh sáng, những trái táo lần lượt hiện lên trong từng khung tranh ảo trên tường, rồi lại thoát ra khỏi những khung tranh đó, trôi lơ lửng trước mặt du khách … Tạm rời thế giới của Cezanne, giờ đây du khách được bước vào một thế giới của những hình khối và sắc màu khác, không kém phần mãn nhãn : thế giới của Kandinsky, một thế giới hội họa đi từ dân gian, bình dân, đến hiện đại, trừu tượng, rực rỡ, vui mắt mà cũng rất kỳ bí … Kandinsky không chỉ là một họa sĩ, mà còn là một nhà lý luận về nghệ thuật, nhà thơ và là một người đi tiên phong về nghệ thuật trừu tượng. Giám đốc Atelier des Lumières cho biết tiếp : « Đối với các tác phẩm của Kandinsky thì cũng tương tự. Ở đó, chúng ta như đang trong một chuyến du hành xuyên suốt các thể loại tranh của ông ấy. Chúng ta xuất phát từ nước Nga, nơi Kandinsky đã vẽ những thứ rất tượng hình, những cảnh vô cùng tráng lệ, những con ngựa được trang trí tuyệt đẹp, cảnh về các bộ tộc, những quảng trường lớn … Và rồi, rất nhanh chóng, du khách được bước vào thế giới trừu tượng của Kandinsky. Chị biết đấy, ông ấy chuyển hướng sang trường phái trừu tượng khá nhanh. Người xem như đang trong một chuyến du hành với các sắc màu, nghệ thuật kết hợp nhiều vật liệu. Các tác phẩm được trình chiếu rất, rất đẹp, được phối hợp nhịp nhàng. Công chúng mới chỉ bắt đầu được đến thăm triển lãm từ tuần trước nhưng đã hoàn toàn bị chinh phục dù phần triển lãm này chỉ ngắn thôi ». Thành công ngay từ những ngày đầu Từ những vị trí khác nhau trong phòng triển lãm, khách tham quan sẽ có những góc nhìn khác nhau về cùng một tác phẩm, thậm chí là chiêm ngưỡng các tác phẩm khác nhau được chiếu lên tường và nền nhà từ 140 máy chiếu. Triển lãm là sự kết hợp tuyệt vời giữa hình ảnh, ánh sáng và âm nhạc. Những khúc nhạc cổ điển đan xen với những bản nhạc hiện đại, phối theo nội dung, ý nghĩa từng chương đoạn triển lãm, khiến người xem như đang lạc bước vào một thế giới kỳ ảo. Công nghệ số đã giúp hội họa gần hơn với công chúng và dễ cảm hơn. Triển lãm đạt thành công lớn ngay từ những ngày đầu mở cửa, theo khẳng định ngày 24/02 của giám đốc trung tâm : « Trên thực tế, Covid đã ảnh hưởng một chút đến hoạt động của Atelier des Lumières, chúng tôi đã phải đóng cửa 2 lần, lần đầu trong vòng 2 tháng, sau đó là 5 tháng, cũng khá là lâu. Chúng tôi đã buộc phải áp dụng các quy định đặc biệt về đón tiếp khách, giới hạn số lượng khách … nhưng Atelier des Lumières vẫn giữ nguyên phong cách triển lãm kỹ thuật số, đón tiếp khách tham quan và đưa họ hòa mình, chìm đắm vào thế giới sáng tạo của những tên tuổi lớn trong lịch sử nghệ thuật. Quả thực, công nghệ của Atelier des Lumières có từ năm 2018, khá là mới và ngày càng tiến bộ, nên triển lãm ngày càng có chất lượng cao hơn, tích hợp được cả các hình ảnh, tài liệu lưu trữ, phim … với độ phân giải rất cao. Mục tiêu của chúng tôi là làm sao để triển lãm có chất lượng rất cao, để khách tham quan thực sự cảm thấy hòa mình, đắm chìm trong một thế giới tiêu biểu cho sự nghiệp sáng tác của các nghệ sĩ mà chúng tôi quảng bá ». « Trong hai ngày nghỉ cuối tuần đầu tiên đã có rất nhiều khách đến xem triển lãm, chúng tôi rất vui mừng vì thấy công chúng hào hứng với triển lãm, mọi người đến rất đông và để lại nhiều bình luận trên mạng Internet, họ nói rằng triển lãm là một thành công lớn. Chúng tôi rất vui mừng với thành công lớn này. Chỉ trong ngày thứ Bảy, đã có gần 5.000 khách đến xem triển lãm. Chị thấy đấy, thực sự đó là một khởi đầu tuyệt vời. 5.000 khách chỉ trong một ngày thứ Bảy, nhưng con số này cũng phù hợp với điều mà chúng tôi vẫn làm ở Atelier des Lumières. Chúng tôi vẫn tính toán khả năng đón tiếp khách, bảo đảm chỉ có 1 khách ở mỗi diện tích khoảng 2m² để họ có điều kiện xem triển lãm thoải mái ở mọi góc độ và có thể di chuyển khắp phòng. Có người thích ở yên một chỗ, ngồi bệt dưới đất để ngắm nhìn, chiêm ngưỡng, nhưng cũng có những người thích di chuyển, đi lại loanh quanh và ngắm nhìn từ nhiều góc khác nhau. Dù sao thì triển lãm cũng được đón nhận rất nồng nhiệt và tôi nghĩ triển lãm năm nay sẽ thành công tốt đẹp ». Triển lãm về thế giới hội họa của hai nghệ sĩ Cezanne và Kandinsky khai mạc tại Trung tâm nghệ thuật số Atelier des Lumières, Paris, từ ngày 18/02/2022 và sẽ kéo dài đến ngày 02/01/2023.
Triển lãm ánh sáng về thế giới hội họa của hai nghệ sĩ Cezanne và Kandinsky đang diễn ra tại Trung tâm nghệ thuật số Atelier des Lumières, Paris. Bước qua cánh cửa vào phòng triển lãm, du khách sẽ đến với một không gian mờ ảo, lung linh, vẳng bên tai là những điệu nhạc lúc dặt dìu, khi dồn dập. Sự kết hợp độc đáo giữa nghệ thuật và công nghệ số, giữa hội họa và âm nhạc tại Atelier des Lumières đưa du khách tạm thoát khỏi những ồn ào xô bồ của cuộc sống ngoài kia. Trước mắt người xem mở ra thế giới sống động, rực rỡ sắc màu trong tranh của Cezanne và Kandinsky. Sau các danh họa Klimt, Van Gogh, Monet, Renoir, Chagall và Dali, nay đến lượt họa sĩ Pháp Paul Cezanne (1839-1906) và họa sĩ gốc Nga VassilyKandinsky (1866-1906) được Trung tâm nghệ thuật số Atelier des Lumières vinh danh. Triển lãm Cezanne - Kandinsky thực ra gồm hai cuộc triển lãm được trình chiếu liên tục và nối tiếp nhau : « Cezanne - Ánh sáng của vùng Provence » (khoảng 30 phút) và « Kandinsky - chuyến phiêu lưu của sự trừu tượng » (khoảng 10 phút). Nhưng đâu là mối liên hệ giữa Cezanne và Kandinsky ? Trả lời phỏng vấn RFI Tiếng Việt ngày 24/02/2022, chỉ vài ngày sau khi triển lãm khai mạc, ông Jacques de Tarragon, giám đốc Atelier des Lumières giải thích : « Cezanne là một nghệ sĩ phi thường. Ông là một tên tuổi lớn trong lịch sử nghệ thuật. Mọi người thường thích tranh của ông. Cezanne có khối tác phẩm đồ sộ. Cezanne đã vẽ 800 bức tranh, 400 tranh màu nước, có nghĩa là rất nhiều tranh, và tôi có thể nói rằng ông như một bảng màu, với rất nhiều màu sắc được phối trên những chất liệu khác nhau. Tất cả những điều đó khiến các tác phẩm của ông ấy nếu được giới thiệu, trong khuôn khổ một cuộc triển lãm kỹ thuật số tại trung tâm nghệ thuật số Atelier des Lumières, thì sẽ tạo nên điều phi thường. Quả thực, có một cây cầu nối giữa Kandinsky và Cezanne mà chúng tôi đã cố gắng khai thác. Trước tiên, chúng tôi muốn giới thiệu 2 nghệ sĩ. Có một sự khác biệt lớn giữa 2 nghệ sĩ lớn này, nhưng có một sự ngưỡng mộ, đặc biệt là sự ngưỡng mộ của Kandinsky đối với Cezanne. Chắc chị cũng biết, Kandinsky từng nói Cezanne có thể thổi hồn vào một tách trà. Tôi nghĩ rằng 2 cuộc triển lãm có một điểm chung, đó là một vũ trụ, một thế giới ngập tràn sắc màu, nhưng chúng cũng rất khác nhau. Chúng tôi muốn giới thiệu nhiều điều cho khách tham quan và bằng cách này, quý vị được cùng lúc tham gia 2 cuộc triển lãm có sự gắn kết với nhau nhưng cũng là ở hai không gian rất khác nhau ». Chuyến đi kỳ thú Hành trình tham quan của du khách sẽ diễn ra như thế nào ? Chắc chắn là không giống một chuyến tham quan như truyền thống ở các bảo tàng nghệ thuật thông thường. Giám đốc trung tâm nghệ thuật số giải thích : « Chuyến thăm quan của khách diễn ra như sau : khi quý vị bước vào trung tâm, dần dần ánh sáng sẽ giảm đi, không gian tối dần. Rồi quý vị đi vào một phòng kín tối đen. Quý vị sẽ làm quen dần với bóng tối. Phòng lớn đó, vốn là một xưởng đúc có từ năm 1835 và nay được chuyển đổi thành một trung tâm kỹ thuật số. Khi quý vị bước gian phòng triển lãm này, quý vị thực hiện một chuyến du hành, di chuyển bên trong phòng để khám phá, chiêm ngưỡng các tác phẩm được trình chiếu. Phòng triển lãm vẫn còn những thứ của xưởng đúc trước đây, như một bể nước, một bồn chứa, một lò sấy hình tháp mà các hình ảnh được chiếu ở bên trong và phía bên ngoài. Khách tham quan được khuyến khích đi dạo xung quanh và khám phá nhiều điểm, nhiều góc độ chiêm ngưỡng trong phòng triển lãm. Có một vị trí đặc biệt thú vị ở Atelier des Lumières, đó là gác lửng mà từ đó quý vị có thể có nhiều góc nhìn rất hay. Chỗ này nhô cao lên vài mét nên quý vị sẽ thấy cả phòng triển lãm ngập tràn hình ảnh. Toàn bộ gian phòng triển lãm cực kỳ tráng lệ, hoành tráng ». Cezanne nổi tiếng với những bức vẽ thiên nhiên, đặc biệt về quê hương Provence, miền nam Pháp, với phong cảnh nông thôn êm đềm, thanh bình, nổi bật là gam màu xanh của trời của biển xen với màu xanh của cây cối, vườn tược. « Nàng thơ » của ông là ngọn núi Sainte-Victoire, khung cảnh đã theo ông đến tận hơi thở cuối cùng. Niềm say mê của ông đã được tái hiện rõ nét trong triển lãm, đỉnh điểm là ở phần kết, khi 80 bức họa núi Sainte-Victoire được vẽ từ nhiều góc độ, vào những thời điểm khác nhau, lần lượt được chiếu trên các bức tường, dưới tiết tấu nhạc sôi động và ngày càng dồn dập … Nhưng thế giới của Cezanne không chỉ có vậy. Trong số khoảng 1000 tác phẩm, ban tổ chức chọn được 500 bức tranh để trình diễn ánh sáng. Ông Jacques de Tarragon giới thiệu khái quát triển lãm : « Du khách có thể khám phá một phần lớn trong thế giới sáng tạo của Cézanne qua những bức tranh tĩnh vật, tranh thiên nhiên, phong cảnh, những bức chân dung hay tác phẩm tự họa và vô số bức vẽ ngọn núi Sainte-Victoire. Cezanne đã vẽ hơn 80 bức tranh về núi Sainte-Victoire. Cuộc triển lãm được chia thành nhiều chương hồi : có 8 chương. Đây là một cuộc du hành, có một chương mở đầu, một chương rất hoa mỹ, tươi vui mà chúng tôi gọi là Vòm bình yên, rồi một chương nói về nét thầm kín của cơ thể con người, với những tác phẩm nổi tiếng khắc họa những người phụ nữ đang tắm. Cũng có một phần triển lãm về những giai đoạn cuộc đời Cezanne với nhiều nỗi day dứt, toát lên qua những bức tranh chân dung tự họa của ông. Vậy đấy, có thể nói, trong cuộc triển lãm chúng ta như lướt theo nhịp tâm trạng và các giai đoạn chính trong thế giới sáng tạo của Cezanne ». Thiên nhiên trong tranh Cezanne không tĩnh, mà rất sống động. Thiên nhiên cũng có tâm hồn. Và để làm toát lên cái hồn sống động đó, các nhà tổ chức, với sự trợ giúp đắc lực của công nghệ số, đã tái hiện thiên nhiên trong tranh của Cezanne, để du khách được hòa mình vào thiên nhiên, với tiếng chim lót líu lo, tiếng nước chảy róc rách, tiếng sóng vỗ, tiếng côn trùng rả rích, cả tiếng sấm ran ... chứ không phải chỉ là chắp tay đứng xem. Đến với triển lãm, khách thăm quan sẽ thấy những chiếc lá trong tranh Cezanne rung rinh, những vòm lá cây xao động trong gió, những sóng nước sông Arc lăn tăn mơn man dưới chân. Nổi tiếng với những bức tranh tĩnh vật, đặc biệt là tranh vẽ những trái táo, những tác phẩm này là một phần không thể thiếu trong triển lãm. Nhưng tĩnh mà động, với hiệu ứng ánh sáng, những trái táo lần lượt hiện lên trong từng khung tranh ảo trên tường, rồi lại thoát ra khỏi những khung tranh đó, trôi lơ lửng trước mặt du khách … Tạm rời thế giới của Cezanne, giờ đây du khách được bước vào một thế giới của những hình khối và sắc màu khác, không kém phần mãn nhãn : thế giới của Kandinsky, một thế giới hội họa đi từ dân gian, bình dân, đến hiện đại, trừu tượng, rực rỡ, vui mắt mà cũng rất kỳ bí … Kandinsky không chỉ là một họa sĩ, mà còn là một nhà lý luận về nghệ thuật, nhà thơ và là một người đi tiên phong về nghệ thuật trừu tượng. Giám đốc Atelier des Lumières cho biết tiếp : « Đối với các tác phẩm của Kandinsky thì cũng tương tự. Ở đó, chúng ta như đang trong một chuyến du hành xuyên suốt các thể loại tranh của ông ấy. Chúng ta xuất phát từ nước Nga, nơi Kandinsky đã vẽ những thứ rất tượng hình, những cảnh vô cùng tráng lệ, những con ngựa được trang trí tuyệt đẹp, cảnh về các bộ tộc, những quảng trường lớn … Và rồi, rất nhanh chóng, du khách được bước vào thế giới trừu tượng của Kandinsky. Chị biết đấy, ông ấy chuyển hướng sang trường phái trừu tượng khá nhanh. Người xem như đang trong một chuyến du hành với các sắc màu, nghệ thuật kết hợp nhiều vật liệu. Các tác phẩm được trình chiếu rất, rất đẹp, được phối hợp nhịp nhàng. Công chúng mới chỉ bắt đầu được đến thăm triển lãm từ tuần trước nhưng đã hoàn toàn bị chinh phục dù phần triển lãm này chỉ ngắn thôi ». Thành công ngay từ những ngày đầu Từ những vị trí khác nhau trong phòng triển lãm, khách tham quan sẽ có những góc nhìn khác nhau về cùng một tác phẩm, thậm chí là chiêm ngưỡng các tác phẩm khác nhau được chiếu lên tường và nền nhà từ 140 máy chiếu. Triển lãm là sự kết hợp tuyệt vời giữa hình ảnh, ánh sáng và âm nhạc. Những khúc nhạc cổ điển đan xen với những bản nhạc hiện đại, phối theo nội dung, ý nghĩa từng chương đoạn triển lãm, khiến người xem như đang lạc bước vào một thế giới kỳ ảo. Công nghệ số đã giúp hội họa gần hơn với công chúng và dễ cảm hơn. Triển lãm đạt thành công lớn ngay từ những ngày đầu mở cửa, theo khẳng định ngày 24/02 của giám đốc trung tâm : « Trên thực tế, Covid đã ảnh hưởng một chút đến hoạt động của Atelier des Lumières, chúng tôi đã phải đóng cửa 2 lần, lần đầu trong vòng 2 tháng, sau đó là 5 tháng, cũng khá là lâu. Chúng tôi đã buộc phải áp dụng các quy định đặc biệt về đón tiếp khách, giới hạn số lượng khách … nhưng Atelier des Lumières vẫn giữ nguyên phong cách triển lãm kỹ thuật số, đón tiếp khách tham quan và đưa họ hòa mình, chìm đắm vào thế giới sáng tạo của những tên tuổi lớn trong lịch sử nghệ thuật. Quả thực, công nghệ của Atelier des Lumières có từ năm 2018, khá là mới và ngày càng tiến bộ, nên triển lãm ngày càng có chất lượng cao hơn, tích hợp được cả các hình ảnh, tài liệu lưu trữ, phim … với độ phân giải rất cao. Mục tiêu của chúng tôi là làm sao để triển lãm có chất lượng rất cao, để khách tham quan thực sự cảm thấy hòa mình, đắm chìm trong một thế giới tiêu biểu cho sự nghiệp sáng tác của các nghệ sĩ mà chúng tôi quảng bá ». « Trong hai ngày nghỉ cuối tuần đầu tiên đã có rất nhiều khách đến xem triển lãm, chúng tôi rất vui mừng vì thấy công chúng hào hứng với triển lãm, mọi người đến rất đông và để lại nhiều bình luận trên mạng Internet, họ nói rằng triển lãm là một thành công lớn. Chúng tôi rất vui mừng với thành công lớn này. Chỉ trong ngày thứ Bảy, đã có gần 5.000 khách đến xem triển lãm. Chị thấy đấy, thực sự đó là một khởi đầu tuyệt vời. 5.000 khách chỉ trong một ngày thứ Bảy, nhưng con số này cũng phù hợp với điều mà chúng tôi vẫn làm ở Atelier des Lumières. Chúng tôi vẫn tính toán khả năng đón tiếp khách, bảo đảm chỉ có 1 khách ở mỗi diện tích khoảng 2m² để họ có điều kiện xem triển lãm thoải mái ở mọi góc độ và có thể di chuyển khắp phòng. Có người thích ở yên một chỗ, ngồi bệt dưới đất để ngắm nhìn, chiêm ngưỡng, nhưng cũng có những người thích di chuyển, đi lại loanh quanh và ngắm nhìn từ nhiều góc khác nhau. Dù sao thì triển lãm cũng được đón nhận rất nồng nhiệt và tôi nghĩ triển lãm năm nay sẽ thành công tốt đẹp ». Triển lãm về thế giới hội họa của hai nghệ sĩ Cezanne và Kandinsky khai mạc tại Trung tâm nghệ thuật số Atelier des Lumières, Paris, từ ngày 18/02/2022 và sẽ kéo dài đến ngày 02/01/2023.
