Podcasts about Paul Gauguin

Triển lãm mang tên Hàm Nghi và “Liều thuốc” “chữa” cảnh lưu đày, là một trong những điểm nhấn tại bảo tàng Cernuschi ở Paris, Pháp, mùa hè này, diễn ra từ ngày 19/05 đến ngày 06/09/2026. Từ bức chân dung tự họa đến những cảnh xế chiều hoàng hôn, vị vua của nước An Nam bị lưu đày đến Algérie và không bao giờ trở lại quê hương đã biến nghệ thuật thành nơi trú ẩn, nơi duy nhất mà ông cảm thấy “tự do”. RFI Tiếng Việt đã phỏng vấn bà Anne Fort, giám tuyển của bảo tàng nghệ thuật châu Á ở Paris, Cernuschi, để hiểu thêm về những tác phẩm của vị vua với tư tưởng chống Pháp dưới thời thuộc địa. Những tác phẩm của ông chỉ mới được phát hiện và công bố cách nay chưa đến chục năm, hơn 80 năm sau khi ông qua đời vì bệnh dạ dày tại Algérie. Qua các tác phẩm của Hàm Nghi, liệu người ta có thể thấy được, hiểu được tình cảnh lưu đày của ông hay không ?Tại sao lại nói nghệ thuật là liều thuốc của Hàm Nghi ? Anne Fort : Trong triển lãm này, chúng tôi cho rằng việc khai thác ý niệm về tự do của Hàm Nghi là một lối tiếp cận khá thú vị, và cả cách mà ông thực hành nghệ thuật dù ông không bị bắt buộc. Ông không phải vẽ tranh để bán, để kiếm tiền.Ông được hưởng một chế độ đãi ngộ, được chính quyền Pháp chu cấp tiền bạc đều đặn, có biệt thự, có sân vườn, có thể nói là một cuộc sống khá nhàn nhã và tiện nghi. Thế nhưng, về bản chất, ông vẫn là một tù nhân chính trị bị quản thúc tại nơi cư trú, với toàn bộ thư từ đều bị bóc mở kiểm tra cho đến tận cuối đời. Cũng chính vì vậy mà cảnh lưu đầy, nỗi cô đơn có thể cảm nhận được qua phần lớn các tác phẩm của ông. Trong tất cả những bức họa tại triển lãm này, không hề xuất hiện một bóng hình nhân ảnh nào. Các bức họa phong cảnh hoàn toàn trống trải. Nhưng dấu vết của con người không biến mất hoàn toàn và vẫn thấy thấp thoáng đâu đó bóng dáng của những ngôi nhà, những hàng cây được trồng ngay ngắn, hay bờ biển với ngọn hải đăng... Tuy nhiên, tuyệt nhiên không có một bóng người nào đang sinh hoạt hay lao động thường nhật ở đó. Đây thực sự là một đặc trưng mang trong hội họa của Hàm Nghi. Phải chăng, qua những bức họa này, ông đang tự phơi trải nỗi cô đơn sâu thẳm trong tâm hồn mình? Hàm Nghi hoàn toàn không mang tư duy của một nghệ sĩ phải cống hiến hay mang lại điều gì đó cho xã hội hay cho thế giới nghệ thuật. Với ông, việc vẽ tranh là toàn tự do, là chút tự do mà ông có. Tranh của Hàm Nghi có gì đặc sắc ? Anne Fort : Hàm Nghi học vẽ từ họa sĩ Marius Renoir, nhưng các tác phẩm của ông không có nhiều dấu ấn từ họa sĩ người Pháp, với phong cách lý tưởng hóa những cảnh non nước nơi thuộc địa, như một thông điệp chính trị. Trong khi đó các tác phẩm của Hàm Nghi lại đậm dấu ấn cá nhân, chỉ riêng ông biết.   Điều thực sự cuốn hút Hàm Nghi là việc nắm bắt một cảm xúc, một rung động tại một thời khắc nhất định. Chính vì lẽ đó, ông đã tiến rất gần đến tinh thần của trường phái Ấn tượng. Tuy nhiên, ông cũng không hoàn toàn thuộc về trường phái này, bởi các họa sĩ Ấn tượng thường vẽ về cuộc sống hiện đại, vẽ những thú vui ngày Chủ nhật, những quán rượu bên sông,…, nhưng Hàm Nghi không đi theo khuynh hướng đó. Ông chỉ quan tâm đến những lát cắt của thiên nhiên, những khoảng không gian như chìm vào tĩnh lặng, nơi người ta ngỡ như chỉ còn nghe thấy tiếng chim hót líu lo lúc cuối ngày khi ánh dương dần khuất. Đó thực sự là một thế giới nghệ thuật đầy khiêm nhường và mang tính riêng tư tuyệt đối. Đọc thêm: Vua Hàm Nghi và mối duyên với thành phố Vichy, Pháp Ông cũng dành sự quan tâm đặc biệt cho những cảnh hoàng hôn, thời khắc khi trời nhập nhoạng tối. Một ngày sắp kết thúc, nhưng cũng có nghĩa là ngày mai sắp đến. Đó là khoảnh khắc đầy nỗi hoài niệm u sầu. Và điều này khiến người xem thấy chạnh lòng khi nghĩ về thân phận của Hàm Nghi, một vị cựu hoàng, bị đưa khỏi xứ sở và ở đó cho đến cuối đời, dù được bao bọc trong nhung lụa, cuộc sống thượng lưu ở Algerie. Trong triển lãm này, có tác phẩm nào đáng chú ý ? Anne Fort :Theo tôi, đó là bức vẽ cảnh hoàng hôn tại căn biệt thự Mustapha ở Alger nhìn từ xa. Đó là nơi ông sống suốt cuộc đời lưu vong. Cảnh hoàng hôn thật ấn tượng. Ông chọn kỹ thuật vẽ phấn khô (pastel sec), sử dụng giấy có màu xám xanh nhạt, và kỹ thuật này cho phép ông vẽ rất nhanh vì khoảnh khắc trong ngày vô cùng thoáng qua. Do đó, ông có thể đạt được hiệu ứng tương tự như tranh sơn dầu, nhưng cực kỳ nhanh chóng, vì ông có thể chồng các lớp màu lên nhau mà không cần chờ lớp màu bên dưới khô. Chúng ta có thể cảm nhận được rằng ông đã lấy cảm hứng từ các họa sĩ Nabi, những người chịu ảnh hưởng từ Paul Gauguin (hậu ấn tượng). Điều làm nên sự khác biệt trong tác phẩm này là ông vẫn giữ phong cách cực kỳ đơn giản trong cách thể hiện, nhưng các mảng bóng râm được làm nổi bật bằng những nét vẽ màu xanh lam đậm, ngả sang sắc tím, vô cùng mãnh liệt. Ông tạo điểm nhấn vào cỏ để tạo ra một loại chuyển động, như một làn gió nhẹ làm lay động ngọn cỏ. Ông ấy cũng nhấn thêm những đường nét gián đoạn, tạo ra một loại rung động trong bóng tối và trên cỏ, khiến mắt người xem gần như lấp lánh, giống như khi mặt trời lặn và ta không còn phân biệt rõ ràng các đường nét của vạn vật nữa. Hàm Nghi có thể được xếp vào đâu trong bản đồ lịch sử nghệ thuật Việt Nam? Anne Fort : Để định vị Hàm Nghi trong bản đồ lịch sử nghệ thuật Việt Nam quả thực là bài toán khó. Các tác phẩm của ông chỉ được công chúng biết đến cách nay vài năm nhờ các nghiên cứu của hậu duệ đời thứ Năm của ông tiến sĩ lịch sử Amandine Dabat. Ông rời Việt Nam khi 18 tuổi và ở Việt Nam, người ta biết đến ông với tư cách là một vị hoàng đế yêu nước đã phất cờ khởi nghĩa chống thực dân Pháp. Nhưng công chúng không mấy ai tường tận về chương cuối cuộc đời ông, và càng ít người biết rằng ông từng vẽ tranh, từng tạc tượng. Chính vì thế, chỉ trong vài năm trở lại đây, các tác phẩm của ông được biết đến nhiều hơn, và hiện đang nhận được sự quan tâm và mến mộ rất lớn tại Việt Nam. Để trả lời cho câu hỏi nhằm định vị lại Hàm Nghi trong dòng chảy lịch sử mỹ thuật Việt Nam, thì đó là việc mà chúng tôi đang làm ngay vào lúc này. Liệu các tác phẩm nghệ thuật của ông có còn vang vọng cho đến ngày nay ? Anne Fort :Tôi tin rằng nghệ thuật của Hàm Nghi vẫn mang tính thời đại, bởi lẽ từng nét cọ đều thấm đẫm một tính cá nhân, phơi bày trọn vẹn những xúc cảm nội tại của người nghệ sĩ, khai thác đề tài vô cùng giản dị, nhưng đều có thể thể chạm đến trái tim của bất kỳ ai. Vì vậy, tôi nghĩ di sản mà ông để lại mang tính phổ quát rất cao. Bối cảnh ra đời của những bức họa này cũng lay động người xem, cho thấy sợi dây kết nối giữa hai đất nước Pháp và Việt Nam. Nó buộc chúng ta phải ngoảnh lại nhìn một giai đoạn lịch sử vô cùng đau thương, thời kỳ mà nước Pháp đã đóng một “vai phản diện” khi phế truất ông và dấn sâu vào cuộc xâm lược Việt Nam. Bởi vậy, tôi nghĩ đó là ký ức mà chúng ta có trách nhiệm phải khắc ghi. Và biết đâu, ngay cả khi đã khuất bóng, cựu hoàng Hàm Nghi vẫn đang tiếp tục cống hiến cho lý tưởng ấy, để nỗ lực vun đắp và thúc đẩy hòa bình giữa hai quốc gia.

Am 9.6.1891 erreicht Paul Gauguin Tahiti - und findet statt Paradies die koloniale Realität. Doch warum schaffen seine Werke einen Mythos, der bis heute unser Bild prägt? Von Laura Dresch.

“Vincent” is a contemporary, gender-flipped reimagining of Vincent van Gogh. It's not a bio but an impressionistic painting based on Vincent Van Gogh's aura. Littered with the sounds of emo, pop/punk and progressive rock, “Vincent” follows a struggling Brooklyn artist battling loneliness, obsession, and mental illness as her relationship with Paul Gauguin spirals toward catastrophe. Blending indie rock, dreamlike theatricality, and psychological realism, the show asks: when validation never comes, what keeps an artist alive?”Vincent” had its first concert in Syosset, NY where it played a sold out run in 2021. “Vincent” then made its New York City debut in May 2023 at the NY Theater Festival Summerfest where it was nominated for 5 awards and winning 2. (Best Score & Best Direction for Alyssa Kakis). In 2024 Long Island University's Post Theatre Company produced a workshop followed by a full production in 2025 that played to 5 sold out audiences. In April 2026 a fully independent cast recording has been released.

This interview first aired on Tuesday the 5th of May, 2026 on ONE FM 98.5 Shepparton. One FM Breakfast announcer Plemo talks to the Shepparton Art Museum's Artistic Director Danny Lacy about it's upcoming exhibition 'Facing Modernity: Degas to Picasso'. Facing Modernity: Degas to Picasso will be on at the Shepparton Art Museum from the 23rd of May - 20 thSeptember 2026. Spanning nearly a century of artistic innovation, Facing Modernity: Degas to Picasso brings together 37 exceptional paintings and sculptures from the Auckland Art Gallery Toi o Tāmaki never before shown in Australia that capture the radical shifts in art from the late 19th century to the mid-20th century. Audiences will embark on a journey tracing the major art movements of the modern era, from Impressionism and Post-Impressionism to Fauvism, Cubism, Surrealism and post-war abstraction, through works from icons of the age, including Pierre Bonnard, Georges Braque, Paul Cezanne, Salvador Dalí, Paul Gauguin, Barbara Hepworth, Fernand Léger, Henri Matisse, and Pablo Picasso. This significant collection includes a major philanthropic gift from New York-based collectors Julian Robertson (1932-2022) and Josie Robertson (1943-2010) to Auckland Art Gallery Toi o Tāmaki in 2023. Their generous bequest offers a rare glimpse into the vision of two passionate art patrons and their lifelong commitment to sharing and celebrating modern art. From the sensual nudes and atmospheric brushwork of late 19th century Impressionism to the geometric intensity of Cubism and the dreamlike worlds of Surrealism, Facing Modernity traces how artists shattered conventions and reimagined the world anew. During Facing Modernity, SAM will be open 7 days a week—meaning whatever your schedule, we'll be here to welcome you to world-class arts experiences. SAM will be open from 10AM-4PM daily, with extended hours to 7PM every Friday evening from 23 May to 20 September. To book tickets head to https://sheppartonartmuseum.com.au/whats-on/upcoming/facing-modernity-from-degas-to-picasso/ Listen to One FM Breakfast with Plemo live on weekday mornings from 6am-9am. Contact the station on admin@fm985.com.au or (+613) 58313131 The ONE FM 98.5 Community Radio podcast page operates under the license of Goulburn Valley Community Radio Inc. (ONE FM) Number 1385226/1. PRA AMCOS (Australasian Performing Right Association Limited and Australasian Mechanical Copyright Owners Society) that covers Simulcasting and Online content including podcasts with musical content, that we pay every year. This licence number is 1385226/1.