This week: is heritage in Ukraine being attacked and looted, and what can be done to protect it? Ben Luke talks to The Art Newspaper's museums and heritage editor, Tom Seymour, who has been to the Ukrainian-Polish border with the International Council of Museums (ICOM), to witness museum materials being sent into Ukraine to help institutions there. Then, Tom talks to Sophie Delepierre, the head of heritage protection at ICOM, about the organisation's efforts in Ukraine and elsewhere. As a major exhibition of the work of Paul Cezanne opens at The Art Institute of Chicago, ahead of its journey to Tate Modern later in the year, Ben talks to Gloria Groom and Caitlin Haskell, the curators of the Chicago exhibition. And for this episode's Work of the Week, our acting digital editor, Aimee Dawson, asks Oliver Lanzenberg, the grandson of the artist Nicola L., about his grandmother's work Gold Femme Commode (1969/1993). The piece is part of a show at Alison Jacques, one of a number of exhibitions opening to coincide with the second edition of London Gallery Weekend.Tom's full report into ICOM's work for Ukraine is in the next print edition of The Art Newspaper and online soon.The organisation Sophie mentions is NEMO, the Network of European Museum Organisations, ne-mo.org.Cezanne, The Art Institute of Chicago, 15 May-5 September; Tate Modern, London, 5 October-12 March 2023.Nicola L., Alison Jacques, London, until 23 July.London Gallery Weekend, 13-15 May. See acast.com/privacy for privacy and opt-out information.
This episode's guest is Rachel Corbett, the author of a brilliant book called You Must Change Your Life, which tells the story of the brief and intense relationship between renowned sculptor Auguste Rodin and the poet Rainer Maria Rilke. In 1902, Rainer Maria Rilke was a delicate young visitor from Prague in Paris, he was broke and suffering from writer's block. He was commissioned to write a book on Rodin, who was already a renowned sculptor at the time, this is when everything changes You Must Change Your Life reveals one of the great stories of modern art and literature: Rodin and Rilke's years together as master and disciple, their heartbreaking rift, and moving reconciliation. In her vibrant debut, Rachel Corbett reveals how Rodin's influence lead Rilke to write his most celebrated poems and inspired his beloved Letters to a Young Poet. She captures the dawn of modernism with appearances by Paul Cezanne, Henri Matisse, Lou Andreas Salome, George Bernard Show and Jean Cocteau. In this interview I also wanted to ask Rachel about how Rodin and Rilke changed HER life, how she discovered them, and what are her favourite poems by Rilke and her favourite sculptures by Rodin. I know this might sound cliche, but When I was reading this book I was getting a strong feeling as if I am reading the script for the second part of Wes Anderson's The Grand Budapest Hotel. Get the Book: You Must Change Your Life by Rachel Corbett Follow Rachel on Twitter
Paul Cezanne was not the usual artist, unlike other artists, his muse was the mountain, Mont-Saint-Victoire, located in the city he grew up, Aix-en Provence in Southern France. Cezanne got popular for his repetition of this painting, which allowed him to identify himself through his artwork. Do artists need to be repetitive with their art in order to identify and realize themselves? How does a painter realize themselves through a subject? Watch our episode“How Artists Come to Their Paintings,” on Exploring Art Podcast to find out. Royalty-Free Music from Bensound-Epic | Royalty-Free Music | Cinematic War
In this podcast, Andres, Maydelis, and Emma all discuss a case study involving Paul Cezanne, and the time throughout his life when he repeatedly painted a landscape of the same mountain. Can drawing something over and over again lead to realization? Of us or of our subjects? Does it have to be more than once? Does the subject have to be human for us to find realization? These are all topics discussed in this podcast. In short, listen to us butt heads about paintings, mountains, and self-identity.
This week on Peps, we're going to tackle the metaphysical question: When is a work finished? I explore some texts that try to pin down a definition and also share some of my own thoughts and metaphors...But I am most excited to share that this episode contains recorded messages from listener-artist contributors! 6 generous artist listeners sent in their own unique ways of describing this indescribable phenomenon. A very special thanks to: Elizabeth (Beth) Gilfilen https://elizabethgilfilen.com/ Sue McNally https://suemcnally.com/ Brantner DeAtley https://www.brantnerdeatley.com/ Robert Zurer https://www.robertzurer.com/2022/feel-something-drawing-me-on Monica Church http://www.monicachurch.org/ Mark Creegan https://www.markcreeganart.com/ Other artists quoted/mentioned were: Richard Diebenkorn, Rembrandt, Paul Cezanne, Henri Matisse, Pavel Filonov and "sdelannost", Kazmir Malevich, Mikhail Matiushin, Graham Nickson. John Marin, Louise Fishman Readings were excerpted from: "On the Creation of Art" by Monroe Beardsley, The Journal of Aesthetics and Art Criticism Vol. 23, No. 3, Spring, 1965 (reacting to Vincent Tomas' "Creativity in Art" The Philosophical Review, Vol. 67, No. 1 Jan., 1958) "When is a Work Finished" by Darren Hudson Hick "Beyond Reason: Malevich, Matiushin, and their Circles" by Charlotte Douglas, "Spiritual in Art: Abstract Painting 1890-1985" My website: http://www.amytalluto.com Support the Peps by making a Donation, reviewing us on Apple Podcasts or following us on Instagram to see more images illustrating this episode: @peptalksforartists. All licensed music is from Soundstripe. --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support
In this episode of Exploring Art Podcast, we will solve a case study. To solve this case study we will discuss information about artists like Paul Cezanne, Rembrandt van Rijn, Andre Malraux, and more artists. We will also discuss Mont-Sainte-Victoire.
This episode will cover the life of Paul Cezanne and the reasoning behind his obsession with painting the Mont Sainte-Victoire. Paul Cezanne was a not so originally famed painter who worked hard to become so. He is known for many works, however, he is most well-known for his art series of Mont Sainte-Victoire which he painted over 30 paintings of. Music is provided by the FCPX sound effects list.
Zinc might help to stave off respiratory infection symptoms and cut illness duration Western Sydney University (Australia), November 2, 2021 A zinc supplement might help stave off the symptoms of respiratory tract infections, such as coughing, congestion, and sore throat, and cut illness duration, suggests a pooled analysis of the available evidence, published in the open access journal BMJ Open. But the quality of the evidence on which these findings are based is variable, and it's not clear what an optimal formulation or dose of this nutrient might be, caution the researchers. Respiratory tract infections include colds, flu, sinusitis, pneumonia and COVID-19. Most infections clear up by themselves, but not all. And they often prove costly in terms of their impact on health services and time taken in sick leave. Zinc has a key role in immunity, inflammation, tissue injury, blood pressure and in tissue responses to lack of oxygen. As a result, it has generated considerable interest during the current pandemic for the possible prevention and treatment of COVID-19 infection. In response to calls for rapid evidence appraisals to inform self-care and clinical practice, the researchers evaluated zinc for the prevention and treatment of SARS-CoV-2, the virus responsible for COVID-19, and other viral respiratory tract infections. When that review was published, the results of several relevant clinical trials weren't yet available, so this current review brings the available evidence up to date. The review includes 28 clinical trials involving 5446 adults, published in 17 English and Chinese research databases up to August 2020. None of the trials specifically looked at the use of zinc for the prevention or treatment of COVID-19. The most common zinc formulations used were lozenges followed by nasal spraysand gels containing either zinc acetate or gluconate salts. Doses varied substantially, depending on the formulation and whether zinc was used for prevention or treatment. Pooled analysis of the results of 25 trials showed that compared with dummy treatment (placebo), zinc lozenges or nasal spray prevented 5 respiratory tract infections in 100 people a month. These effects were strongest for curbing the risk of developing more severe symptoms, such as fever and influenza-like illnesses. But this is based on only three studies. On average, symptoms cleared up 2 days earlier with the use of either a zinc spray or liquid formulation taken under the tongue (sublingual) than when a placebo was used. During the first week of illness, participants who used sublingual or nasal spray zinc were nearly twice as likely to recover as those who used placebo: 19 more adults out of 100 were likely to still have symptoms a week later if they didn't use zinc supplements. While zinc wasn't associated with an easing in average daily symptom severity, it was associated with a clinically significant reduction in symptom severity on day 3. Side effects, including nausea and mouth/nose irritation, were around 40% more likely among those using zinc, but no serious side effects were reported in the 25 trials that monitored them. However, compared with placebo, sublingual zinc didn't reduce the risk of developing an infection or cold symptoms after inoculation with human rhinovirus, nor were there any differences in illness duration between those who used zinc supplements and those who didn't. Nor was the comparative effectiveness of different zinc formulations and doses clear. And the quality, size, and design of the included studies varied considerably. "The marginal benefits, strain specificity, drug resistance and potential risks of other over-the-counter and prescription medications makes zinc a viable 'natural' alternative for the self-management of non-specific [respiratory tract infections], the researchers write. "[Zinc] also provides clinicians with a management option for patients who are desperate for faster recovery times and might be seeking an unnecessary antibiotic prescription," they add. "However, clinicians and consumers need to be aware that considerable uncertainty remains regarding the clinical efficacy of different zinc formulations, doses and administration routes, and the extent to which efficacy might be influenced by the ever changing epidemiology of the viruses that cause [respiratory tract infections]," they caution. And how exactly zinc might exert its therapeutic effects on respiratory infections, including COVID-19, warrants further research, they conclude. Drinking alcohol to stay healthy? That might not work, says new study Ulrich John of University Medicine (Germany), November 2, 2021 Increased mortality risk among current alcohol abstainers might largely be explained by other factors, including previous alcohol or drug problems, daily smoking, and overall poor health, according to a new study publishing November 2nd in PLOS Medicine by Ulrich John of University Medicine Greifswald, Germany, and colleagues. Previous studies have suggested that people who abstain from alcohol have a higher mortality rate than those who drink low to moderate amounts of alcohol. In the new study, researchers used data on a random sample of 4,028 German adults who had participated in a standardized interview conducted between 1996 and 1997, when participants were 18 to 64 years old. Baseline data were available on alcohol drinking in the 12 months prior to the interview, as well as other information on health, alcohol and drug use. Mortality data were available from follow-up 20 years later. Among the study participants, 447 (11.10%) had not drunk any alcohol in the 12 months prior to the baseline interview. Of these abstainers, 405 (90.60%) were former alcohol consumers and 322 (72.04%) had one or more other risk factor for higher mortality rates, including a former alcohol-use disorder or risky alcohol consumption (35.40%), daily smoking (50.00%), or fair to poor self-rated health (10.51%). The 125 alcohol abstinent persons without these risk factors did not show a statistically significantly difference in total, cardiovascular or cancer mortality compared to low to moderate alcohol consumers, and those who had stayed alcohol abstinent throughout their life had a hazard ratio of 1.64 (95% CI 0.72-3.77) compared to low to moderate alcohol consumers after adjustment for age, sex and tobacco smoking. "The results support the view that people in the general population who currently are abstinent from alcohol do not necessarily have a shorter survival time than the population with low to moderate alcohol consumption," the authors say. "The findings speak against recommendations to drink alcohol for health reasons." John adds, "It has long been assumed that low to moderate alcohol consumption might have positive effects on health based on the finding that alcohol abstainers seemed to die earlier than low to moderate drinkers. We found that the majority of the abstainers had alcohol or drug problems, risky alcohol consumption, daily tobacco smoking or fair to poor health in their history, i.e., factors that predict early death." Quercetin helps to reduce the risk of pancreatic cancer Univ. of Hawaii and Univ. of Southern California, November 1, 2021 Quercetin, which is found naturally in apples and onions, has been identified as one of the most beneficial flavonols in preventing and reducing the risk of pancreatic cancer. Although the overall risk was reduced among the study participants, smokers who consumed foods rich in flavonols had a significantly greater risk reduction. This study, published in the American Journal of Epidemiology, is the first of its kind to evaluate the effect of flavonols – compounds found specifically in plants – on developing pancreatic cancer. According to the research paper, “only a few prospective studies have investigated flavonols as risk factors for cancer, none of which has included pancreatic cancer. “ Researchers from Germany, the Univ. of Hawaii and Univ. of Southern California tracked food intake and health outcomes of 183,518 participants in the Multiethnic Cohort Study for eight years. The study evaluated the participants' food consumption and calculated the intake of the three flavonols quercetin, kaempferol, and myricetin. The analyses determined that flavonol intake does have an impact on the risk for developing pancreatic cancer. The most significant finding was among smokers. Smokers with the lowest intake of flavonols presented with the most pancreatic cancer. Smoking is an established risk factor for the often fatal pancreatic cancer, notes the research. Among the other findings were that women had the highest intake of total flavonols and seventy percent of the flavonol intake came from quercetin, linked to apple and onion consumption. It is believed that these compounds may have anticancer effects due to their ability to reduce oxidative stress and alter other cellular functions related to cancer development. “Unlike many of the dietary components, flavonols are concentrated in specific foods rather than in broader food groups, for example, in apples rather than in all fruit,” notes the research study. Previously, the most consistent inverse association was found between flavonols, especially quercetin in apples and lung cancer, as pointed out in this study. No other epidemiological flavonol studies have included evaluation of pancreatic cancer. While found in many plants, flavonols are found in high concentrations in apples, onions, tea, berries, kale, and broccoli. Quercetin is most plentiful in apples and onions. Researcher explains the psychology of successful aging University of California at Los Angeles, November 2, 2021 Successful aging can be the norm, says UCLA psychology professor Alan Castel in his new book, "Better with Age: The Psychology of Successful Aging" (Oxford University Press). Castel sees many inspiring role models of aging. French