Antes de se tornar um dos artistas mais influentes da história, Vincent van Gogh foi o produto de um entrelaçamento improvável de fé rigorosa, mercado de arte, boemia parisiense e um pequeno vilarejo transformado em laboratório pictórico. Uma exposição no Castelo de Auvers‑sur‑Oise, nos arredores de Paris, propõe revisitar esse percurso, mostrando como religião, autodidatismo, excessos e territórios específicos moldaram um pintor que, mesmo após mais de um século, continua impossível de ser ignorado.  Márcia Bechara, enviada especial da RFI a Auvers-sur-Oise Antes de se tornar um “influenciador” — termo que hoje circula livremente para designar quem molda gostos, estilos e comportamentos — Vincent van Gogh foi, ele próprio, profundamente influenciado. A exposição Van Gogh, influencer, Heranças em Movimento, em Auvers‑sur‑Oise, nos arredores de Paris, parte justamente dessa inversão de perspectiva: a mostra recua no tempo para investigar o caldo cultural, religioso e artístico que moldou o pintor antes de ele se tornar o ícone incontornável da arte moderna. Misturando facsímiles raros de obras do gênio holandês (as obras do período francês estão em sua maior parte reunidas no Museu d'Orsay, na capital francesa) e obras de artistas vivos, a mostra contempla, em efeito de espelho, os ecos da força do pintor nas gerações futuras. “Entre as primeiras influências de Vincent van Gogh, há algo que costuma ser subestimado, mas que é fundamental: a religião”, afirma Wouter van der Veen, pesquisador holandês especializado em história da arte, um dos maiores especialistas internacionais em Vincent van Gogh e diretor científico do Instituto Van Gogh, sediado em Auvers‑sur‑Oise, além de curador da exposição. “Ele nasce filho de um pastor protestante, dentro de uma tradição marcada por uma profunda desconfiança em relação às imagens”. Na Holanda do século 19, o protestantismo calvinista ainda carregava os efeitos de um longo processo de iconoclastia. A produção e o culto às imagens eram vistos, nessas comunidades, como distrações perigosas da fé considerada verdadeira. “A lógica era eliminar as representações visuais, porque elas desviariam o fiel do essencial”, observa Van der Veen. “Isso era vivido de forma bastante concreta nas comunidades de onde Van Gogh veio”. Leia tambémExposição em Paris retraça últimos meses de Van Gogh em 'vilarejo dos impressionistas' Ao mesmo tempo, a família de Vincent reunia um paradoxo social e simbólico. “Os tios de Van Gogh eram marchands de arte. Três deles atuavam no mercado, todos em um nível social elevado”, destaca o curador. Em uma mesma linhagem conviviam, portanto, o rigor moral calvinista e a circulação constante de obras de arte. “As obras passavam de casa em casa, eles se visitavam, trocavam quadros e gravuras. Vincent cresce nesse ambiente”, diz. Desde cedo, Van Gogh demonstra uma relação intensa com a imagem. “Ele recebe uma educação muito sólida, bastante rígida, mas também extremamente completa: aprende quatro línguas, literatura, cultura geral, e, naturalmente, arte”, relata o diretor científico do Instituto Van Gogh. Essa formação cria um terreno fértil. “Ele manifesta muito cedo uma inclinação artística muito clara”, afirma. O aprendizado silencioso do mercado de arte Aos 16 anos, um dos tios aceita acolher Vincent como aprendiz em sua empresa. “Ele entra no mercado de arte muito jovem”, conta Van der Veen, retomando esse período pouco lembrado da biografia do pintor. Não se trata ainda de uma vocação como artista, mas de um trabalho. “Ele não será particularmente bom como marchand, mas passa sete anos nesse meio.” Durante esse período, algo decisivo acontece. “Milhares de gravuras passam pelas mãos dele. Centenas de pinturas”, enumera o curador. Van Gogh observa, compara, memoriza. “Ele tem uma memória visual extraordinária. Tudo isso constrói o que eu chamo de seu ‘catálogo interno'.” O olhar do artista começa a se formar antes mesmo de ele considerar a possibilidade de criar. “Entre os 16 e os 23 anos, ele trabalha nesse comércio de arte sem jamais pensar em se tornar artista”, prossegue o pesquisador holandês. O contato cotidiano com imagens cria um repertório denso, silencioso, acumulado. “Quando ele olha uma imagem mais tarde, ela nunca é neutra: está sempre atravessada por tudo o que ele já viu”. Depois de anos nesse universo, surge a frustração. “Ele passa a achar o mercado de arte um pouco vazio, sem sentido”, observa Van der Veen. Vincent busca outra trajetória. “Ele decide seguir os passos do pai e se tornar pastor”. Essa tentativa ocupa quatro anos de sua vida. “Ele tenta estudar teologia, mas não consegue. Procura trabalhos como evangelizador ou pregador, e não encontra”, relata o curador. Ao final desse percurso errático, a constatação se impõe: “É então que ele se diz: não, eu sou artista”. “Ele combina três coisas fundamentais: a cultura visual acumulada ao longo dos anos, o amor pela literatura e pelas línguas, e uma vontade profunda de dar sentido à existência”, analisa Van der Veen. Dessa combinação emerge o artista que conhecemos. “Mas é importante lembrar: ele começa a pintar seriamente aos 27 anos, o que é muito tarde”. Um autodidata contra todas as regras “A formação artística de Van Gogh é, em grande parte, autodidata”, afirma o curador da mostra. “Ele não entra no ateliê de um mestre, não segue uma escola.” Frequenta cursos esporádicos, aqui e ali, mas nada se sustenta. “O problema é o caráter: ele é absolutamente impossível”. O resultado é um aprendizado solitário, feito por tentativa e erro. “A imensa maioria da formação dele aconteceu sozinho”, diz Van der Veen. Até 1885 ou 1886, Van Gogh desenvolve um estilo muito pessoal, ainda ancorado no ambiente em que vive. Leia tambémNunca exibido em público, quadro de Van Gogh é leiloado por R$ 93 milhões em Paris Até então, ele praticamente não havia saído dos Países Baixos. “É uma região com um clima específico: céu baixo, luz difusa, tons mais fechados”, descreve o pesquisador. As cores de sua chamada fase holandesa refletem isso. “São tonalidades mais cinzentas, mais terrosas, e é isso que ele explora”. A virada ocorre quando Theo, seu irmão mais novo, já estabelecido em Paris como marchand de arte, convida-o a se mudar. “Theo seguiu o caminho que Vincent abandonou: o do mercado de arte”, lembra Van der Veen. Paris, naquele final do século 19, era o epicentro da vida artística europeia — e, em muitos sentidos, mundial. Vincent aceita o convite e passa dois anos vivendo com o irmão. Na capital francesa, ele é confrontado com um universo totalmente novo. “Ele descobre as gravuras japonesas, que o marcam profundamente”, observa o curador. O japonismo era uma moda entre artistas e intelectuais parisienses, mas, no caso de Van Gogh, a paixão assume outra escala. “Ele coleciona centenas e centenas dessas estampas”. Além disso, conhece pessoalmente figuras centrais da vanguarda. “Paul Signac, Émile Bernard, Paul Gauguin, Georges Seurat”, enumera Van der Veen. E vê de perto obras de Monet, Degas, Pissarro. “Há, de um lado, a força gráfica e cromática da arte japonesa; de outro, a abordagem científica da cor, como a de Signac.” Tudo isso se mistura. “Esse conjunto de influências vai construir o estilo Van Gogh.” Montmartre: a pintura mergulha no excesso Há, porém, outra influência decisiva, muitas vezes esquecida: a festa. “E todos os excessos que vêm com ela”, ressalta Van der Veen. Montmartre, naquele período, era um território híbrido. “Metade urbano, metade rural”, descreve o curador. Havia jardins, hortas e pequenos campos ainda ativos. “Van Gogh busca motivos tanto desse lado agreste quanto do outro”. Esse outro lado era o da vida noturna. “Os cabarés, os cafés: a Nouvelle Athènes, o Chat Noir, o Rat Mort”, lista Van der Veen. Espaços históricos onde a boemia parisiense se reunia. “A vida não parava, a festa não parava.” Esses lugares reuniam intelectuais, escritores, pintores, atores e poetas. “Era um mundo lendário”, diz o pesquisador holandês. Paris, à época, era amplamente reconhecida como a capital cultural do planeta. “E Montmartre funcionava como o lado alternativo desse grande palco: o espaço da ousadia, do risco, de ir longe demais.” Van Gogh estava no centro disso tudo. “Sua maneira de repensar a pintura, de romper fronteiras, deve muito a essa imersão no caldeirão cultural francês”, conclui o curador. Leia tambémProvável revólver usado em suicídio de Van Gogh é leiloado por € 162,5 mil Auvers‑sur‑Oise, o "país dos quadros" Ao se aproximar do fim da entrevista, o foco se desloca para Auvers‑sur‑Oise, pequena cidade a cerca de 30 quilômetros de Paris. Para o leitor brasileiro, o nome pode soar discreto. Mas, na história da arte, trata‑se de um território decisivo. “Muito antes de chegar a Auvers‑sur‑Oise, Vincent já conhecia a importância do lugar”, explica Van der Veen. “Quando trabalhava no comércio de arte, ele via constantemente obras criadas ali.” Isso se deve à presença, desde 1860, de Charles‑François Daubigny. “Ele era uma espécie de papa da pintura ao ar livre”, observa o curador. Ao se instalar em Auvers, Daubigny cria uma verdadeira colônia artística. “Isso acontece 30 anos antes da chegada de Van Gogh”. O efeito é duradouro. “Corot vem, depois Pissarro, Cézanne”, lembra Van der Veen. Grandes nomes se instalam naquele vilarejo para desenvolver suas pesquisas pictóricas. “São artistas hoje presentes nos maiores museus do mundo.” Auvers torna‑se um laboratório. “É ali que surgem manifestações iniciais de uma abordagem diferente da pintura”, afirma o diretor científico do Instituto Van Gogh. Cézanne, em particular, deixa marcas profundas que repercutiriam mais tarde na arte abstrata. Van Gogh chega consciente dessa herança. “E, ao final de sua vida, ele tem a certeza de que vai morrer”, relata o curador. Convencido de sofrer de sífilis e atormentado por crises mentais recorrentes, toma uma decisão. “Ele não quer morrer em um hospital ou em uma casa de saúde. Ele quer morrer à sua maneira. E quer fazê‑lo no país dos quadros”, diz Van der Veen. Esse país, para ele, era Auvers‑sur‑Oise. Nos últimos 70 dias de vida, pinta mais de 70 telas. “Qualquer um pode pintar um quadro por dia”, ironiza o curador, “mas não com essa qualidade”. Quando percebe a aproximação de uma nova crise, toma a decisão final e “ele decide assumir o controle da própria vida”. Depois da morte, a influência inevitável A exposição se encerra olhando para o que vem depois. “O que Vincent van Gogh fez foi realmente disruptivo”, afirma o pesquisador. Autodidata, ele criou suas próprias soluções formais. “Inventou coisas que ninguém tinha visto antes”. “Mas muito rapidamente, sobretudo após sua morte, os artistas percebem que ele abriu uma via totalmente nova”, explica o curador. Poucos tentaram pintar como ele, mas o impacto mais profundo foi outro. “Muitos passaram a querer viver como ele.” O exemplo de entrega absoluta à arte se torna, então, um modelo ético. Ao mesmo tempo, sua obra começa a circular intensamente. “É um momento de expansão da indústria da imagem”, observa Van der Veen. Livros ilustrados, fotografia. “As obras de Van Gogh são fotografadas e distribuídas, em preto e branco”. Mesmo assim, o impacto é imenso. Artistas absorvem, transformam, reutilizam. “Eles não podem ignorá‑lo”, afirma o curador. "Esse é o eixo central da exposição. Mesmo quem tenta fugir de Van Gogh não consegue. Depois de Van Gogh, pintar girassóis nunca mais será um gesto neutro”, conclui Van der Veen.  A mostra Van Gogh, influencer, Heranças em Movimento, fica em cartaz até 3 de janeiro de 2027, no Castelo de Auvers, em Auvers‑sur‑Oise.

Anticipating a summer to be spent exploring Underworld, DDSWTNP in Episode 35 take a small detour to a DeLillo short story, “Creation,” which distills DeLillo's omnipresent motifs of Romanticism and Christian mythos, transports literal and figurative, and disillusionment with the maintenance of Edenic experience — perhaps especially for the American tourist trying to escape from, rather than into, their vacation world. This 1979 story of infidelity, manipulation, and fantasy depicts repeated journeys to a small, jammed Caribbean airport that draw thoughts about godliness, meaning, and mortal fear from an unnamed narrator who has the impulse to write but perhaps not the skills and honed perception. In “Creation” we find many unexpected things: stirring parallels to the space orbits of “Human Moments in World War III”; a precursor to the voice of James Axton to emerge amid Mediterranean islands three years later; and of course new turns on the key DeLillo topos of plane travel and the contingencies of leaving the earth for the sky. Elements of journeys in Americana, Mao II, Cosmopolis, and Valparaiso come up, and we conclude that Rupert the cab driver may be the hero of this tale, or the figure who understands these affairs the best. We give listeners quite a few reasons to read or re-read this under-appreciated story that DeLillo would later choose to place first in The Angel Esmeralda: Nine Stories (2011).   The cover image incorporates part of Where Do We Come From? What Are We? Where Are We Going? (1897-98) by Paul Gauguin, who seems the likely reference point when the narrator of “Creation” says of his canceled seat on a flight out, “I'll marry a native woman and learn how to paint.”

What do Goethe, Ernest Hemingway, Pablo Picasso, Paul Gauguin and so many other writers and artists have in common? They all reached the apex of their creative output while living outside their countries of birth. An email from a listener, who also happens to be a member of indie band Trash Can Dream, inspired this episode from our archives. Emma Grace Stephenson is one of two Aussie expats who make up the band that is now based in New York City. Her email sparked a discussion on how travel, and specifically living abroad, can inspire art and creativity—and why we think that is. The Bittersweet Life podcast has been on the air for an impressive 10+ years! In order to help newer listeners discover some of our earlier episodes, every Friday we are now airing an episode from our vast archives! Enjoy! PS Learn more about the famous foreign writers who lived and worked in Rome on Tiffany's audio tour Rome For Readers: A Literary Tour of the Eternal City. ------------------------------------- COME TO ROME WITH US: Our third annual Bittersweet Life Roman Adventure is in the books! If you'd like to join us in 2026, and be part of an intimate group of listeners on a magical and unforgettable journey to Rome, discovering the city with us as your guides, find out more here. AD-FREE LISTENING: After well over 10 years on the air with little-to-no advertising, in 2026 we have finally made the difficult decision that this completely independent and self-funded show is no longer sustainable without it. HOWEVER! If you join us on Patreon, for as little as $3 per month, you will have access to all new episodes completely ad-free! ADVERTISE WITH US: Reach expats, future expats, and travelers all over the world. Send us an email to get the conversation started. GET TWO BONUS EPISODES PER MONTH: Pledge your monthly support of The Bittersweet Life at the $5 per month level or above, and you will have access to two all-new (and sometimes wacky) bonus episodes every single month. As well as ad-free listening, occasional live meet-ups, and access to our chat community. Visit our Patreon site to find out more. TIP YOUR PODCASTER: Say thanks with a one-time donation to the podcast hosts you know and love. Click here to send financial support via PayPal. (You can also find a Donate button on the desktop version of our website.) The show needs your support to continue. START PODCASTING: If you are planning to start your own podcast, consider Libsyn for your hosting service! Use this affliliate link to get two months free, or use our promo code SWEET when you sign up. SUBSCRIBE: Subscribe to the podcast to make sure you never miss an episode. Click here to find us on a variety of podcast apps. WRITE A REVIEW: Leave us a rating and a written review on iTunes so more listeners can find us. JOIN THE CONVERSATION: If you have a question or a topic you want us to address, send us an email here. You can also connect to us through Twitter, Facebook, and Instagram. Tag #thebittersweetlife with your expat story for a chance to be featured! NEW TO THE SHOW? Don't be afraid to start with Episode 1: OUTSET BOOK: Want to read Tiffany's book, Midnight in the Piazza? Learn more here or order on Amazon. TOUR ROME: If you're traveling to Rome, don't miss the chance to tour the city with Tiffany as your guide!

durée : 00:12:52 - Les Midis de Culture - par : Marie Labory - Le Petit Palais consacre un exposition à la pratique du portrait et de l'autoportrait, de Gustave Courbet à Annette Messager en passant par Sophie Calle et Paul Gauguin. - réalisation : Laurence Malonda - invités : Stéphane Corréard Editorialiste au Journal des Arts; Philippe Azoury Journaliste, critique et auteur

Eccoci qua! Bentornati a Life in the Garden! In questo episodio è tornata a trovarci una grande amica del podcast, con cui ho registrato tanti episodi dedicati all'arte: Clara Rita Stevanato ! In questa occasione Clara ci parla di un pittore finlandese poco conosciuto, Pekka Halonen (1865-1933) e in particolare di una recente mostra che lei ha visitato a Parigi al Petit Palais dal titolo "Pekka Halonen: un inno alla Finlandia".Clara ci racconta della vita di questo pittore, della sua formazione parigina e dell'incontro con Paul Gauguin e ancora del suo ritorno in Finlandia, dove si ritira, con la sua numerosa famiglia, in una casa-atelier immersa nella natura, lungo le rive di un lago. Qui dipinge molti paesaggi selvaggi dove spesso la neve, in tutte le sue forme è la protagonista.Non vi anticipo altro, buon ascolto!Per supportare l'episodio potete condividerlo con le amiche e gli amici e lasciare cinque stelle di valutazione sulla pagina Life in the Garden su Spotify.Vi ricordo che potete ascoltare altri episodi dedicati all'arte realizzati con Clara: l'episodio #16 dedicato a Monet, il #20 dedicato a Van Gogh e ancora la mini-serie dedicato al Giardino Impressionista con gli episodi #28, #29, #30 e #33.Trovata Clara su Instagram come @lajeunebotaniste e vi ricordo anche il suo blog alla pagina lajeunebotaniste.com. Grazie a tutte e tutti e a presto!Credits:Music from #Uppbeat (free for Creators!):https://uppbeat.io/t/brock-hewitt-stories-in-sound/seasonsLicense code: YZPGVVH6UGBAI3ATMusic from #Uppbeat (free for Creators!):https://uppbeat.io/t/oliver-massa/all-good-thingsLicense code: DRGCDZ0OGROTFJBELa musica sul finale è degli Ear ed è tratta dalla canzone "Le nostre fotografie" dall'album "Exousia".