Impressionist Claude Monet, he notes, began his beloved water lily paintings at age 73. Castel cites hundreds of research studies, including his own, combined with personal accounts from older Americans, including Maya Angelou, Warren Buffett, John Wooden, Bob Newhart, Frank Gehry, David Letterman, Jack LaLanne, Jared Diamond, Kareem Abdul-Jabbar, John Glenn and Vin Scully. Castel notes that architect Gehry designed conventional buildings and shopping malls early in his career, and decades later designed the creative buildings he would only dream about when he was younger. Others who did much of their best work when they were older include Mark Twain, Paul Cezanne, Frank Lloyd Wright, Robert Frost and Virginia Woolf, he writes. "There are a lot of myths about aging, and people often have negative stereotypes of what it means to get old," Castel said. "I have studied aging for two decades, and have seen many impressive role models of aging, as well as people who struggle in older age. This book provides both science behind what we can to do age well and role models of successful aging. While some books focus on how to try to prevent or delay aging, 'Better with Age' shows how we can age successfully and enjoy the benefits of old age. I have combined the lessons the psychology of aging teaches us with insights from some of the people who have succeeded in aging well." Castel cites a 1979 study by Harvard University social psychologist Ellen Langer in which men in their 70s and 80s went to a week-long retreat at a motel that was re-designed to reflect the décor and music from 1959. The men, who were all dependent on family members for their care, were more independent by the end of the week, and had significant improvements in their hearing, memory, strength and scores on intelligence tests. Some played catch with a football. One group of the men, who were told to behave like they were 20 years younger, showed greater flexibility, and even looked younger, according to observers who saw photos of them at the start and end of the week. In another study, researchers analyzed Catholic nuns' diary entries made in the 1930s and 1940s, when the nuns were in their 20s, and determined their level of happiness from these diaries. More than 50 years later, 75 percent of the most cheerful nuns survived to age 80, while only 40 percent of the least happy nuns survived to 80. The happiest nuns lived 10 years longer than the least happy nuns. Happiness increases our lives by four to 10 years, a recent research review suggested. "As an added bonus," Castel writes, "those additional years are likely to be happy ones." Successful aging involves being productive, mentally fit, and, most importantly, leading a meaningful life, Castel writes. What are the ingredients of staying sharp and aging successfully, a process which Castel says can start at any age? He has several recommendations. Tips for longevity Walking or other physical exercise is likely the best method to ensure brain and body health, Castel writes. In a large 2011 study, older adults were randomly assigned to a group that walked for 40 minutes three times a week or a stretching group for the same amount of time. After six months and again after one year, the walking group outperformed the stretching group on memory and cognitive functioning tests. Too much running, on the other hand, can lead to joint pain and injuries. In addition, after one year, those who walked 40 minutes a day three times a week showed a 2 percent increase in the volume of the hippocampus—an important brain region involved in memory. Typically, Castel notes, the hippocampus declines about 1 percent a year after age 50. "Walking actually appears to reverse the effects of aging," Castel says in the book. Balance exercises are proven to prevent falls, can keep us walking and may be the most essential training activity for older adults, Castel writes. Each year, more than two million older Americans go to the emergency room because of fall-related injuries. A 2014 British study found that people who could get up from a chair and sit back down more than 30 times in a minute were less likely to develop dementia and more likely to live longer than those who could not. A good balance exercise is standing on one leg with your eyes open for 60 seconds or more, and then on the other leg. Those who did poorly on this were found in a study to be at greater risk for stroke and dementia. Like walking, sleep is valuable free medicine. Studies have shown a connection between insomnia and the onset of dementia. People who speak more than one language are at reduced risk for developing dementia, research has shown; there is some evidence being bilingual or multilingual can offset dementia by five years, Castel writes. One study found that among people between 75 and 85, those who engaged in reading, playing board games, playing musical instruments and dancing had less dementia than those who did none of those activities. "Lifelong reading, especially in older age, may be one of the secrets to preserving mental ability," Castel writes. Set specific goals. Telling yourself to "eat healthy" is not very likely to cause a change; setting a goal of "eating fewer cookies after 7 p.m." is better. Similarly, "walk four days a week with a friend" is a more useful goal than "get more exercise" and "call a friend or family member every Friday morning" is better than "maintain friendships." How can we improve our memory? When Douglas Hegdahl was a 20-year-old prisoner of war in North Vietnam, he wanted to learn the names of other American prisoners. He memorized their names, capture dates, methods of capture and personal information of more than 250 prisoners to the tune of the nursey rhyme, "Old MacDonald Had a Farm." Today, more than four decades later, he can still recall all of their names, Castel writes. Social connections are also important. Rates of loneliness among older adults are increasing and chronic loneliness "poses as large a risk to long-term health and longevity as smoking cigarettes and may be twice as harmful for retirees as obesity," Castel writes. The number of Americans who say they have no close friends has roughly tripled in the last few decades. There is evidence that people with more social support tend to live longer than those who are more isolated, and that older adults who lead active social lives with others are less likely to develop dementia and have stronger immune systems to fight off diseases. "Staying sharp," Castel writes, "involves staying connected—and not to the Internet." A 2016 study focused on "super-agers"—people in their 70s whose memories are like those of people 40 years younger. Many of them said they worked hard at their jobs and their hobbies. The hard work was challenging, and not always pleasurable, leaving people sometimes feeling tired and frustrated. Some researchers believe this discomfort and frustration means you are challenging yourself in ways that will pay off in future brain and other health benefits. Research has shown that simply telling older adults they are taking a "wisdom test" rather than a "memory test" or "dementia screening" actually leads to better results on the identical memory test, Castel writes. If you are concerned about your memory, or that of a loved one, it may be wise to see a neurologist, Castel advises. Castel, 42, said he is struck by how many older adults vividly recall what is most important to them. As Castel quotes the Roman philosopher and statesman Cicero: "No old man forgets where he has hidden his treasure." Researchers find phthalates in wide variety of fast foods George Washington University Milken Institute School of Public Health, October 29, 2021 A team of researchers from The George Washington University Milken Institute School of Public Health, the Southwest Research Institute and the Chan School of Public Health, has found phthalates in a wide variety of fast foods. In their paper published in Journal of Exposure Science and Environmental Epidemiology, the group describes how they collected samples of fast food from several restaurants and tested them for phthalates and other chemicals meant to replace them—and what they found. Phthalates are esters of phthalic acid and are commonly used to make plastic substances more flexible. Prior research has shown that they can also increase durability and longevity making them popular for plastics makers. Researchers have found that consumption of phthalates can disrupt the endocrine system and by extension levels of hormones in the body. Research has also shown that they can lead to asthma in children and increased obesity. In this new effort, the researchers built on prior work they conducted looking at urine samples of volunteers where they found that those who ate more fast food, tended to have more phthalates in their system. To learn more about the link between fast food and phthalate levels, the researchers visited six fast food restaurants in and around San Antonio, Texas, and collected 64 food items to be used as test samples. They also asked for a pair of the plastic gloves that were used by food preparers at the same establishments and obtained three of them. In studying the food samples, the researchers found DnBP in 81% of the samples and DEHP in 70% of them. They also noted that the foods with the highest concentrations of phthalates were meat-based, such as cheeseburgers or burritos. The team also found DINCH, DEHT and DEHA, chemicals that have begun replacing phthalates in many of the samples they collected. They note that it is not known if such replacements are harmful to humans if ingested. The researchers did not attempt to find out how the phthalates were making their way into the fast foods but suspect it is likely from residue on rubber gloves used by cooks who prepare them. It is also possible, they note, that they are coming from plastic packaging. Removing digital devices from the bedroom can improve sleep for children, teens Penn State University, November 2, 2021 Removing electronic media from the bedroom and encouraging a calming bedtime routine are among recommendations Penn State researchers outline in a recent manuscript on digital media and sleep in childhood and adolescence. The manuscript appears in the first-ever special supplement on this topic in Pediatricsa nd is based on previous studies that suggest the use of digital devices before bedtime leads to insufficient sleep. The recommendations, for clinicians and parents, are: 1. Make sleep a priority by talking with family members about the importance of sleep and healthy sleep expectations; 2. Encourage a bedtime routine that includes calming activities and avoids electronic media use; 3. Encourage families to remove all electronic devices from their child or teen's bedroom, including TVs, video games, computers, tablets and cell phones; 4. Talk with family members about the negative consequences of bright light in the evening on sleep; and 5. If a child or adolescent is exhibiting mood or behavioral problems, consider insufficient sleep as a contributing factor. "Recent reviews of scientific literature reveal that the vast majority of studies find evidence for an adverse association between screen-based media consumption and sleep health, primarily delayed bedtimes and reduced total sleep duration," said Orfeu Buxton, associate professor of biobehavioral health at Penn State and an author on the manuscript. The reasons behind this adverse association likely include time spent on screens replacing time spent sleeping; mental stimulation from media content; and the effects of light interrupting sleep cycles, according to the researchers. Buxton and other researchers are further exploring this topic. They are working to understand if media use affects the timing and duration of sleep among children and adolescents; the role of parenting and family practices; the links between screen time and sleep quality and tiredness; and the influence of light on circadian physiology and sleep health among children and adolescents.
We have edited an earlier episode, from 2018, adding a new introduction to our show on Cezanne Portraits. This episode adds to and reinforces the content on our last episode, also on Paul Cezanne, the master at the turn of the Twentieth Century. Broadcast on WOWD-LP, Takoma Radio, 10/23/21
An exhibit of Paul Cezanne Drawings just closed at MOMA, in New York. Our visit there occasioned this discussion of one of the great progenitors of modernism. Sheila and Tom go inside the experience of viewing Cezanne, and give listeners a unique view of the experiences he provides, and the technical innovations in his drawing […]
Oh jeez - this is a wild one...... Stephanie and Russell are back with another serving and boy, is it a _ROMP_. This week, join them as they head further back into Art History than ever before – to the 16th century to introduce El Greco, a catalyst of Modern Art. Looking to make it big, El Greco left the island life of Crete for the bustling Italian cities of Venice and Rome. There, he picked up traits from Renaissance and Mannerism styles and added some hometown Post-Byzantine spice – resulting in a bizarre yet stunning combination of colors and dynamic compositions never before seen in art history. He also made some friends - and enemies - along the way. Despite the Counter Reformation's harsh grip on Europe, EG was still able to thrive utilizing his strange style (that echoed his eccentric personality) to continually score commissions while managing to stand out amongst his contemporaries. After his death, he was mostly forgotten about until his rediscovery in the 19th century. Modern artists of the 20th century claimed him since he laid the groundwork for breaking visual tradition. And it was famous works like The Annunciation (1597) that caught the eye of Remedios Varo and Pablo Picasso among other art giants like Paul Cezanne. Stephanie and Russell discuss the first iterations of abstraction present in The Annunciation (1597) in which a teenage Mary is receiving heavenly news from towering angels and a turbulent celestial cloud column with floating cherub heads. Topics include: the rebranding of the Catholic Church (RC²), a lotta olives, trash talking Michelangelo (not us), long babies, miniature galleries for rats, time travel, and a plushie Remedios Varo mascot. There is no Art Pantry this week because Bean is missing. The song featured in this episode was “A Forest for me and You” by Komiku from the album A Tale is Never Forgotten which can be found here. Consider supporting their work! https://chezmonplaisir.bandcamp.com/album/a-tale-is-never-forgotten Reviewing, subscribing, liking, and sharing really helps support the show: Follow us on twitter, tiktok, youtube, and instagram. Be sure to listen to all the cuts that didn't make it into the episode on our Patreon. https://www.patreon.com/artslicepod Grab a sticker or a Three Witches t-shirt artslicepod.com/shop Check out some great books related to our episodes here (and support independent bookstores in the process): https://bookshop.org/shop/artslicepod
Skip ahead to about 27 minutes if you want to miss most of our personal life stuff at the top of the episode (I know, I know, I should probably be cutting these things down more, but we're just so goshdarn funny). Neysa tells us the history behind Pigments and Paints (nice) and Jocelyn tells us a smidge about French Post-Impressionist Painter Paul Cezanne (1839-1906). We also talk about Astrology, Corona Concerts, Everclear (the band and the alcohol), our eye colors, Tik Tok Mop Art, and CAN YOU GUYS TELL OUR VOICES APART? How long did it take until you could? Check the 'gram for art and such! @iminoredinarthistorypod Music Creds: intro is edited Regina Spektor, outro is original audio by Nic Hamersly Audio mixed with Auphonic --- Support this podcast: https://podcasters.spotify.com/pod/show/iminoredinarthistorypod/support
Hello! Welcome to our podcast! In this podcast, we talk about Paul Cezanne and his painting, Mont-Sainte-Victoire.We discuss the reason behind the painting, his style choices, our thoughts and opinions in the art, and of the meaning behind his reasons.We reflect on similar situations and takes that lead to our conclusion of the artwork.
Joel Parrish and I are joined by Ethan Pinch, a painter and art critic from the UK, for an interview (and debate) on his perspectives. In previous videos and comments, the 3 of us took some divergent approaches to visual art, with Ethan distinguishing “meaning” from “interpretation”. Ethan's video (and my specific comments under the video) can be found here: https://www.youtube.com/watch?v=nN9k5YHcpdM The point of contention had to do with Ethan's painterly criticism vs. our more narrative/literary critique of visual art. It's a criticism worth responding to, as even the most objective person has a number of biases and blind spots. For us, since technically good fiction is empty without depth and characterization, a painting can easily fall into the same trap without some narrative heft to latch on to. In this video, such orientations lead to disagreements about the painter Zhiwei Tu, differing judgments on Matisse's “Moroccans”, and more. Among the questions asked: are we simply tallying up all the clever parts and inversions in a painting if exclude narrative? If so, when (and how) does the tally cross over into artistic greatness? How would we know? Is Salvador Dali ‘merely' kitsch, and why has his style (if not results) been so prone to bad emulation? Plus: What makes Tintoretto's “Susanna and the Elders” the greatest painting of all time? It's interesting to note, however, that many of our conclusions about individual paintings are quite similar, despite taking different avenues for getting there. After all, there are many ways to reach greatness in the arts – even if there are even more ways to fail. You can also watch this episode on our YouTube channel: https://youtu.be/YWEg4uWqUGY Read the latest writing from the automachination universe: https://automachination.com Joel's website: https://poeticimport.com Ethan Pinch's YouTube channel: https://www.youtube.com/user/AnthropomorphicHorse Read Alex's (archived) essays: https://alexsheremet.com Music sample: Lowkemia - "Lorem Ipsum" (CC BY-SA 3.0) Timestamps: 0:00 – Introduction 5:20 – Alex: the difference between ‘balance' and ‘an ongoing balancing act' 12:45 – Joel: on the layers of meaning within great art 15:54 – Ethan: Patrick Heron vs. Clement Greenberg 24:00 – The boyz argue about Soviet-style art 41:40 – Alex and Ethan argue about Zhiwei Tu's “Frontier Girl”, Joel goes turncoat (UH-OH….) 01:19:19 – Ethan on why he doesn't have a “theory of painting” 01:24:00 – Ethan contrast Zhiwei Tu with Chardin's “The Young Schoolmistress” 01:40:00 – Ethan contextualizes his favorite painter, Paul Cezanne 01:48:50 – The boyz on Cezanne's “Lac d'Annecy” 02:16:30 – Is an artwork's subject the first thing that ought to “fall away”? 02:22:00 – Ethan agrees/disagrees with Dan Schneider's POV 02:44:23 – Is Salvador Dali merely kitsch? 03:08:18 – Paul Cezanne's “Madame Cezanne in the Greenhouse” 03:19:18 – Ethan: why Tintoretto's “Susanna and the Elders” is the greatest painting ever
This week Patrick and a high profile panel of artists, biographers and art historians discuss the life and legacy of French post impressionist artist Paul Cezanne. Joining Patrick on the panel were: Dr Jorella Andrews, author of 'This is Cezanne', Dr Fabienne Ruppen, University of Zurich, Mark O'Kelly, Head of Painting, National College of Art and Design, Dublin, Sarah Herring, The National Gallery, London and Samantha Friedman, Department of Drawings and Prints, Museum of Modern Art, New York.
Do you know which of Leonardo da Vinci's paintings is the most expensive ever sold? What about Paul Cezanne's or Jackson Pollack's? Well, listen to today's show to learn about these and more! Every weekday at noon, bUneke's dynamic aquarians bring you jocularity and knowledge while you take a break! Everyone who participates and interacts with them has the opportunity to receive a free gift each week! Visit bUneke.org to see our list of past winners. Just follow, like, comment, and share the posts on Facebook @bUnekeRadio or email contactgeneandmary@gmail.com, just to say hello, and your name will be entered in the drawing. We mail gifts all over the world! You can sponsor the Gene&Mary Show jingle but you must hurry. This sponsorship won't be open long. Email mary@buneke.org for details.
La última vez que el mundo vio el retrato que Van Gogh pintó de su médico el doctor Paul Gachet fue el 15 de mayo de 1990. La obra se vendió esa noche por 82.5 millones de dólares, el precio más alto alcanzado por una obra de arte en subasta hasta ese momento. Después se perdió su rastro para siempre. Quién la compró? Cuál es su historia? Dónde esta hoy? En este episodio les contamos todo, o más bien: todo lo que se sabe, acerca del “Dr. Gachet”.Vincent Van Gogh vivió las ultimas semanas de su vida en el poblado de Auvers-sur-Oise en Francia. Se mudó ahí en Mayo de 1890, después de haber sido dado de alta de la clínica para enfermos mentales de Saint-Remy en la que estuvo interno por un año. Auvers era la residencia del doctor Paul Gachet, neurólogo y psiquiatra que se especializaba en pacientes melancólicos (así llamaban entonces a los trastornos causados por la depresión). Gachet fue pintor y grabador amateur, ademas de médico de varios artistas incluyendo a Paul Cezanne y Camille Pissarro. Se hicieron amigos y el doctor posó para un retrato. Aquí comienza la historia de una de las obras de arte más buscadas de la historia.BibliografíaBailey, Martin (2019). The Art Newspaper. Adventures in Van Gogh (blog). "Where is the portrait of Dr Gachet? The mysterious disappearance of Van Gogh's most expensive painting.” https://www.theartnewspaper.com/blog/where-is-van-gogh-s-portrait-of-dr-gachet Mayo, 2021.(2019). The Art Newspaper. Adventures in Van Gogh (blog). “Van Gogh and Germany: Frankfurt mounts best show on the artist in recent years.” https://www.theartnewspaper.com/blog/van-gogh-and-germany-frankfurt-mounts-best-show-on-the-artist-in-recent-years 10 de mayo, 2021.Blot, Gérard. Musee d’Orsay. Le docteur Paul Gachet [Dr Paul Gachet]. [Internet] Accesible en https://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire/commentaire_id/dr-paul-gachet-2988.html?no_cache=1&S=&print=1&no_cache=1& 14 de mayo, 2021.Rosenbaum, Lee. (2007). Arts Journal. “Dr. Gachet” Sighting: It WAS Flöttl! [Internet] Accesible en https://www.artsjournal.com/culturegrrl/2007/01/dr_gachet_sighting_it_was_flot.html Mayo, 2021Kleiner, Carolyn (2000). U.S. News online. Mysteries of History. “Van Gogh's vanishing act: A high-cost, low-profile canvas.” https://web.archive.org/web/20110514004014/http://www.usnews.com/usnews/doubleissue/mysteries/portrait.htm Mayo, 2021.Städel Museum (2019). Making Van Gogh: A German Love Story (exhibition). [Internet] Accesible en https://www.staedelmuseum.de/en/vangogh 10 de mayo, 2021.(2019). Podcast Finding Van Gogh: In search of the legendary “Portrait of Dr Gachet” [Internet] Accesible en https://www.staedelmuseum.de/en/podcast-finding-van-gogh Mayo, 2021.Boll, Dirk. (2015) Christie’s. Art Works News. “Auctions that made art history: Part 2.” https://www.christies.com/features Auctions_That_Made_History_2-5580-1.aspx Mayo, 2021.
Art can be easily interpreted to our own imagination. Join me, Mila the Show Host, Christina the Outreach Manager and Melissa the Audio Engineer as we discuss the case of Cezanne. Today is our one day special episode streaming of "Cezanne's Conflict of His Frames." Here we will take you on an art journey that will be dating back to the late 19th and early 20th century. Stay tuned to hear about the history of Paul Cezanne, Ambroise Vollard, and the story behind the painting of "Diana and Actaeon." Music: Jose by Grandom
This day trip takes us to Marseille, a French seaport that features crunchy navettes and delicious bouillabaisse! We also visit nearby Aix-en-Provence, home of Paul Cezanne, 1,000 outdoor fountains, and some funky street layouts!
This is a copy in a different style? What does the "ruggedness" of this painting do to the interpretation? Learn about Paul Cezanne's "Christ in Limbo" with Charles and Amanda Shepard from the Fort Wayne Museum of Art https://www.fwmoa.org The image: https://commons.wikimedia.org/wiki/File:Christ-in-limbo-_by_cezanne_1867.jpg The original: https://commons.wikimedia.org/wiki/File:Bajada_de_Cristo_al_Limbo_(Sebastiano_del_Piombo).jpg Previous Episodes of Catholic Art History: https://www.kyleheimann.com/category/art Show Notes: https://www.kyleheimann.com/show955 More Catholic Art History episodes: https://www.kyleheimann.com/category/art Subscribe to the DAILY Podcast: Apple Podcasts | Android Podcast | Other Android Apps | SoundCloud | Stitcher | RSS | Spotify Subscribe to "Catholic Art History" Apple Podcasts | Android Podcast | Other Android Apps | Stitcher | RSS | Spotify follow us on social media: Facebook, Twitter, Instagram, YouTube @KyleHeimannShow Facebook, Twitter, Instagram, YouTube @KyleHeimann -This show is a production of Redeemer Radio -Custom music written by Shawn Williams for The Kyle Heimann Show -Licensed via The Sound Cabin Inc.
Catholic Art History - With Charles and Amanda Shepard - The Kyle Heimann Show
A Serbian special police officer guards “Boy in a Red Waistcoat” by Paul Cezanne in Belgrade. Police in Serbia recovered the impressionist masterpiece, which was one of four paintings stolen at gunpoint four years ago from a Swiss gallery in one of the world's biggest art heists. ( Marko Djurica/Reuters)
Długo zastanawiałam się, jak opowiedzieć Ci o Cézanne'ie. Oczywiście mogłabym rzucić kilkoma hasłami, takimi jak „ojciec wszystkich malarzy”, „prekursor modernizmu”, potem zacytować Picassa, który mówił o Cézanne'ie, że był on jego jedynym mistrzem, a jeszcze później streścić Ci jego biografię.Problem w tym, że nie specjalnie pomogłoby Ci to w konfrontacji z „Martwą naturą z jabłkami i pomarańczami” albo jakimkolwiek innym obrazem Cézanne'a.Cytaty to tylko puste słowa, a biografia Cézanne'a wcale nie jest pasjonująca. Artystą został wbrew woli swoich rodziców, którzy byli przekonani, że ich syn nie będzie w stanie się utrzymać z malarstwa i mieli w tym sporo racji, bo Cézanne doczekał się uznania dopiero pod koniec życia i do tego czasu utrzymywał się z majątku ojca. W pewnym momencie, w jego biografii pojawia się też passus, że będąc dojrzałym artystą odrzucił perspektywę linearną i to dlatego jego obrazy przedstawiają rzeczywistość obserwowaną z różnych punktów widzenia.Czy było to pomocne? Domyślam się, że niespecjalnie. Można to skwitować krótkim „aha” i ruszyć na dalszy spacer po muzeum, zatrzymując się przy bardziej zrozumiałych obrazach.Wciąż nie wiemy bowiem, czym podyktowana była decyzja o rezygnacji z perspektywy. Dlaczego akurat Cézanne zdecydował się na taki krok? Co sprawiło, że to właśnie jemu przypadła rola proroka kubizmu?Niełatwo udzielić odpowiedzi na te pytania. Przynajmniej póki nie osadzimy sztuki Cézanne'a w szerszym kontekście. Nie chodzi mi jednak o sztukę współczesną Cézanne'owi. Tym razem szerszym kontekstem będzie dla nas matematyka. Wiem, że matematyka może niektórym źle się kojarzyć, ale wierz mi, że gdy zestawi się ze sobą te dwie dziedziny, sztuka Cézanne'a zyskuje znacznie głębszy sens. Chyba warto więc spróbować? Tym bardziej, że nie będzie to klasyczna matematyka rodem ze szkolnej ławki.Zapraszam też na stronę podcastu – https://przedobrazem.pl/podcasty/muzeum-orsay/ – oprócz transkryptu obrazu znajduje się tam wiele ciekawych reprodukcji dzieł sztuki.Możesz też mnie obserwować w social mediachFB: https://www.facebook.com/Przed-obrazem-107322314372425IG: https://www.instagram.com/przed_obrazem/
Become a Patron!Show Notes:In this episode we're going to be looking at the life and work of Paul Cezanne , a painter synonymous with his aloof character and plein air paintings of the landscape he lived in nearly his whole life. Pablo Picasso regarded Cézanne as a "mother hovering over," Henri Matisse would say he was "father to us all." Inevitably, our understanding of Cézanne's painting is colored by later cubism and abstraction, focusing attention on the formal aspects of his work. His reduction of the visible world into basic, underlying shapes, the faceted brushstrokes that seem to reconstruct nature through purely painterly forms, the fracture and flattening of space - all these can be seen as the beginnings of modern art. Yet Paul Cezanne saw himself stressed that he painted from nature and according to his sensations, seeking to realize a "harmony parallel to nature."“It's not what the artist does that counts, but what he is. Cezanne would never have interested me a bit if he had lived and thought like Jacques-Emile Blanche, even if the apple he painted had been ten times as beautiful. What forces our attention is Cezanne's anxiety - that's Cezanne's lesson. ”Cézanne's insistence on redoing nature according to a system of basic forms was important to Picasso's own interest at that time. Aches on Provence Big break in 1895 at an exhibition . He had been painting for 40 years with little public recognition. When his show opened he didn't show up, he stayed back at the studio and continued to paint. Nowadays this may seem like some sort of a publicity stunt, but in Cezanne's case we see someone who simply coudn't stop painting. It's a cliche at this point, but painting really is about a pursuit of the impossible. Time and time again we see that painters are on a quest of continuous improvement. One which is never fully satisfied. “It is only there that I have found true evidence of the life of our light. Present in its simplest form the austere and tender beauty of our Provence.”One cannot look at Cezanne without thinking of Provence. He and his friends at the time were all quite familiar with the notion of “arcadia” and would read literature highlighting these themes. Arcadian presents us with a harmonious view of the world, where humans lie uncorrupted by civilization, but instead coexist with nature. This is in contrast to writers such as Thomas Moore who envisioned a Utopian civilization within it. An arcadian view represents what's commonly called a “pastoral” view of the world. We can look at Cezanne's landscapes and see this same type of harmony between him and the nature which he painted. His buddy Emil Zola moves to Paris and begins to write Cezanne back home. Telling him that he'd be able to draw from life for hours a day, and also copy master works in the Louvre. It's kind of funny that his buddy, who had moved to Paris (to write about the beauty of nature ironically) had basically sent him a letter which outlined how he could work all day. Dad wanted him to go to Law school. And so he did. And Surprise! Cezanne absolutely hated it. Studying law must have been the furthest thing from roaming the countryside and painting the landscape. This became apparent that Cexanne would never be happy, so he left for Paris in 1861 after his father relented. Once in Paris he did some master copies and took some classes. He was extremely critical of himself. He started to run in the same circles as Manet and his buddies, who were all really bourgeois, but Cezanne was a bit of a country bumpkin by comparison. By 1866 he was trying to get into the Salon, but he knew that it would be rejected. It was also a good form of self promotion to be refused. He would be the company of other impressionists who were also being rejected by the salon at the time. One can look to works by Bougareau which were being done at the same time for a comparison. In his work titled “Recline after Harvest” we see a woman lying next to a field of wheat, but it appears that she hasn't done a minute of work, but rather is longingly looking directly at the viewer. The surface of the painting is flat, and all of the values have been lovingly and correctly rendered. Compare this to a painting from Cezanne done at the same time and you'll see a highly textured surface where paint has been smothered on with palette knives. In this respect Cezanne is signaling that this painting is not only about creating an illusory window to peer through, but it stresses the importance of the paint itself. It's a painting about paint as much as it is about the person who is painting, or the landscape. This way of painting would be referred to as “Couillard” which referred to a weapon which was used to throw cannon balls at castles. One can still equate Cezanne's approach with this type of aggressive action. Becomes buds with Pisarro, who was much about 10 years older than he was. He's referred to as a father figure but I don't necessarily agree with this because of this fact. I imagine they simply began painting together, and Pisarro showed him how to paint outdoors. Then moves to L'estaque . His palette lightens, and he lives in a small village in a humble home where he has a garden. He wanders the countryside, which was near the sea, and paints as much as possible. Here he would take the bits and pieces he learned from Pisarro, and would expand upon it. Here he would continue to work with large patches of color, which was exactly the opposite of “modeling” which would commonly occur among more academic painters. In 1874 Monet holds an exhibition of painters who had rejected the academy. Cexanne would be included with Degas, and Renoir. But Cezanne wasn't really interested in making it big in the Paris scene as others were. I'm sure he wanted recognition, but it doesn't seem he was attracted to any sort of fame associated with it. He would continue to paint, and his works would also continue to have a sort of natural rhythm to them. This would be years before jackson pollock would proclaim “Idon't paint nature, I am nature” but the sentiment is still there. Cezanne moves back to his childhood home, and his father even makes a studio for him in their large home. Here he would make numerous paintings of Mountain St Victoire . He could see that this painting was ancient, and something that had impacted the environment for generations. But it was also a place where he and his friends would romp around during their youth. So it held both a personal connection as well as a larger one as well. This is why it's such an important subject to him. The mountain itself, at only around 4000 feet isn't that tall, however most of the area surrounding it is quite flat so it appears to be more imposing. After his father passed away the house would be sold and he bought an apartment in Aix en Provence. Where he built a studio on the top floor. He'd feel a bit cramped here, so eventually he would move to a small village where he had built a studio specifically for his working style. He had a cool slot for canvases.