Réécoutez FG mix invite le Paul Gauguin (Cruise) avec désirs de voyages du mercredi 11 février 2026Marquises, Tuamotu et Îles de la Société avec le Paul GauguinNaviguer avec le Paul Gauguin, c'est s'offrir la quintessence du Pacifique Sud : un art de vivre insulaire, authentique et lumineux, à mille lieues du tourisme standardisé. Conçu pour glisser au plus près des lagons, ce navire intimiste offre une atmosphère décontractée où l'on passe d'une baignade au pont 8 à un dîner mêlant traditions polynésiennes et cuisine française. L'itinéraire de 15 jours traverse trois archipels mythiques. Dans les Tuamotu, Fakarava - réserve de biosphère Unesco - révèle des lagons transparents où dansent raies et requins inoffensifs, tandis que Rangiroa émerveille plongeurs et débutants par son aquarium naturel. Plus au nord, les Marquises offrent un décor radicalement différent : vallées profondes, falaises abruptes, nature indomptée et villages chargés d'histoire. À Hiva Oa et Fatu Hiva, les traces de Paul Gauguin et de Jacques Brel rappellent que ces îles ont inspiré les âmes les plus artistiques. Enfin, les îles de la Société déroulent une Polynésie douce et sensuelle : Moorea la verdoyante, Huahine la secrète, Bora Bora et son lagon mythique… Et l'incontournable motu Mahana, privatisé pour une journée les pieds dans le sable. Une croisière immersive, chaleureuse, profondément dépaysante.Désirs de Voyages - Le magazine de l'art de vivre en voyage.https://www.desirs-de-voyages.fr/

Paul Gauguin no fue solo un pintor genial ni un bohemio incomprendido. Fue un hombre que convirtió su huida de Europa en un proyecto vital, estético y sexual atravesado por el colonialismo, el abuso de poder y una idea profundamente peligrosa del artista como ser excepcional. En este episodio de Grandes Maricas de la Historia desmontamos el mito del Gauguin “primitivo” y libre para analizar cómo organizó su deseo, cómo utilizó los cuerpos colonizados (especialmente los femeninos) y cómo su disidencia respecto a la moral burguesa nunca fue sinónimo de liberación, sino de privilegio. Un recorrido crítico por su biografía, su obra y su legado, donde la queerness no aparece como etiqueta cómoda, sino como herramienta para entender las zonas más incómodas del canon artístico occidental. Porque no se trata de absolver ni de cancelar, sino de mirar sin anestesia, y con su música, claro: https://open.spotify.com/playlist/1IRRCkjSD0E747UpamNqP7?si=3844f7d9f3d5438a

El 23 de diciembre de 1888 el pintor Vincent van Gogh y Paul Gauguin tuvieron un altercado que dio origen a una de las explicaciones que se han dado acerca de la pérdida de la oreja izquierda del primero.

Als Paul Gauguin 1886 an Frankreichs Westküste, in die Bretagne, kam, da war er mittellos und frisch geschieden. Hier aber bekam sein Leben eine neue Richtung: In dem kleinen Fischerdorf Pont-Aven fand er zu ganz neuen Farben und gründete mit anderen Künstler*innen die "Schule von Pont-Aven". Was die Gruppe hier so inspirierte, wo du ihre Kunst hier heute anschauen kannst und warum die Künstler*innen von Pont-Aven auch Pablo Picasso, Paul Klee oder Wassily Kandinsky beeinflussten: Das erzählen dir die beiden Hosts Kathrin Sander und Inka Schmeling in dieser Episode von 'places to go' – dem Podcast der Reiseplattform plazy.travel.

“Pekka Halonen” Un hymne à la Finlandeau Petit Palais, Parisdu 4 novembre 2025 au 22 février 2026Entretien avecAnne-Charlotte Cathelineau,conservatrice en chef du patrimoine au Petit Palais, et co-commissaire scientifique de l'exposition,par Anne-Frédérique Fer, à Paris, 3 novembre 2025, durée 13'12,© FranceFineArt.https://francefineart.com/2025/11/06/3665_pekka-halonen_petit-palais/Communiqué de presseCommissariat généralAnnick Lemoine, conservatrice générale, directrice du Petit PalaisCommissariat scientifiqueAnna-Maria von Bonsdorff, directrice du Musée d'art de l'Ateneum – Galerie nationale de Finlande (Helsinki)Anne-Charlotte Cathelineau, conservatrice en chef du patrimoine au Petit Palais.Le Petit Palais présente la première rétrospective française dédiée à Pekka Halonen (1865-1933), figure majeure de l'âge d'or finlandais. Conçue en partenariat avec le Musée d'art de l'Ateneum – Galerie nationale de Finlande (Helsinki), l'exposition réunit plus de 130 oeuvres issues des grandes collections publiques et privées du pays. Elle retrace l'ensemble de la carrière de l'artiste, de la fin des années 1880 au début des années 1930, en soulignant son apport à la modernité par sa synthèse entre les différentes tendances picturales de la fin du XIXe siècle. Organisée selon un parcours chronothématique, l'exposition montre à la fois l'engagement politique de l'artiste en faveur de l'indépendance de son pays et invite le visiteur à voyager au coeur de la Finlande sauvage au gré des paysages et des saisons, un témoignage sensible qui résonne avec les enjeux contemporains écologiques.Le parcours, structuré en six sections, retrace l'évolution de l'artiste et met en lumière ses maîtres, son cercle de sociabilité et son mode de vie, autant d'éléments qui ont profondément marqué son oeuvre tout au long de sa carrière.Après une formation à l'École des beaux-arts d'Helsinki, Pekka Halonen part à Paris, où il devient l'élève de Paul Gauguin. Il effectue plusieurs séjours entre la France et la Finlande jusqu'en 1894, perfectionnant sans cesse sa pratique. À Paris, son style est influencé par les courants artistiques alors en vogue : le japonisme, le pleinairisme et le synthétisme. Installé à Montmartre, il fréquente d'autres artistes finlandais de sa génération, tels que Akseli Gallen-Kallela, Magnus Enckell ou Eero Järnefelt, avec lesquels il partage réflexions et expérimentations.Son oeuvre s'inscrit dans le sillage du romantisme national et du carélianisme, un mouvement artistique et intellectuel exaltant les paysages et les traditions locales dans un contexte de tensions croissantes avec la tutelle russe. Ses tableaux y deviennent les symboles d'un mode de vie finlandais idéalisé et ses paysages se chargent peu à peu d'une dimension identitaire.En 1900, il est invité à participer à l'Exposition universelle par Albert Edelfelt, auquel le Petit Palais a consacré une exposition en 2022. Pour la première fois, la Finlande y est représentée par son propre pavillon, affirmant ainsi son existence en tant que nation autonome. Cette participation revêt une importance considérable pour le peuple finlandais dans un climat de forte tension avec la Russie.[...] Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

The authenticity of the final self-portrait by Paul Gauguin, made in 1903 and housed in the Kunstmuseum in Basel, was earlier this year called into question. Now, the museum has completed its promised analysis, and confirmed that the painting is not a fake and is by Gauguin. Ben Luke talks to The Art Newspaper's special correspondent, Martin Bailey, about the saga. In recent years, the late Indian sculptor Mrinalini Mukherjee has come to increasing prominence. Now, a show at the Royal Academy of Arts in London, called A Story of South Asian Art: Mrinalini Mukherjee and Her Circle, explores her work in the context of six other artists including her parents, Leela Mukherjee and Benode Behari Mukherjee. The exhibition's curator, Tarini Malik, tells Ben more. And this episode's Work of the Week is Character Head No.25 by Franz Xaver Messerschmidt, the 18th-century sculptor who was born in Germany, and lived in modern-day Austria and Slovakia. The bust features in the exhibition Franz Xaver Messerschmidt: More than Character Heads, at the Belvedere in Vienna, and we talk to the exhibition's curators, Katharina Lovecky and Georg Lechner, about the work.New subscription offer: eight-week free digital trial of The Art Newspaper. Cancel anytime. The subscription auto-renews at full price for your region. www.theartnewspaper.com/subscriptions-8WEEKSOFFERA Story of South Asian Art: Mrinalini Mukherjee and Her Circle, Royal Academy of Arts, London, 31 October-24 February 2026.Franz Xaver Messerschmidt: More Than Character Heads, Belvedere, Vienna, 31 October-6 April 2026. Hosted on Acast. See acast.com/privacy for more information.