Discover why YOU might want to come here... why I love the South of France, it's Architecture, Food and Sun. My 3 favorite places and how it compares to Portugal from the point of view of people and the cost of living. Plus the philosophy and art of Paul Cezanne, and how this relates to creating the life of YOUR dreams! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/chris-harvey1/message
The painter Paul Cezanne wrote at the end of his life "Will I ever attain the end for which I have striven so much and so long ?". Paul said in Philippians "I don’t mean to say that I have already achieved these things or that I have already reached perfection. But I press on ... I press on to reach the end of the race and receive the heavenly prize for which God, through Christ Jesus, is calling us". The finish line is not on this side of life, so we need to continue to press on! ▬ About Församlingen Klippan - Falun ▬▬▬▬ Församlingen Klippan is a place where you can meet and experience Jesus, take part in our welcoming community, hear and participate in uplifting praise and share a sermon that both inspires and challenges you to become who God intended you to be. We see Församlingen Klippan as an authentic, spirit-filled, gospel-centered congregation that impacts our city and our country by proclaiming and living the full gospel of Jesus Christ. Församlingen Klippan is active in Sweden and part of UPCN (United Pentecostal Church Nordic). ▬ Social Media ▬▬▬▬ ► Facebook: https://www.facebook.com/klippanfalun/ ► Instagram: https://www.instagram.com/forsamlinge... ► Site: https://www.forsamlingenklippan.se/
This episode focuses on Nazi art dealer Hildebrand Gurlitt, recent findings about the history of the art he held, and ongoing efforts to return Nazi-looted art found in his collection, which was in the possession of his son, the late Cornelius Gurlitt. To view rewards for supporting the podcast, please visit Warfare's Patreon page.Show Notes:1:30 Hildebrand Gurlitt exhibited modern artists, including German Expressionists 2:30 Gurlitt began work for Nazis; he gathered art for the Führermuseum and was authorized to liquidate degenerate art4:25 Hildebrand's son, Cornelius, inherited his father's collection 5:20 German tax investigation led to locating approximately 1,500 works in Cornelius' residences in Munich, Germany and Salzburg, Austria6:20 Claim by Alfred Flechtheim's heirs for Beckmann's The Lion Tamer8:00 Kunst Museum Bern inherited Gurlitt's collection8:30 Manet's Ships at Sea in Stormy Weather was sold to Tokyo's National Museum of Western Art8:50 Gurlitt Art Find: Paths of Research 10:15 27,000 documents from Gurlitt's estate provide unreliable information about sales11:00 Thomas Couture's Portrait of a Seated Woman11:40 Paul Cezanne's Mont Sainte-Victoire12:20 To date, 14 looted works have been returned to heirs, including Henri Matisse's Woman with a Fan and Max Liebermann's Two Riders on a Beach 13:50 Questions arising from the Gurlitt Collection: how can right and wrong be so easily blurred? 15:00 Why, in the shadow of mass murder, is the stealing of art important? Because small steps of hate, like theft of a people's culture, lead to larger steps.To leave questions or comments about this or other episodes of the podcast, please call 1.929.260.4942 or email Stephanie@warfareofartandlaw.com. © Stephanie Drawdy [2020]
In questo Episodio di Contaminazione Artistica vi racconto la Storia del Grande Pittore francese Paul Cezanne. Seguimi su Telegram per tutti gli aggiornamenti http://t.me/alsorace Instagram : https://www.instagram.com/alsorace/ Supporta il Podcast su PATREON https://www.patreon.com/alessandrosorace
Paul Cezanne, A Modern Olympia, c. 1873-1874 Pavlův audiopopis 12. PAUL CEZANNE, MODERNÍ OLYMPIE Paul Cézanne – heslo na Wikipedii
(c) Schaum der Tage #artdisc.org
Dziś pierwszy odcinek o sztuce: Jak pracują mistrzowie, czyli Paul Cezanne maluje Ambroise'a Vollarda. Zapraszam do słuchania.
In our 77th episode (and third installment in her “P-ART” series), Lauren impresses tout le monde with her French pronunciations and covers the lives and times of Paul Cézanne and Henri Matisse (two more Artists You Should Know). Later, enjoy a quiz on French movies! . . . [Music: 1) Edith Piaf, “Non, je ne regrette rien,” 1960; 2) Frau Holle, “Ascending Souls,” 2017. Courtesy of Frau Holle, CC BY-NC 3.0 license.]
The Kitchen Table Paul Cezanne A conversation with my husband and long time soul friend Michael Bold. Michael is currently working on a book on Paul Cezanne which he’s publishing as blogs in bite size chunks. Here he talks of his life from the Roman Catholic world of Merseyside to his ordination as a Priest and now his reflections on the universality of the Divine discovered through the art of Cezanne.
Listen Here: iTunes | Overcast | PlayerFM Keep up with the North Star Podcast. My guest today is Michael Nielsen a scientist, writer and computer programmer who works as a research fellow at Y Combinator Research. Michael has written on various topics from quantum teleportation, geometric complexity and the future of science. Michael is the most original thinker I have discovered in a long time when it comes to artificial intelligence, augmenting human intelligence, reinventing explanation and using new media to enable new ways of thinking. Michael has pushed my mind towards new and unexpected places. This conversation gets a little wonky at times, but as you know, the best conversations are difficult. They are challenging because they venture into new, unexplored territory and that's exactly what we did here today. Michael and I explored the history of tools and jump back to the invention of language, the defining feature of human collaboration and communication. We explore the future of data visualization and talk about the history of the spreadsheet as a tool for human thought. “Before writing and mathematics, you have the invention of language which is the most significant event in some ways. That’s probably the defining feature of the human species as compared to other species.” LINKS Find Michael Online Michael’s Website Michael’s Twitter Michael’s Free Ebook: Neural Networks and Deep Learning Reinventing Discovery: The New Era of Networked Science Quantum Computation and Quantum Information Mentioned In the Show 2:12 Michael’s Essay Extreme Thinking 21:48 Photoshop 21:49 Microsoft Word 24:02 The David Bowie Exhibit 28:08 Google AI’s Deep Dream Images 29:26 Alpha Go 30:26 Brian Eno’s Infamous Airport Music 33:41 Listen to Speed of Life by Dirty South Books Mentioned 46:06 Zen and The Art of Motorcycle Maintenance by Robert M. Pirsig 54:12 Cat’s Cradle by Kurt Vonnegut People Mentioned 13:27 Rembrandt Van Rijn’s Artwork 15:01 Monet’s Gallery 15:02 Pierre Auguste Renoir’s Impressionist Art 15:05 Picasso’s Paintings 15:18 Paul Cezanne’s Post-Impressionist Art 25:40 David Brooke’s NYT Column 35:19 Franco of Cologne 56:58 Alan Kay’s Ted Talk on the future of education 57:04 Doug Engelbart 58:35 Karl Schroeder 01:02:06 Elon Musk’s Mars-bound company, SpaceX 01:04:25 Alex Tabarrok Show Topics 4:01 Michael’s North Star, which drives the direction of his research 5:32 Michael talks about how he sets his long-term goals and how he’s propelled by ideas he’s excited to see in the world. 7:13 The invention of language. Michael discusses human biology and how it’s easier to learn a language than writing or mathematics. 9:28 Michael talks about humanity’s ability to bootstrap itself. Examples include maps, planes, and photography 17:33 Limitations in media due to consolidation and the small number of communication platforms available to us 18:30 How self-driving cars and smartphones highlight the strange intersection where artificial intelligence meets human interaction and the possibilities that exist as technology improves 21:45 Why does Photoshop improve your editing skills, while Microsoft Word doesn’t improve your writing skills? 27:07 Michael’s opinion on how Artificial Intelligence can help people be more creative “Really good AI systems are going to depend upon building and currently depend on building very good models of different parts of the world, to the extent that we can then build tools to actually look in and see what those models are telling us about the world.” 30:22 The intersection of algorithms and creativity. Are algorithms the musicians of the future? 36:51 The emerging ability to create interactive visual representations of spreadsheets that are used in media, internally in companies, elections and more. “I’m interested in the shift from having media be predominantly static to dynamic, which the New York Times is a perfect example of. They can tell stories on newyorktimes.com that they can’t tell in the newspaper that gets delivered to your doorstep.” 45:42 The strategies Michael uses to successfully trail blaze uncharted territory and how they emulate building a sculpture 53:30 Michael’s learning and information consumption process, inspired by the idea that you are what you pretend to be 56:44 The foundation of Michael’s worldview. The people and ideas that have shaped and inspired Michael. 01:02:26 Michael’s hypothesis for the 21st century project involving blockchain and cryptocurrencies and their ability to make implementing marketplaces easier than ever before “The key point is that some of these cryptocurrencies actually, potentially, make it very easy to implement marketplaces. It’s plausible to me that the 21st century [project] turns out to be about [marketplaces]. It’s about inventing new types of markets, which really means inventing new types of collective action.” Host David Perell and Guest Michael Nielsen TRANSCRIPT Hello and welcome to the North Star. I'm your host, David Perell, the founder of North Star Media, and this is the North Star podcast. This show is a deep dive into the stories, habits, ideas, strategies, and rituals that guide fulfilled people and create enormous success for them, and while the guests are diverse, they share profound similarities. They're guided by purpose, live with intense joy, learn passionately, and see the world with a unique lens. With each episode, we get to jump into their minds, soak up their hard-earned wisdom and apply it to our lives. My guest today is Michael Nielson, a scientist, writer, and computer programmer, who works as a research fellow at Y Combinator Research. Michael's written on various topics from quantum teleportation to geometric complexity to the future of science, and now Michael is the most original thinker I've discovered in a long time. When it comes to artificial intelligence to augmenting human intelligence, reinventing explanation, or using new media to enable new ways of thinking, Michael has pushed my mind towards new and unexpected places. Now, this conversation gets a little wonky at times, but as you know, the best conversations are difficult. They're challenging because they venture into new, unexplored territory and that's exactly what we did here today. Michael and I explored the history of tools. This is an extension of human thought and we jump back to the invention of language, the defining feature of human collaboration and communication. We explore the future of data visualization and talk about the history of this spreadsheet as a tool for human thought. Here's my conversation with Michael Nielson. DAVID: Michael Nielson, welcome to the North Star Podcast. MICHAEL: Thank you, David. DAVID: So tell me a little bit about yourself and what you do. MICHAEL: So day to day, I'm a researcher at Y Combinator Research. I'm basically a reformed theoretical physicist. My original background is doing quantum computing work. And then I've moved around a bit over the years. I've worked on open science, I've worked on artificial intelligence and most of my current work is around tools for thought. DAVID: So you wrote an essay which I really enjoyed called Extreme Thinking. And in it, you said that one of the single most important principle of learning is having a strong sense of purpose and a strong sense of meaning. So let's be in there. What is that for you? MICHAEL: Okay. You've done your background. Haven't thought about that essay in years. God knows how long ago I wrote it. Having a strong sense of purpose. What did I actually mean? Let me kind of reboot my own thinking. It's, it's kind of the banal point of view. How much you want something really matters. There's this lovely interview with the physicist Richard Feynman, where he's asked about this Indian mathematical prodigy Ramanujan. A movie was made about Ramanujan’s mathematical prowess a couple of years ago. He was kind of this great genius. And a Feynman was asked what made Ramanujan so good. And the interview was expecting him to say something about how bright this guy was or whatever. And Feynman said instead, that it was desire. It was just that love of mathematics was at the heart of it. And he couldn't stop thinking about it and he was thinking about it. He was doing in many ways, I guess the hard things. It's very difficult to do the hard things that actually block you unless you have such a strong desire that you're willing to go through those things. Of course, I think you see that in all people who get really good at something, whether it be sort of a, just a skill like playing the violin or something, which is much more complicated. DAVID: So what is it for you? What is that sort of, I hate to say I want to just throw that out here, that North Star, so to speak, of what drives you in your research? MICHAEL: Research is funny. You go through these sort of down periods in which you don't necessarily have something driving you on. That used to really bother me early in my career. That was sort of a need to always be moving. But now I think that it's actually important to allow yourself to do that. That's actually how you find the problems, which really get, get you excited. If you don't sort of take those pauses, then you're not gonna find something that's really worth working on. I haven't actually answered your question. I think I know I've jumped to that other point because that's one thing that really matters to me and it was something that was hard to learn. DAVID: So one thing that I've been thinking a lot about recently is you sort of see it in companies. You see it in countries like Singapore, companies like Amazon and then something like the Long Now Foundation with like the 10,000-year clock. And I'm wondering to you in terms of learning, there's always sort of a tension between short-term learning and long-term learning. Like short-term learning so often is maybe trying to learn something that feels a little bit richer. So for me, that's reading, whereas maybe for a long-term learning project there are things I'd like to learn like Python. I'd like to learn some other things like that. And I'm wondering, do you set long-term learning goals for yourself or how would you think about that trade off? MICHAEL: I try to sit long-time learning goals to myself, in many ways against my better judgment. It's funny like you're very disconnected from you a year from now or five years from now, or 10 years from now. I can't remember, but Eisenhower or Bonaparte or somebody like that said that the planning is invaluable or planning plans are overrated, but planning is invaluable. And I think that's true. And this is the right sort of attitude to take towards these long-term lending goals. Sure. It's a great idea to decide that you're going out. Actually, I wouldn't say it was a great idea to say that you're going to learn python, I might say. However, there was a great idea to learn python if you had some project that you desperately wanted to do that it required you to learn python, then it's worth doing, otherwise stay away from python. I certainly favor, coupling learning stuff to projects that you're excited to actually see in the world. But also, then you may give stuff up, you don't become a master of python and instead you spend whatever, a hundred hours or so learning about it for this project that takes you a few hundred hours, and if you want to do a successor project which involves it, more of it. Great, you'll become better. And if you don't, well you move onto something else. DAVID: Right. Well now I want to dive into the thing that I'm most excited to talk to you about today and that's tools that extend human thought. And so let's start with the history of that. We'll go back sort of the history of tools and there's had great Walter Ong quote about how there are no new thoughts without new technologies. And maybe we can start there with maybe the invention of writing, the invention of mathematics and then work through that and work to where you see the future of human thought going with new technologies. MICHAEL: Actually, I mean before writing and mathematics, you have the invention of language, which is almost certainly the most significant single event in some ways. The history of the planet suddenly, you know, that's probably the defining feature of the human species as compared to other species. Um, I say invention, but it's not even really invention. There's certainly a lot of evidence to suggest that language is in some important sense built into our biology. Not the details of language. Um, but this second language acquisition device, it seems like every human is relatively very set to receive language. The actual details depend on the culture we grow up on. Obviously, you don't grow up speaking French if you were born in San Francisco and unless you were in a French-speaking household, some very interesting process of evolution going on there where you have something which is fundamentally a technology in some sense languages, humans, a human invention. It's something that's constructed. It's culturally carried. Um, it, there's all these connections between different words. There's almost sort of a graph of connections between the words if you like, or all sorts of interesting associations. So in that sense, it's a technology, something that's been constructed, but it's also something which has been over time built into our biology. Now if you look at later technologies of thought things like say mathematics, those are much, much later. That hasn't been the same sort of period of time. Those don't seem to be built into our biology in quite the same way. There's actually some hints of that we have some intrinsic sense of number and there's some sort of interesting experiments that suggest that we were built to do certain rudimentary kinds of mathematical reasoning but there's no, you know, section of the brain which specializes sort of from birth in solving quadratic equations, much less doing algebraic geometry or whatever, you know, super advanced. So it becomes this cultural thing over the last few thousand years, this kind of amazing process whereby we've started to bootstrap ourselves. If you think about something like say the invention of maps, which really has changed the way people relate to the environment. Initially, they were very rudimentary things. Um, and people just kept having new ideas for making maps more and more powerful as tools for thought. Okay. I can give you an example. You know, a very simple thing, if you've ever been to say the underground in London or most other subway systems around the world. It was actually the underground when this first happened, if you look at the map of the underground, I mean it's a very complicated map, but you can get pretty good at reasoning about how to get from one place to another. And if you look at maps prior to, I think it was 1936, in fact, the maps were much more complicated. And the reason was that mapmakers up to that point had the idea that where the stations were shown on the map had to correspond to the geography of London. Exactly. And then somebody involved in producing the underground map had just a brilliant insight that actually people don't care. They care about the connections between the stations and they want to know about the lines and they want some rough idea of the geography, but they're quite happy for it to be very rough indeed and he was able to dramatically simplify that map by simply doing away with any notion of exact geography. DAVID: Well, it's funny because I noticed the exact same thing in New York and so often you have insights when you see two things coming together. So I was on the subway coming home one day and I was looking at the map and I always thought that Manhattan was way smaller than Brooklyn, but on the subway map, Manhattan is actually the same size as Brooklyn. And in Manhattan where the majority of the subway action is, it takes up a disproportionate share of the New York City subway map. And then I went home to go read Power Broker, which is a book about Robert Moses building the highways and they had to scale map. And what I saw was that Brooklyn was way, way bigger than Manhattan. And from predominantly looking at subway maps. Actually, my topological geographical understanding of New York was flawed and I think exactly to your point. MICHAEL: It's interesting. When you think about what's going on there and what it is, is some person or a small group of people is thinking very hard about how to represent their understanding of the city and then the building, tools, sort of a technological tool of thought that actually then saves millions or in the case of a New York subway or the London underground, hundreds of millions or billions of people, mostly just seconds, sometimes, probably minutes. Like those maps would be substantially more complicated sort of every single day. So it's only a small difference. I mean, and it's just one invention, right? But, you know, our culture is of course accumulated thousands or millions of these inventions. DAVID: One of my other favorite ones from being a kid was I would always go on airplanes and I'd look at the route map and it would always show that the airplanes would fly over the North Pole, but on two-dimensional space that was never clear to me. And I remember being with my dad one night, we bought a globe and we took a rubber band and we stretched why it was actually shorter to fly over the North Pole, say if you're going from New York to India. And that was one of the first times in my life that I actually didn't realize it at the time, but understood exactly what I think you're trying to get at there. How about photography? Because that's another one that I think is really striking, vivid from the horse to slow motion to time lapses. MICHAEL: Photography I think is interesting in this vein in two separate ways. One is actually what it did to painting, which is of course painters have been getting more and more interested in being more and more realistic. And honestly, by the beginning of the 19th century, I think painting was pretty boring. Yeah, if you go back to say the 16th and 17th centuries, you have people who are already just astoundingly good at depicting things in a realistic fashion. To my mind, Rembrandt is probably still the best portrait painter in some sense to ever live. DAVID: And is that because he was the best at painting something that looked real? MICHAEL: I think he did something better than that. He did this very clever thing, you know, you will see a photograph or a picture of somebody and you'll say, oh, that really looks like them. And I think actually most of the time we, our minds almost construct this kind of composite image that we think of as what David looks like or what our mother looks like or whatever. But actually moment to moment, they mostly don't look like that. They mostly, you know, their faces a little bit more drawn or it's, you know, the skin color is a little bit different. And my guess, my theory of Rembrandt, is that he may have actually been very, very good at figuring out almost what that image was and actually capturing that. So, yeah, I mean this is purely hypothetical. I have no real reason to believe it, but I think it's why I responded so strongly to his paintings. DAVID: And then what happened? So after Rembrandt, what changed? MICHAEL: So like I said, you mean you keep going for a sort of another 200 years, people just keep getting more and more realistic in some sense. You have all the great landscape painters and then you have this catastrophe where photography comes along and all of a sudden you're being able to paint in a more and more realistic fashion. It doesn't seem like such a hot thing to be doing anymore. And if for some painters, I think this was a bit of a disaster, a bit of dose. I said of this modern wave, you start to see through people like Monet and Renoir. But then I think Picasso, for me anyway, was really the pivotal figure in realizing that actually what art could become, is the invention of completely new ways of seeing. And he starts to play inspired by Cezanne and others in really interesting ways with the construction of figures and such. Showing things from multiple angles in one painting and different points of view. And he just plays with hundreds of ideas along these lines, through all of his painting and how we see and what we see in how we actually construct reality in their heads from the images that we see. And he did so much of that. It really became something that I think a lot of artists, I'm not an artist or a sophisticated art theory person, but it became something that other people realized was actually an extraordinarily interesting thing to be doing. And much of the most interesting modern art is really a descendant of that understanding that it's a useful thing to be doing. A really interesting thing to be doing rather than becoming more and more realistic is actually finding more and more interesting ways of seeing and being able to represent the world. DAVID: So I think that the quote is attributed to Marshall McLuhan, but I have heard that Winston Churchill said it. And first, we shape our tools and then our tools shape us. And that seems to be sort of the foundation of a lot of the things that you're saying. MICHAEL: Yeah, that's absolutely right. I mean, on the other side, you also have, to your original question about photography. Photographers have gradually started to realize that they could shape how they saw nature. Ansel Adams and people like this, you know. Just what an eye. And understanding his tools so verbally he's not just capturing what you see. He's constructing stuff in really, really interesting ways. DAVID: And how about moving forward in terms of your work, thinking about where we are now to thinking about the future of technology. For example, one thing that frustrates me a bit as a podcast host is, you know, we just had this conversation about art and it's the limits of the audio medium to not be able to show the paintings of Rembrandt and Cezanne that we just alluded to. So as you think about jumping off of that, as you think about where we are now in terms of media to moving forward, what are some of the challenges that you see and the issues that you're grappling with? MICHAEL: One thing for sure, which I think inhibits a lot of exploration. We're trapped in a relatively small number of platforms. The web is this amazing thing as our phones, iOS and whatnot, but they're also pretty limited and that bothers me a little bit. Basically when you sort of narrow down to just a few platforms which have captured almost all of the attention, that's quite limiting. People also, they tend not to make their own hardware. They don't do these kinds of these kinds of things. If that were to change, I think that would certainly be exciting. Something that I think is very, very interesting over the next few years, artificial intelligence has gotten to the point now where we can do a pretty good job in understanding what's actually going on inside a room. Like we can set up sufficient cameras. If you think about something like self-driving cars, essentially what they're doing is they're building up a complete model of the environment and if that model is not pretty darned good, then you can't do self-driving cars, you need to know where the pedestrians are and where the signs are and all these kinds of things and if there's an obstruction and that technology when brought into, you know, the whole of the rest of the world means that you're pretty good at passing out. You know what's inside the room. Oh, there's a chair over there, there's a dog which is moving in that direction, there's a person, there’s a baby and sort of understanding all those actions and ideally starting to understand all the gestures which people are making as well. So we're in this very strange state right at the moment. Where the way we talk to computers is we have these tiny little rectangles and we talk to them through basically a square inch or so of sort of skin, which is our eyes. And then we, you know, we tap away with our fingers and the whole of the rest of our body and our existence is completely uncoupled from that. We've effectively reduced ourselves to our fingers and our eyes. We a couple to it only through the whatever, 100 square inches, couple hundred square inches of our screens or less if you're on a phone and everything else in the environment is gone. But we're actually at a point where we're nearly able to do an understanding of all of that sufficiently well that actually other modes of interaction will become possible. I don't think we're quite there yet, but we're pretty close. And you start to think about, something like one of my favorite sport is tennis. You think about what a tennis player can do with their body or you think about what a dancer can do with their body. It's just extraordinary. And all of that mode of being human and sort of understanding we can build up antibodies is completely shut out from the computing experience at the moment. And I think over the next sort of five to ten years that will start to reenter and then in the decades hence, it will just seem strange that it was ever shut out. DAVID: So help me understand this. So when you mean by start to reenter, do mean that we'll be able to control computers with other parts of our bodies or that we'll be spending less time maybe typing on keyboards. Help me flesh this out. MICHAEL: I just mean that at the moment. As you speak to David, you are waving your arms around and all sorts of interesting ways and there is no computer system which is aware of it, what your computer system is aware of. You're doing this recording. That's it. And even that, it doesn't understand in any sort of significant way. Once you've gained the ability to understand the environment. Lots of interesting things become possible. The obvious example, which everybody immediately understands is that self driving cars become possible. There's this sort of enormous capacity. But I think it's certainly reasonably likely that much more than that will become possible over the next 10 to 20 years. As your computer system becomes completely aware of your environment or as aware as you're willing to allow it to be. DAVID: You made a really interesting analogy in one of your essays about the difference between Photoshop and Microsoft Word. That was really fascinating to me because I know both programs pretty well. But to know Microsoft word doesn't necessarily mean that I'm a better writer. It actually doesn't mean that at all. But to know Photoshop well probably makes me pretty good at image manipulation. I'm sure there's more there, but if you could walk me through your thought process as you were thinking through that. I think that's really interesting. MICHAEL: So it's really about a difference in the type of tools which are built into the program. So in Photoshop, which I should say, I don't know that well, I know Word pretty well. I've certainly spent a lot more time in it than I have ever spent in Photoshop. But in Photoshop, you do have these very interesting tools which have been built in, which really condense an enormous amount of understanding of ideas like layers or an idea, different brushes, these kinds of ideas. There's just a tremendous amount of understanding which has been built in there. When I watch friends who are really good with these kinds of programs, what they can do with layers is just amazing. They understand all these kind of clever screening techniques. It seems like such a simple idea and yet they're able to do these things that let you do astonishing things just with sort of three or four apparently very simple operations. So in that sense, there are some very deep ideas about image manipulation, which had been built directly into Photoshop. By contrast, there's not really very many deep ideas about writing built into Microsoft Word. If you talk to writers about how they go about their actual craft and you say, well, you know, what heuristics do use to write stories and whatnot. Most of the ideas which they use aren't, you know, they don't correspond directly to any set of tools inside Word. Probably the one exception is ideas, like outlining. There are some tools which have been built into word and that's maybe an example where in fact Word does help the writer a little bit, but I don't think to nearly the same extent as Photoshop seems to. DAVID: I went to an awesome exhibit for David Bowie and one of the things that David but we did when he was writing songs was he had this word manipulator which would just throw him like 20, 30 words and the point wasn't that he would use those words. The point was that by getting words, his mind would then go to different places and so often when you're in my experience and clearly his, when you're trying to create something, it helps to just be thrown raw material at you rather than the perennial, oh my goodness, I'm looking at a white screen with like this clicking thing that is just terrifying, Word doesn't help you in that way. MICHAEL: So an example of something which does operate a little bit in that way, it was a Ph.D. thesis was somebody wrote at MIT about what was called the Remembrance Agent. And what it would do, it was a plugin essentially for a text editor that it would, look at what you are currently writing and it would search through your hard disk for documents that seemed like they might actually be relevant. Just kind of prompt you with what you're writing. Seems like it might be related to this or this or this or this or this. And to be perfectly honest, it didn't actually work all that well. I think mostly because the underlying machine learning algorithms it used weren't very clever. It's defunct now as far as I know. I tried to get it to run on my machine or a year or two ago and I couldn't get it running. It was still an interesting thing to do. It had exactly this same kind of the belly sort of experience. Even if they weren't terribly relevant. You kind of couldn't understand why on earth you are being shown it. It's still jogged your mind in an interesting way. DAVID: Yeah. I get a lot of help out of that. Actually, I’ll put this example. So David Brooks, you know the columnist for the New York Times. When he writes, what he does is he gets all of his notes and he just puts his notes on the floor and he literally crawls all around and tries to piece the notes together and so he's not even writing. He's just organizing ideas and it must really help him as it helps me to just have raw material and just organize it all in the same place. MICHAEL: There's a great British humorist, PG Boathouse, he supposedly wrote on I think it was the three by five-inch cards. He'd write a paragraph on each one, but he had supposedly a very complicated system in his office, well not complicated at all, but it must have looked amazing where he would basically paste the cards to the wall and as the quality of each paragraph rose, he would move the paragraph up the wall and I think the idea was something like once it got to the end, it was a lion or something, every paragraph in the book had to get above that line and at that point it was ready to go. DAVID: So I've been thinking a lot about sort of so often in normal media we take AI sort of on one side and art on another side. But I think that so many of the really interesting things that will emerge out of this as the collaboration between the two. And you've written a bit about art and AI, so how can maybe art or artificial intelligence help people be more creative in this way? MICHAEL: I think we still don't know the answer to the question, unfortunately. The hoped-for answer the answer that might turn out to be true. Real AI systems are going to build up very good models of different parts of the world, maybe better than any human has of those parts of the world. It might be the case, I don't know. It might be the case that something like the Google translate system, maybe in some sense that system already knows some facts about translation that would be pretty difficult to track down in any individual human mind and sort of so much about translation in some significant ways. I'm just speculating here. But if you can start to interrogate that understanding, it becomes a really useful sort of a prosthetic for human beings. If you've seen any of these amazing, well I guess probably the classics, the deep dream images that came out of Google brain a couple of years ago. Basically, you take ordinary images and you're sort of running them backwards through a neural net somehow. You're sort of seeing something about how the neural net sees that image. You get these very beautiful images as a result. There's something strange going on and sort of revealing about your own way of seeing the world. And at the same time, it's based on some structure which this neural net has discovered inside these images which is not ordinarily directly accessible to you. It's showing you that structure. So sort of I think the right way to think about this is that really good AI systems are going to depend upon building and do currently depend on building very good models of different parts of the world and to the extent that we can then build tools to actually look in and see what those models are telling us about the world, we can learn interesting new things which are useful for us. I think the conventional way, certainly the science fiction way to think about AI is that we're going to give it commands and it's going to do stuff. How you shut the whatever it is, the door or so on and so forth, and there was certainly will be a certain amount of that. Or with AlphaGo what is the best move to take now, but actually in some sense, with something like AlphaGo, it's probably more interesting to be able to look into it and see