Milo Rau censuré Paul Gauguin validé Woody Allen romancé

Hof- und andere kleine Selbstbedienungsläden im Kanton Luzern sollen künftig von längeren Ladenöffnungszeiten profitieren. Dies hat das Kantonsparlament entschieden. Bislang durften diese nur dann offen sein, wenn auch andere Läden, zum Beispiel Grossverteiler, in Betrieb waren. Weiter in der Sendung: · Ein Bio-Bauernbetrieb im Berner Seeland geht einen anderen Weg: Er bietet Flatrate-Abos an, bei denen die Kundschaft einen fixen Betrag zahlt, und dann so viel holen kann, wie sie möchte. · Neuenhof im Kanton Aargau hat zwar einen vollzähligen Gemeinderat, aber niemand will Gemeindeammann sein. Was nun? · Das letzte Selbstportrait von Paul Gauguin im Basler Kunstmuseum ist gar nicht nur von Paul Gauguin.

 Qui était cette Marie Henry, propriétaire de la buvette du Pouldu où séjournèrent, en 1890 Paul Gauguin et ses amis peintres ?   Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

"We're 100% Divine and 100% human. It's in that shared common connection between the two of those that real magic happens." Drew Horning Hoffman teacher, coach, and podcast host, Drew Horning, sits in the guest chair today to share about his time in the Process and so much more. Drew originally came to the Process in 2013 for support with marital relationship issues, having heard about Hoffman from someone in his men's group. Looking back, Drew says Hoffman was one of the most profound experiences of his life. Just a year later, in 2014, he began his training to become a Hoffman teacher. Drew shares two vulnerable moments from his week. He shares about the profound student-teacher relationship he experienced with his teacher, Raz. More like a mentor or coach than a teacher, Drew knew Raz had his back all the way through the Process. Drew, age 4 The deeper story here, though, is how the Process opens the way for us to experience the full range of being human. Drew sees the Process as an exploration into what it means to be human, both the light and the dark within us. In one experiential exercise, Drew says he "touched this part, this base part of being human," and it "caused him to recoil." In the very next moment, he and his group were led directly into a compassion exercise. And what transpired was the transformation so key to the Hoffman Process. Moments after he touched into this darkness, he found himself held in love. Love is always embracing us, even in our darkest moments as human beings. Here we witness Drew's vulnerability and wisdom as a human being and a Hoffman teacher. He holds the human heart with gentleness, dignity, and respect. We hope you enjoy this conversation. More about Drew Horning: A former licensed private practice psychotherapist, Drew has a Master's degree in clinical work from the University of Michigan. He is trained in EMDR, Mediation and Dispute Resolution, Gottman Couples Counseling, and Brené Brown's Daring Way. He hosts his own podcast on relationships. Drew has also coached high school basketball. Drew published his book, Grappling: White Men's Journey from Fragile to Agile, in May 2021. He is currently a manager of the faculty as a core faculty member of the Hoffman Institute. Drew is on the board of his extended family's real estate business. He is committed to his own family, his two adult children, and his wife of nearly 25 years. Drew is committed to his own personal growth work and supporting others on their own journey towards wellness. Healing requires incredible courage and a commitment to kindness. The alchemy of these is what Hoffman and Drew are all about! Follow Drew on Instagram. Listen on Apple Podcasts As mentioned in this episode: Raz Ingrasci, Founder of the Hoffman Institute and Hoffman teacher, was Drew's teacher. •   Listen to Raz on the Hoffman Podcast: Husband, Father, Son The Body Keeps the Score, by Bessel van der Kolk MD White Sulphur Springs •   "All things change when we do." This is the quote Drew mentions from the fountain at White Sulphur Springs, our former retreat site. Dr. Dan Siegel, "feeling felt" •   “Wonderful things happen when people feel felt, when they sense that their minds are held within another's mind.” Dan Siegel •   Listen to Dr. Dan Siegel on the Hoffman Podcast: A Rabbit, Doe, & Fawn Become Partners in Transformation Listen to Dr. Jill Bolte Taylor on the Hoffman Podcast: Your Brain From the Inside Out • Dr Bolte Taylor's 90-second rule "Ed" McClune, retired Hoffman teacher and coach: •   Listen to Ed on the Hoffman Podcast: A Good Hoffman Geek Out "I close my eyes so that I may see." Paul Gauguin, French painter, sculptor, printmaker, ceramist, and writer... "This will grow inside you." Liza Ingrasci, CEO of the Hoffman Institute Foundation. She has been with the Hoffman Institute since 1990. Drew speaks of "the surprising power of Self-compassion,

This month, our Full Bio series is dedicated to the life and art of controversial French painter Paul Gauguin. Our guest is Sue Prideaux, author of the book Wild Thing: A Life of Paul Gauguin.  Part 1: Prideaux discusses Gauguin's childhood in Peru, and explains why she wanted to write a book about an artist who has been controversial among contemporary art fans.Part 2: Prideaux discusses the beginnings of Gauguin's artistic career, and his meaningful but tumultuous friendship with Vincent Van Gogh.Part 3: Prideaux discusses how moving to Tahiti influenced Paul Gauguin's life and art.

This month, our Full Bio series is dedicated to the life and art of controversial French painter Paul Gauguin. Our guest is Sue Prideaux, author of the book Wild Thing: A Life of Paul Gauguin. In this final installment, Prideaux discusses how moving to Tahiti influenced Paul Gauguin's life and art.

This month, our Full Bio series is dedicated to the life and art of controversial French painter Paul Gauguin. Our guest is Sue Prideaux, author of the book Wild Thing: A Life of Paul Gauguin. In today's installment, Prideaux discusses the beginnings of Gauguin's artistic career, and his meaningful but tumultuous friendship with Vincent Van Gogh.

This month, our Full Bio series is dedicated to the life and art of controversial French painter Paul Gauguin. Our guest is Sue Prideaux, author of the book Wild Thing: A Life of Paul Gauguin. In today's installment, Prideaux discusses Gauguin's childhood in Peru, and explains why she wanted to write a book about an artist who has been controversial among contemporary art fans. "

We're halfway through 2025, and we at the Book Review have already written about hundreds of books. Some of those titles are good. Some are very good. And then there are the ones that just won't let us go. On this week's episode of the podcast, Gilbert Cruz and Joumana Khatib talk about some of the best books of the year so far.Here are the books discussed in this week's episode:“King of Ashes,” by S.A. Cosby“The Director,” by Daniel Kehlmann“A Marriage at Sea,” by Sophie Elmhirst“Careless People,” by Sarah Wynn-Williams“Isola,” by Allegra Goodman“The Catch,” by Yrsa Daley-Ward“Daughters of the Bamboo Grove,” by Barbara Demick“The Sisters,” by Jonas Hassen Khemiri“The Buffalo Hunter Hunter,” by Stephen Graham Jones“Wild Thing: A Life of Paul Gauguin,” by Sue Prideaux“Raising Hare,” by Chloe Dalton“To Smithereens,” by Rosalyn Drexler“The Fate of the Day,” by Rick Atkinson“Flesh,” by David Szalay“Things in Nature Merely Grow,” by Yiyun Li“These Summer Storms,” by Sarah MacLean Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.

It was an incredible honour to interview an author I have been following for a long time, and itching to get on the show. Sue Prideaux is an acclaimed Anglo‑Norwegian biographer and novelist. Her works include I Am Dynamite!, a biography of Friedrich Nietzsche I read and reviewed last year, and more recently Wild Thing, a biography of French artist Paul Gauguin. I Am Dynamite! was named The Times Biography of the Year for 2018, and won the Hawthornden Prize for ‘imaginative literature', and Wild Thing was shortlisted for the Baillie Gifford Prize for non-fiction, longlisted for the Women's Prize for non-fiction, and won the Pol Roger Duff Cooper Prize for non-fiction. It's also fair to say that I absolutely loved them both, so I strongly recommend you go out and pick yourselves up copies. Lit with Charles loves reviews. If you enjoyed this episode, I'd be so grateful if you could leave a review of your own, and follow me on Instagram at @litwithcharles. Let's get more people listening – and reading!Sue Prideaux's four books were:The Story of Babar The Little Elephant, Jean de Brunoff (1934)The Summer Book, Tove Jansson (1972)Cold Comfort Farm, Stella Gibbon (1932)Shelley: The Pursuit, Richard Holmes (1974)

Gauguin è il pittore che ha trasformato l'arte post-impressionista con paesaggi esotici, simboli e figure femminili vibranti. Scopri in questo podcast la vita, lo stile e le opere del pittore.