what it's understanding is of the board position than it is to ask what's the best move to be taken. A colleague showed me a go program, a prototype, what it would do. It was a very simple kind of a thing, but it would help train beginners. I think it was Go, but by essentially colorizing different parts of the board according to whether they were good or bad moves to be taking in its estimation. If you're a sophisticated player, it probably wasn't terribly helpful, but if you're just a beginner, there's an interesting kind of a conditioning going on there. At least potentially a which lets you start to see. You get a feeling for immediate feedback from. And all that's happening there is that you're seeing a little bit into one of these machine learning algorithms and that's maybe helping you see the world in a slightly different way. DAVID: As I was preparing for this podcast, you've liked a lot to Brian Eno and his work. So I spent as much time reading Brian Eno, which I'm super happy that I went down those rabbit holes. But one of the things that he said that was really interesting, so he's one of the fathers of ambient music and he said that a lot of art and especially music, there will sort of be algorithms where you sort of create an algorithm that to the listener might even sound better than what a human would produce. And he said two things that were interesting. The first one is that you create an algorithm and then a bunch of different musical forms could flower out of that algorithm. And then also said that often the art that algorithms create is more appealing to the viewer. But it takes some time to get there. And had the creator just followed their intuition. They probably would have never gotten there. MICHAEL: It certainly seems like it might be true. And that's the whole sort of interesting thing with that kind of computer-generated music is to, I think the creators of it often don't know where they're gonna end up. To be honest, I think my favorite music is all still by human composers. I do enjoy performances by people who live code. There's something really spectacular about that. So there are people who, they will set up the computer and hook it up to speakers and they will hook the text editor up to a projector and they'll have essentially usually a modified form of the programming language list a or people use a few different systems I guess. And they will write a program which producers music onstage and they'll just do it in real time and you know, it starts out sounding terrible of course. And that lasts for about 20 seconds and by about sort of 30 or 40 seconds in, already it's approaching the limits of complex, interesting music and I think even if you don't really have a clue what they're doing as they program, there's still something really hypnotic and interesting about watching them actually go through this process of creating music sort of both before your eyes and before your ears. It's a really interesting creative experience and sometimes quite beautiful. I think I suspect that if I just heard one of those pieces separately, I probably wouldn't do so much for me, but actually having a done in real time and sort of seeing the process of creation, it really changes the experience and makes it very, very interesting. And sometimes, I mean, sometimes it's just beautiful. That's the good moment, right? When clearly the person doing it has something beautiful happen. You feel something beautiful happen and everybody else around you feel something beautiful and spontaneous. It's just happened. That's quite a remarkable experience. Something really interesting is happening with the computer. It's not something that was anticipated by the creator. It arose out of an interaction between them and their machine. And it is actually beautiful. DAVID: Absolutely. Sort of on a similar vein, there's a song called Speed of Life by Dirty South. So I really liked electronic music, but what he does is he constructs a symphony, but he goes one layer at a time. It's about eight and a half minute song and he just goes layer after layer, after layer, after layer. And what's really cool about listening to it is you appreciate the depth of a piece of music that you would never be able to appreciate if you didn't have that. And also by being able to listen to it over and over again. Because before we had recording, you would only hear a certain piece of music live and one time. And so there are new forms that are bursting out of now because we listen to songs so often. MICHAEL: It's interesting to think, there's a sort of a history to that as well. If you go back, essentially modern systems for recording music, if you go back much more than a thousand years. And we didn't really have them. There's a multi-thousand-year history of recorded music. But a lot of the early technology was lost and it wasn't until sort of I think the eighth, ninth century that people started to do it again. But we didn't get all the way to button sheet music overnight. There was a whole lot of different inventions. For instance, the early representations didn't show absolute pitch. They didn't show the duration of the note. Those were ideas that had to be invented. So in I think it was 1026, somebody introduced the idea of actually showing a scale where you can have absolute pitch. And then a century or two after that, Franco of Cologne had the idea of representing duration. And so they said like tiny little things, but then you start to think about, well, what does that mean for the ability to compose music? It means now that actually, you can start to compose pieces, which for many, many, many different instruments. So you start to get the ability to have orchestral music. So you go from being able to basically you have to kind of instruct small groups of players that's the best you can hope to do and get them to practice together and whatever. So maybe you can do something like a piece for a relatively small number of people, but it's very hard to do something for an 80 piece orchestra. Right? So all of a sudden that kind of amazing orchestral music I think becomes possible. And then, you know, we're sort of in version 2.0 of that now where of course you can lay a thousand tracks on top of one another if you want. You get ideas like micropolyphony. And these things where you look at the score and it's just incredible, there are 10,000 notes in 10 seconds. DAVID: Well, to your point I was at a tea house in Berkeley on Monday right by UC Berkeley's campus and the people next to me, they were debating the musical notes that they were looking at but not listening to the music and it was evident that they both had such a clear ability to listen to music without even listening to it, that they could write the notes together and have this discussion and it was somebody who doesn't know so much about music. It was really impressive. MICHAEL: That sounds like a very interesting conversation. DAVID: I think it was. So one thing that I'm interested in and that sort of have this dream of, is I have a lot of friends in New York who do data visualization and sort of two things parallel. I have this vision of like remember the Harry Potter book where the newspaper comes alive and it becomes like a rich dynamic medium. So I have that compared with some immersive world that you can walk through and be able to like touch and move around data and I actually think there's some cool opportunities there and whatnot. But in terms of thinking about the future of being able to visualize numbers and the way that things change and whatnot. MICHAEL: I think it's a really complicated question like it actually needs to be broken down. So one thing, for example, I think it's one of the most interesting things you can do with computers. Lots of people never really get much experience playing with models and yet it's possible to do this. Now, basically, you can start to build very simple models. The example that a lot of people do get that they didn't use to get, is spreadsheets. So, you can sort of create a spreadsheet that is a simple model of your company or some organization or a country or of whatever. And the interesting thing about the spreadsheet is really that you can play with it. And it sort of, it's reactive in this interesting way. Anybody who spends as much time with spreadsheets is they start to build up hypotheses, oh, what would happen if I changed this number over here? How would it affect my bottom line? How would it affect the GDP of the country? How would it affect this? How would it affect that? And you know, as you kind of use it, you start to introduce, you start to make your model more complicated. If you're modeling some kind of a factory yet maybe you start to say, well, what would be the effect if a carbon tax was introduced? So you introduce some new column into the spreadsheet or maybe several extra columns into the spreadsheet and you start to ask questions, well, what would the structure of the carbon tax be? What would help you know, all these sorts of what if questions. And you start very incrementally to build up models. So this experience, of course, so many people take for granted. It was not an experience that almost anybody in the world had say 20 or 30 years ago. Well, spreadsheets data about 1980 or so, but this is certainly an experience that was extremely rare prior to 1980 and it's become a relatively common, but it hasn't made its way out into mass media. We don't as part of our everyday lives or the great majority of people don't have this experience of just exploring models. And I think it's one of the most interesting things which particularly the New York Times and to some extent some of the other newsrooms have done is they've started in a small way to build these models into the news reading experience. So, in particular, the data visualization team at the New York Times, people like Amanda Cox and others have done this really interesting thing where you start to get some of these models. You might have seen, for example, in the last few elections. They've built this very interesting model showing basically if you can sort of make choices about how different states will vote. So if such and such votes for Trump, what are Hillary's chances of winning the election. And you may have seen they have this sort of amazing interactive visualization of it where you can just go through and you can sort of look at the key swing states, what happens if Pennsylvania votes for so and so what happens if Florida does? And that's an example where they've built an enormous amount of sort of pulling information into this model and then you can play with it to build up some sort of understanding. And I mean, it's a very simple example. I certainly think that you know, normatively, we're not there yet. We don't actually have a shared understanding. There's very little shared language even around these models. You think about something like a map. A map is an incredibly sophisticated object, which however we will start learning from a very young age. And so we're actually really good at parsing them. We know if somebody shows us a map, how to engage, how to interpret it, how to use it. And if somebody just came from another planet, actually they need to learn all those things. How do you represent a road? How do you represent a shop on a map? How do you represent this or that, why do we know that up is north like that's a convention. All those kinds of things actually need to be learned and we learned them when we were small. With these kinds of things which the Times and other media outlets are trying to do, we lack all of that collective knowledge and so they're having to start from scratch and I think that over a couple of generations actually, they'll start to evolve a lot of conventions and people will start to take it for granted. But in a lot of contexts actually you're not just going to be given a narrative, you know, just going to be told sort of how some columnist thinks the world is. Instead, you'll actually expect to be given some kind of a model which you can play with. You can start to ask questions and sort of run your own hypotheses in much the same way as somebody who runs a business might actually set up a spreadsheet to model their business and ask interesting questions. It's not perfect. The model is certainly that the map is not the territory as they say, but it is nonetheless a different way of engaging rather than just having some expert tell you, oh, the world is this way. DAVID: I'm interested in sort of the shift from having media be predominantly static to dynamic, which the New York Times is a perfect example. They can tell stories on Newyorktimes.com that they can't tell in the newspaper that gets delivered to your doorstep. But what's really cool about spreadsheets that you're talking about is like when I use Excel, being able to go from numbers, so then different graphs and have the exact same data set, but some ways of visualizing that data totally clicked for me and sometimes nothing happens. MICHAEL: Sure. Yeah. And we're still in the early days of that too. There's so much sort of about literacy there. And I think so much about literacy is really about opportunity. People have been complaining essentially forever that the kids of today are not literate enough. But of course, once you actually provide people with the opportunity and a good reason to want to do something, then they can become very literate very quickly. I think basically going back to the rise of social media sort of 10 or 15 years ago, so Facebook around whatever, 2006, 2007 twitter a little bit later, and then all the other platforms which have come along since. They reward being a good writer. So all of a sudden a whole lot of people who normally wouldn't have necessarily been good writers are significantly more likely to become good writers. It depends on the platform. Certainly, Facebook is a relatively visual medium. Twitter probably helps. I think twitter and text messaging probably are actually good. Certainly, you're rewarded for being able to condense an awful lot into a small period. People complain that it's not good English, whatever that is. But I think I'm more interested in whether something is a virtuosic English than I am and whether or not it's grammatically correct. People are astonishingly good at that, but the same thing needs to start to happen with these kinds of models and with data visualizations and things like that. At the moment, you know, you have this priestly caste that makes a few of them and that's an interesting thing to be able to do, but it's not really part of the everyday experience of most people. It's an interesting question whether or not that's gonna change as it going to in the province of some small group of people, or will it actually become something that people just expect to be able to do? Spreadsheets are super interesting in that regard. They actually did. I think if you've talked to somebody in 1960 and said that by 2018, tens of millions of people around the world would be building sophisticated mathematical models as just part of their everyday life. It would've seemed absolutely ludicrous. But actually, that kind of model of literacy has become relatively common. I don't know whether we'll get to 8 billion people though. I think we probably will. DAVID: So when I was in high school I went to, what I like to say is the weirdest school in the weirdest city in America. I went to the weirdest high school in San Francisco and rather than teaching us math, they had us get in groups of three and four and they had us discover everything on our own. So we would have these things called problem sets and we would do about one a week and the teacher would come around and sort of help us every now and then. But the goal was really to get three or four people to think through every single problem. And they called it discovery-based learning, which you've also talked about too. So my question to you is we're really used to learning when the map is clear and it's clear what to do and you can sort of follow a set path, but you actually do the opposite. The map is unclear and you're actually trailblazing and charting new territory. What strategies do you have to sort of sense where to move? MICHAEL: There's sort of a precursor question which is how do you maintain your morale and the Robert Pirsig book, Zen and the Art of Motorcycle Maintenance. He proposes a university subject, gumptionology 101. Gumption is almost the most important quality that we have. The ability to keep going when things don't seem very good. And mostly that's about having ways of being playful and ways of essentially not running out of ideas. Some of that is about a very interesting tension between having, being ambitious in what you'd like to achieve, but also being very willing to sort of celebrate the tiniest, tiniest, tiniest successes. Suddenly a lot of creative people I know I think really struggle with that. They might be very good at celebrating tiny successes but not have that significant ambitions, but they might be extremely ambitious, but because they're so ambitious, if an idea doesn't look Nobel prize worthy, they're not particularly interested in it. You know, they struggle with just kind of the goofing around and they often feel pretty bad because of course most days you're not at your best, you don't actually have the greatest idea. So there's some interesting tension to manage there. There's really two different types of work. One is where you have a pretty good goal, you know what success looks like, right? But you may also be doing something that's more like problem discovery where you don't even know where you're going. Typically if you're going to compose a piece of music. Well, I'm not a composer, but certainly, my understanding from, from friends who are, is that they don't necessarily start out with a very clear idea of where they're going. Some composers do, but a lot, it's a process of discovery. Actually, a publisher once told me somebody who has published a lot of well-known books that she described one of her authors as a writing for discovery. Like he didn't know what his book was going to be about, he had a bunch of kind of vague ideas and the whole point of writing the book was to actually figure out what it was that he wanted to say, what problem was he really interested in. So we'd start with some very, very good ideas and they kind of get gradually refined. And it was very interesting. I really liked his books and it was interesting to see that. They looked like they'd been very carefully planned and he really knew what he was doing and she told me that no, he'd sort of come in and chat with her and be like, well, I'm sort of interested over here. And he'd have phrases and sort of ideas. But he didn't actually have a clear plan and then he'd get through this process of several years of gradually figuring out what it was that he wanted to say. And often the most significant themes wouldn't actually emerge until relatively late in that whole process. I asked another actually quite a well-known writer, I just bumped into when he was, he was reporting a story for a major magazine and I think he'd been working, he'd been reporting for two weeks, I think at that point. So just out interviewing people and whatever. And I said, how's it going? And he said, Oh yeah, pretty good. I said, what's your story about? He said, I don't know yet, which I thought was very interesting. He had a subject, he was following a person around. But he didn't actually know what his story was. DAVID: So the analogy that I have in my head as you're talking about this, it's like sculpture, right? Where you start maybe with a big thing of granite or whatnot, and slowly but surely you're carving the stone or whatnot and you're trying to come up with a form. But so often maybe it's the little details at the end that are so far removed from that piece of stone at the very beginning that make a sculpture exceptional. MICHAEL: Indeed. And you wonder what's going on. I haven't done sculpture. I've done a lot of writing and writing often feels so sometimes I know what I want to say. Those are the easy pieces to write, but more often it's writing for discovery and there you need to be very happy celebrating tiny improvements. I mean just fixing a word needs to be an event you actually enjoy, if not, the process will be an absolute nightmare. But then there's this sort of instinct where you realize, oh, that's a phrase that A: I should really refine and B: it might actually be the key to making this whole thing work and that seems to be a very instinctive kind of a process. Something that you, if you write enough, you start to get some sense of what actually works for you in those ways. The recognition is really hard. It's very tempting to just discount yourself. Like to not notice when you have a good phrase or something like that and sort of contrary wise sometimes to hang onto your darlings too long. You have the idea that you think it's about and it's actually wrong. DAVID: Why do you write and why do you choose the medium of writing to think through things sometimes? I know that you choose other ones as well. MICHAEL: Writing has this beautiful quality that you can improve your thoughts. That's really helpful. A friend of mine who makes very popular YouTube videos about mathematics has said to me that he doesn't really feel like people are learning much mathematics from them. Instead, it's almost a form of advertising like they get some sense of what it is. They know that it's very beautiful. They get excited. All those things are very important and matter a lot to him, but he believes that only a tiny, tiny number of people are actually really understanding much detail at all. There's actually a small group who have apparently do kind of. They have a way of processing video that lets them understand. DAVID: Also, I think you probably have to, with something like math, I've been trying to learn economics online and with something like math or economics that's a bit complex and difficult, you have to go back and re-watch and re-watch, but I think that there's a human tendency to want to watch more and more and more and it's hard to learn that way. You actually have to watch things again. MICHAEL: Absolutely. Totally. And you know, I have a friend who when he listens to podcasts, if he doesn't understand something, he, he rewinds it 30 seconds. But most people just don't have that discipline. Of course, you want to keep going. So I think the written word for most people is a little bit easier if they want to do that kind of detailed understanding. It's more random access to start with. It's easier to kind of skip around and to concentrate and say, well, I didn't really get that sentence. I'm going to think about it a little bit more, or yeah, I can see what's going to happen in those two or three paragraphs. I'll just very quickly skip through them. It's more built for that kind of detailed understanding, so you're getting really two very different experiences. In the case of the video, very often really what you're getting is principally an emotional experience with some bits and pieces of understanding tacked on with the written word. Often a lot of that emotion is stripped out, which makes can make it much harder to motivate yourself. You need that sort of emotional connection to the material, but it is actually, I think a great deal easier to understand sort of the details of it. There's a real kind of choice to be to be made. There's also the fact that people just seem to respond better to videos. If you want a large audience, you're probably better off making YouTube videos than you are publishing essays. DAVID: My last question to you, as somebody who admires your pace and speed of learning and what's been really fun about preparing for this podcast and come across your work is I really do feel like I've accessed a new perspective on the world which is really cool and I get excited probably most excited when I come across thinkers who don't think like anyone who I've come across before, so I'm asking to you first of all, how do you think about your learning process and what you consume and second of all, who have been the people and the ideas that have really formed the foundation of your thought? MICHAEL: A Kurt Vonnegut quote from his book, I think it's Cat's Cradle. He says, we become what we pretend to be, so you must be careful what we pretend to be and I think there's something closely analogously true, which is that we become what we pay attention to, so we should be careful what we pay attention to and that means being fairly careful how you curate your information diet. There's a lot of things. There's a lot of mistakes I've made. Paying attention to angry people is not very good. I think ideas like the filter bubble, for example, are actually bad ideas. And for the most part, it sounds virtuous to say, oh, I'm going to pay attention to people who disagree with me politically and whatever. Well, okay, there's a certain amount of truth to that. It's a good idea probably to pay attention to the very best arguments from the very best exponents of the other different political views. So sure, seek those people out, but you don't need to seek out the random person who has a different political view from you. And that's how most people actually interpret that kind of injunction. They, they're not looking for the very best alternate points of view. So that's something you need to be careful about. There's a whole lot of things like that I enjoy. So for example, I think one person, it's interesting on twitter to look, he's, he's no longer active but he's still following people is Marc Andreessen and I think he follows, it's like 18,000 people or something and it's really interesting just to look through the list of followers because it's all over the map and much of it I wouldn't find interesting at all, but you'll find the strangest corners people in sort of remote villages in India and people doing really interesting things in South Africa. Okay. So he's a venture capitalist but they're not connected to venture capital at all. So many of them, they're just doing interesting things all over the world and I wouldn't advocate doing the same thing. You kind of need to cultivate your own tastes and your own interests. But there's something very interesting about that sort of capitalist city of interests and curiosity about the world, which I think is probably very good for almost anybody to cultivate. I haven't really answered your question. DAVID: I do want to ask who were the people or the ideas or the areas of the world that have really shaped and inspired your thinking because I'm asking selfishly because I want to go down those rabbit holes. MICHAEL: Alright. A couple of people, Alan Kay and Doug Engelbart, who are two of the people who really developed the idea of what a computer might be. In the 1950's and 60's, people mostly thought computers were machines for solving mathematical problems, predicting the weather next week, computing artillery tables, doing these kinds of things. And they understood that actually there could be devices which humans would use for themselves to solve their own problems. That would be sort of almost personal prosthetics for the mind. They'd be new media. We could use to think with and a lot of their best ideas I think out there, there's still this kind of vision for the future. And if you look particularly at some of Alan Kay's talks, there's still a lot of interesting ideas there. DAVID: That the perspective is worth 80 IQ points. That's still true. MICHAEL: For example, the best way to predict the future is to invent it, right? He's actually, he's got a real gift for coming up with piddly little things, but there's also quite deep ideas. They're not two-year projects or five-year projects, they're thousand year projects or an entire civilization. And we're just getting started on them. I think that's true. Actually. It's in general, maybe that's an interesting variation question, which is, you know, what are the thousand year projects? A friend of mine, Cal Schroeder, who's a science fiction writer, has this term, The Project, which he uses to organize some of his thinking about science fictional civilizations. So The Project is whatever a civilization is currently doing, which possibly no member of the civilization is even aware of. So you might ask the question, what was the project for our planet in the 20th century? I think one plausible answer might be, for example, it was actually eliminating infectious diseases. You think about things like polio and smallpox and so many of these diseases were huge things at the start of the 20th century and they become much, much smaller by the end of the 20th century. Obviously AIDS is this terrible disease, but in fact, by historical comparison, even something like the Spanish flu, it's actually relatively small. I think it's several hundred million people it may have killed. Maybe that was actually the project for human civilization in the 20th century. I think it's interesting to think about those kinds of questions and sort of the, you know, where are the people who are sort of most connected to those? So I certainly think Doug Engelbart and Alan Kay. DAVID: Talk about Doug Engelbart, I know nothing about him. MICHAEL: So Engelbart is the person who I think more than anybody invented modern computing. He did this famous demo in 1968, 1969. It's often called the mother of all demos, in front of an audience of a thousand people I believe. Quite a while since I've watched it and it demonstrates a windowing system and what looks like a modern word processor, but it's not just a word processor. They're actually hooked up remotely to a person in another location and they're actually collaborating in real time. And it's the first public showing I believe of the mouse and of all these different sorts of ideas. And you look at other images of computers at the time and they're these giant machines with tapes and whatever. And here's this vision that looks a lot more like sort of Microsoft Windows and a than anything else. And it's got all these things like real-time collaboration between people in different locations that we really didn't have at scale until relatively recently. And he lays out a huge fraction of these ideas in 1962 in a paper he wrote then. But that paper is another one of these huge things. He's asking questions that you don't answer over two years or five years. You answer over a thousand years. I think it's Augmenting Human Intellect is the title of that paper. So he's certainly somebody else that I think is a very interesting thinker. There's something really interesting about the ability to ask an enormous question, but then actually to have other questions at every scale. So you know what to do in the next 10 minutes that will move you a little bit towar
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Just how did Cezanne keep that fruit from tumbling all over the place? We have theories. See the image: http://www.thelonelypalette.com/episodes/2016/5/10/episode-1-paul-cezannes-fruit-and-jug-on-a-table-c-1890-94 Music Used: Django Reinhardt, "Dinah" The Andrews Sisters, "Bei Mir Bist Du Schoen" The Blue Dot Sessions, “Stale Case”, “Tripoli”, “Andelo”, “This Horse Ithica” Joe Dassin, “Les Champs-Elysees”
What comes first - matter or space or time? What is the structure of space? Why did Paul Cezanne go 'flat'? How did Picasso turn the artistic conception of space on its head with cubism? Is there a link between colour and space? What is it like to be in Matisse's The Red Studio? What happens when you walk into a room that you have not been in before? Are there specific neurons in your brain for every space that you have ever been to? How do place cells within the hippocampus represent the physical space as a cognitive map? Is space the same everywhere in the universe? Is it possible to represent empty space? How does an artist create the pictorial space on a 2-dimensional canvas? Is the perception of space always relative to matter (& objects)? Is episodic memory anchored in space (the 'where')? What is space like at sub atomic scales? Does nature really have more than 3 dimensions? Has theoretical physics completely missed incorporating gravity of all the matter in the universe? Is matter essentially primary, time derived, and space essentially relational? SynTalk thinks about these & more questions, about the manifested space around and within us, using concepts from physics (Prof. C.S. Unnikrishnan, TIFR, Mumbai), art (Atul Dodiya, Mumbai), and neuroscience (Dr. Sachin Deshmukh, IISc, Bangalore). Listen in...
Werner Spies, former director of Centre Georges Pompidou, was invited by the Musée d'Orsay to set up an exhibition, chosing free from the 90.000 works archive. An interview on the occasion of his show on display at the Albertina in Vienna.
Werner Spies, ehemaliger Direktor des Centre Georges Pompidou, erhielt vom Musée d'Orsay die Gelegenheit frei eine Ausstellung aus dem Archiv zusammenzustellen. Ein Interview anlässlich der Präsentation der Schau in der Albertina in Wien von CastYourArt.
Albertina Director Klaus Albrecht Schröder talks about the dreams and nightmares of the 19th century bourgeois illustrated by the works of the exhibition "The Dream Archive from the Musée d'Orsay". An exhibition-portrait by CastYourArt.
Albertina Direktor Klaus Albrecht Schröder über die Träume und Alpträume des 19. Jahrhunderts anhand der Arbeiten der Austellung "Archiv der Träume aus dem Musée d'Orsay". Ein Ausstellungsporträt von CastYourArt.
PAUL CEZANNE raccontato da Flaminio Gualdoni
THE FOOD SEEN: “The Modern Art Cookbook” with Mary Ann Caws January 6, 2015 11:21 AM On today's THE FOOD SEEN, Mary Ann Caws, a Distinguished Professor of Comparative Literature, English, and French at the Graduate School of the City University of New York, takes an in-depth look at palates of famous artists throughout history. “The Modern Art Cookbook” mixes art with recipes, from Salvador Dali's “Eggs on the Plate without the Plate” to a Picasso's Omelette a L'Espagnole. The relationship between how Impressionists, Surrealists, and Futurists see food, interpreted through cooking, is wonderfully reflective of their personal styles. Imagine being studio with Paul Cezanne, snacking on his Anchoiade (anchovy spread), or trying Frida Kahlo's Red Snapper, Veracruz Style, a bite of Monet's Madeleines au Citron, or a slice of David Hockney's Strawberry Cake. You can't touch Andy Warhol's “Campbell's Soup Cans”, but you can eat Allen Ginsberg's Borscht any day! “I think the simplicity of the recipes is exactly what I was aiming at – simple and spontaneous – the kind of thing you'd make if people happened to drop in.” [18:00] –Mary Ann Caws on THE FOOD SEEN
$1 oysters, left overs, Dance, Anna destroys a tree while staring at Luke Wilson. Famous birthdays Rapper Fabolous. A slight segueing towards Pierre La Chaise Oscar Wilde, Jim Morrison Anna and Dan go to the Met.Ok cupid kinky guy. Paul Cezanne, madame cezane. Eventfull night of ny minute date, no free drinks for lindsey bar hopping, bad host, And the festival of lights in DUMBO, was the Shiiiiiiiiiit!
Recorded 6 December 2013. You can download the m4a file. This is the last episode of Identical Cousins. Thank you so much for listening! We had a great time, and we loved hearing from people who enjoyed the show. This episode is sponsored by Oxygene from the super-awesome RemObjects Software. See remobjects.com/oxygene and use the discount code ID13 for 20% off. This episode is also sponsored by HostGator. Use the coupon code COUSINS for 25% off. Get your very own .net domain name! (And web hosting. And 24/7 support. And plenty more.) Some things we mention (or just felt like linking to): Gold is Best 24 Atari Xcode Legos Microserfs RIM’s $10K Developer Committment Pull to refresh iOS 7 360 iDev System 7 Romantic Era Modernism Richard Wagner Claude Debussy Paul Cezanne Pablo Picasso The girls would turn the color of an avocado when he would drive down their street in his El Dorado Pablo Picasso was never called an asshole Ernest Hemingway Bauhaus The bats have left the bell tower Fantastical Flipboard iPad Jean Michel Jarre AltWWDC Skype Scott Forstall iCloud Core Data Syncing Letterpress Pinbook Albina Development Collin Donnell Black Pixel Black Pixel Acquires NetNewsWire Rogue Amoeba Vesper Chatology Glassboard Ulan Bator Yak Shaving The Cannonball Run Cannonball Run Bloopers History of the World, Part 1 Dom DeLuise We talk alot about previous episodes. Instead of linking to them in the show notes, we figured you could just visit the Archive.
Broadcast originally aired June, 2013.Rockland County has a strong connection to the event that brought avant-garde art to New York in 1913 - The Armory Show. Clare Sheridan interviews Marilyn Kushner about the the importance of the Armory show and the roles that Rocklanders played in organizing the original Armory exhibition. Marilyn Kushner, PhD is co-curator of the exhibition at the New York Historical Society entitled: The Armory Show at 100.In addition to being the co-curator of this exhibition, Dr. Marilyn Kushner is Curator and Head of the Department of Prints, Photographs and Architectural Collections at the New York Historical Society in Manhattan. Her Co-Curator for the Armory Show at 100 is Kimberly Orcutt, Curator of American Art at the Henry Luce Foundation.The 1913 Armory Show, held in New York City, introduced the American public to European avant-garde painting and sculpture and the public sensation and the responses to the show represented a watershed in the history of American art. The 1913 Armory exhibition included works by such well-known European modernists as Paul Cezanne, Marcel Duchamp, Pablo Picasso and Paul Gauguin, as well as leaders of American art such as Davies, Childe Hassam, along with the early work by such budding modernists as Charles Sheeler, Marsden Hartley and Stuart Davis.To learn more about the upcoming exhibition at the New York Historical Society which opens October 11, 2013 and will extend until February 23, 2014 visit nyhistory.org/exhibitions/armory-show-at-100The interview originally aired 6/17/13.Listen to Crossroads of Rockland History locally on the third Monday of every month on WRCR 1300AM or stream it on your computer at www.WRCR.com.www.RocklandHistory.org
Paul Cezanne's painting View of Mt. Marseilleveyre and the Isle of Marie (L'Estaque)
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