Najpogodniejsza z barw, synonim optymizmu, słońca, ciepła i czułości. Czcili go malarze Vincent van Gogh i Paul Gauguin, a mieszkańcy francuskiej miejscowości Roussillon pokochali na tyle, że wszystkie okoliczne domy pomalowali wydobywaną nieopodal miasta musztardowożółtą ochrą. To w końcu ton, który budzi, rozpogadza, dodaje energii. Czemu więc wciąż tak mało go na ulicach i w szafach? Może to kwestia jego zadziorności, łatki trudnego w komunikacji z innymi kolorami? Oto przewodnik, z czym łączyć żółte dodatki i ubrania w sezonie wiosna-lato 2025. Autorka: Pola Dąbrowska Artykuł przeczytasz pod adresem: https://www.vogue.pl/a/w-stylizacji-kolor-zolty-doda-energii-z-jakimi-kolorami-nosic-zolte-dodatki-i-ubrania-latem-2025-na-polskich-ulicach

 Qui était cette Marie Henry, propriétaire de la buvette du Pouldu où séjournèrent, en 1890 Paul Gauguin et ses amis peintres ?   Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

A Sunday morning sermon by Pastor Brett Deal. Have you ever heard a great song or watched an incredible movie then afterwards learned the inspiration for it, and it made it all the more powerful? Years ago, Elise and I were in a little art shop in a mall. Among all the large and impressive art for sale, there was a fairly small oil replica of Vincent van Gogh's Sunflowers. So simple. Flowers in a vase. I walked out with that little framed painting for my office. Later I learned Van Gogh painted the original to display in a room to show his gratefulness for his friend, Paul Gauguin, who was moving in with him. The painting was more than just vibrant impasto colors of liberal oil paint. The paint was more than just a still life of top-heavy sunflowers. The painting was friendship, closeness, gratitude. Psalm 102 is a powerful song we can sing in the valley. It is a song of suffering held deeply in the heart of the singer. Not wanting this to be missed, the compilers of Israel's song book kept a short superscript before the lyrics. It is one of a kind. The superscript of 102 is the only one in Psalms which, according to Rolf Jacobson “describes a psalm as intended for a particular instance in a person's life.” Psalm 102 is Van Gogh's sunflower with the backstory of gratitude. This fifth penitential psalm is at first glance a moving song of sorrow and shadow. It is does not hide its suffering. But holding gently the superscript at the beginning brings a deeper resonance: “A prayer of an afflicted person who has grown weak and pours out a lament before the Lord.” There is a backstory. There is an affliction that has left the voice parched and in pain. This lament is sung from the little remaining, the last drops of oil in the widow's jar, the rasping voice of the thirsty soul. Like the sunflowers, it is a song for someone…and that someone is divine. He is enthroned on high. He is God Almighty. He is the eternal Father, merciful and compassionate. He is the Sovereign King, who builds and rebuilds. He is the Lord who hears our prayers sung in the darkness and responds with the radiance of hope.

Neil BastianNeil's songs have been sung in West End venues including The Crazy Coqs, The Iris Theatre, Above the Arts, Seven Dials Playhouse, Phoenix Arts Club, Soho Theatre and The Other Palace.He was a top-5 finalist for the MTI Award 2023/24 and was nominated for the Stiles & Drewe Best New Song Prize 2022, as well as a finalist in the 2018 Iris Theatre Xmas Factor Song Competition.  He is a member of the Book Music and Lyrics weekly songwriting workshop, as well as Mercury Musical Developments.The Rise and Fall of Vinnie and Paul is Neil's third musical - his other two, Force Ten Gayle and The Mayfly Man, are also in development.The Rise and Fall of Vinnie & PaulVan Gogh's house-share with Paul Gauguin started as a dream of artistic brotherhood but ended in a nightmare: after only 8 weeks together they had a blazing row, Paul left town and Vincent cut off his own left ear.​​​Why? This electrifying two-man rock musical confronts a mystery that has baffled art historians for over a century.Promising to ruffle the feathers of art historians and Van Gogh fans the world over, The Rise and Fall of Vinnie & Paul blasts the roof off the little yellow house to reveal the pain and passion within.

Dernière étape, Hiva Oa, est souvent associée à Jacques Brel et Paul Gauguin. Cette île surprend par sa douceur et son cachet polynésien. Le centre culturel dédié aux deux artistes offre une plongée dans leur univers et l'importance de leur héritage culturel. Une visite du cimetière d'Atuona, où les deux reposent, apporte une note émouvante à ce voyage.Camille a aussi apprécié la chasse aux trésors archéologiques, notamment le tiki penseur, caché dans la végétation luxuriante. Une aventure qui rend hommage à la richesse historique de l'île.Pour écouter l'épisode en entier

This week, Toby Lichtig chats to Sam Leith about formative literature at Jewish Book Week; and David Horspool meets Sue Prideaux, winner of this year's Pol Roger Duff Cooper Prize.'The Haunted Wood: A History of Childhood Reading', by Sam Leith'Wild Thing: A Life of Paul Gauguin', by Sue PrideauxProduced by Charlotte Pardy Hosted on Acast. See acast.com/privacy for more information.

Un soir de décembre 1888, sous une pluie battante, Vincent Van Gogh vit l'un des moments les plus sombres de son existence. À Arles, la ville semble silencieuse alors que Noël approche, mais dans la petite maison jaune, la tension est à son comble. Une énième dispute avec Paul Gauguin pousse l'artiste au bord du gouffre. Torturé par ses démons intérieurs, son esprit vacille entre douleur et folie. Après des semaines de conflits et d'incompréhensions, l'amitié entre les deux peintres s'effondre. Dans la nuit, Van Gogh, submergé par la détresse, s'apprête à commettre un geste irréparable. Devant son miroir, il s'automutile en se coupant une oreille, un acte qui marquera à jamais l'histoire de l'art et témoignera de la fragilité du génie. Merci pour votre écoute Vous aimez l'Heure H, mais connaissez-vous La Mini Heure H https://audmns.com/YagLLiK , une version pour toute la famille.Retrouvez l'ensemble des épisodes de l'Heure H sur notre plateforme Auvio.be :https://auvio.rtbf.be/emission/22750 Intéressés par l'histoire ? Vous pourriez également aimer nos autres podcasts : Un jour dans l'Histoire : https://audmns.com/gXJWXoQL'Histoire Continue: https://audmns.com/kSbpELwAinsi que nos séries historiques :Chili, le Pays de mes Histoires : https://audmns.com/XHbnevhD-Day : https://audmns.com/JWRdPYIJoséphine Baker : https://audmns.com/wCfhoEwLa folle histoire de l'aviation : https://audmns.com/xAWjyWCLes Jeux Olympiques, l'étonnant miroir de notre Histoire : https://audmns.com/ZEIihzZMarguerite, la Voix d'une Résistante : https://audmns.com/zFDehnENapoléon, le crépuscule de l'Aigle : https://audmns.com/DcdnIUnUn Jour dans le Sport : https://audmns.com/xXlkHMHSous le sable des Pyramides : https://audmns.com/rXfVppvVous aimez les histoires racontées par Jean-Louis Lahaye ? Connaissez-vous ces podcast?Sous le sable des Pyramides : https://audmns.com/rXfVppv36 Quai des orfèvres : https://audmns.com/eUxNxyFHistoire Criminelle, les enquêtes de Scotland Yard : https://audmns.com/ZuEwXVOUn Crime, une Histoire https://audmns.com/NIhhXpYN'oubliez pas de vous y abonner pour ne rien manquer.Et si vous avez apprécié ce podcast, n'hésitez pas à nous donner des étoiles ou des commentaires, cela nous aide à le faire connaître plus largement.

Chapter 1 What's Noa Noa by Paul Gauguin"Noa Noa" is both a collection of writings and an artistic exploration by French artist Paul Gauguin, chronicling his experiences in Tahiti. Written in 1893, it highlights his quest for beauty, spirituality, and a return to primitive simplicity. Through vivid descriptions of the landscape and people, Gauguin reflects on the contrasts between Western civilization and the perceived Edenic state of Tahitian life. The text combines poetry and prose, interwoven with his thoughts about art, culture, and the essence of existence. Gauguin's work emphasizes the vibrant colors, exotic atmosphere, and sensuality of the island, portraying an idealized vision of paradise. While it serves as an artistic manifesto, "Noa Noa" also reveals the artist's struggles with his identity, showcasing the complex interplay between reality and Gauguin's romanticized interpretations.Chapter 2 Noa Noa by Paul Gauguin SummaryNoa Noa by Paul Gauguin: Summary Background: "Noa Noa" is a semi-autobiographical novel written by French post-impressionist painter Paul Gauguin, published in 1901. The work is a blend of travel narrative, art commentary, and personal reflections, detailing Gauguin's experiences in Tahiti, where he sought to escape European civilization and find inspiration for his art. Setting: The story is set in early 1890s Tahiti, a place that fascinated Gauguin for its natural beauty, cultural practices, and perceived primitivism. Here, he depicts the stark contrast between the lush landscapes of the island and the complexities of Western society. Narrative Structure: The book is presented as a series of interconnected fragments, exploring Gauguin's life, relationships, and artistic motivations during his time in Tahiti. He uses a poetic and impressionistic style to convey a dreamy, almost mystical perspective of the island and its people. Themes: The Quest for Authenticity: Gauguin's journey signifies a search for an authentic existence, away from the materialism and moral constraints of European civilization. He idealizes the simplicity and vitality of Tahitian life. Art and Nature: The artist's relationship with nature is a recurrent theme. When Gauguin describes the vibrant landscapes and cultural practices, he emphasizes how these experiences influence his artistic vision and creations. Colonialism: Through his reflections on Tahiti, Gauguin addresses the impact of colonialism, contrasting the innocence of the island's inhabitants with the exploitative actions of European powers. Identity and Exile: Gauguin grapples with his own identity as both an artist and a man in exile from society. His feelings of isolation inform his creative practice and philosophical musings throughout the text. Imagery and Symbolism: Gauguin's vivid descriptions are rich in color and form, using symbolism to enhance the narrative. He often incorporates local folklore, spirituality, and the natural world to reflect deeper human experiences and emotions. Conclusion: "Noa Noa" provides a unique insight into Gauguin's life as an artist and his complicated relationship with both the exotic Tahitian culture and his own background. It serves as a testament to his struggles, inspirations, and the profound impact of place on artistic expression, revealing not only an artist's journey but a cultural encounter shaped by differing worldviews.Chapter 3 Noa Noa AuthorPaul Gauguin was a French painter and one of the leading figures of post-Impressionism. He was born on June 7, 1848, in Paris, France, and died on May 8, 1903, in Atuona, French Polynesia. Gauguin is best known for his bold use of color and synthetist style that influenced modern art. Noa NoaHe wrote the book Noa Noa during his time in Tahiti, and it...

If you'd like to become a Member and get access to all our full ad free conversations, plus all of our Members-only content, just visit intelligencesquared.com/membership to find out more. For £4.99 per month you'll also receive: - Full-length and ad-free Intelligence Squared episodes, wherever you get your podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series - 15% discount on livestreams and in-person tickets for all Intelligence Squared events  ...  Or Subscribe on Apple for £4.99: - Full-length and ad-free Intelligence Squared podcasts - Bonus Intelligence Squared podcasts, curated feeds and members exclusive series … Already a subscriber? Thank you for supporting our mission to foster honest debate and compelling conversations! Visit intelligencesquared.com to explore all your benefits including ad-free podcasts, exclusive bonus content and early access. … Subscribe to our newsletter here to hear about our latest events, discounts and much more. https://www.intelligencesquared.com/newsletter-signup/ Learn more about your ad choices. Visit podcastchoices.com/adchoices Learn more about your ad choices. Visit podcastchoices.com/adchoices

Las obras que realizó Gauguin en las islas del océano Pacífico son algunas de sus pinturas más populares. El artista pasó de ser un agente de bolsa adinerado a dedicarse a la pintura en una recóndita isla del océano Pacífico, Tahití.

Did you know that: · Vincent van Gogh's attempt to start an artist's colony with Paul Gauguin lasted only nine weeks, ending in his infamous "ear episode"? · Pablo Picasso was a prime suspect in the disappearance of the Mona Lisa? · Artemisia Gentileschi was tortured with thumbscrews to verify her testimony at her own rapist's trial? · Norman Rockwell's critics said his work would never be accepted as "high art"--and he agreed? These stories--and many more--shaped the work these artists left behind. In their art are lessons common to the human experience about the wonder and struggle of being alive: dreams lost, perspectives changed, and humility derived through suffering. Russ Ramsey will join us to dig into these artists' stories to mine the transcendent beauty and hard lessons we can take from their masterpieces and their lives. Each story from some of history's most celebrated artists applies the beauty of the Gospel in a way that speaks to the suffering and hope we all face.See omnystudio.com/listener for privacy information.

In this week's Book Club podcast Sam Leith's guest is the great Sue Prideaux who, after her prize-winning biographies of Nietzsche, Munch and Strindberg, has turned her attention to Gauguin in Wild Thing: A Life of Paul Gauguin. She tells me about the great man's unexpected brief career as an investment banker, his highly unusual marriage and his late turn to anticolonial activism. Plus: why she starts with his teeth. This podcast is in association with Serious Readers. Use offer code ‘TBC' for £100 off any HD Light and free UK delivery. Go to: www.seriousreaders.com/spectator Produced by Patrick Gibbons and Oscar Edmondson.

In this week's Book Club podcast Sam Leith's guest is the great Sue Prideaux who, after her prize-winning biographies of Nietzsche, Munch and Strindberg, has turned her attention to Gauguin in Wild Thing: A Life of Paul Gauguin. She tells me about the great man's unexpected brief career as an investment banker, his highly unusual marriage and his late turn to anticolonial activism. Plus: why she starts with his teeth. This podcast is in association with Serious Readers. Use offer code ‘TBC' for £100 off any HD Light and free UK delivery. Go to: www.seriousreaders.com/spectator Produced by Patrick Gibbons and Oscar Edmondson.

This week: the Fitzwilliam Museum in Cambridge, UK, has invited the US artist Glenn Ligon to explore its history and collections, and his interventions are revealed this week. Ben Luke goes to Cambridge to talk to Ligon about the project. Few artists' lives prompt as much discussion as that of Paul Gauguin, and a new biography of the French artist by Sue Prideaux has just been published. We talk to Sue about the book. And this episode's Work of the Week is the piece that has just been unveiled on the Fourth Plinth in Trafalgar Square. Mil Veces un Instante or (A Thousand Times in an Instant) by Teresa Margolles is made up of plaster casts of the faces of 726 trans, non-binary, and gender non-conforming people. Ekow Eshun, the chair of the group that commissions the projects for the Fourth Plinth, speaks to our associate digital editor, Alexander Morrison, about the work.Glenn Ligon: All Over The Place, Fitzwilliam Museum, Cambridge, UK, until 2 March 2025. Distinguishing Piss from Rain: Writings and Interviews by Glenn Ligon, Hauser & Wirth Publishers, £32 or $38. Untitled (America/Me), High Line, New York, until November 2024. Listen to our in-depth interview, A brush with… Glenn Ligon from 18 August 2021.Wild Thing: A Life of Paul Gauguin, by Sue Prideaux, Faber, £30; published in the US next year, by WW Norton, $39.99.Teresa Margolles: Mil Veces un Instante (A Thousand Times in an Instant), Fourth Plinth, Trafalgar Square, until 2026.Subscription offer: you can get the perfect start to the new academic year with 50% off a student subscription to The Art Newspaper—that's £28, or the equivalent in your currency, for one year. Visit theartnewspaper.com to find out more. Hosted on Acast. See acast.com/privacy for more information.

TV reviews - Sue Prideaux on Wild Thing: A Life of Paul Gauguin - Dame Sarah Connolly and Mihhail Gerts

Dr. Stephanie Brown talks about a missing painting by the great Paul Gauguin and how it was found. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 00:51:23 - Répliques - par : Alain Finkielkraut - Tendu entre l'influence de la sensibilité impressionniste et la liberté colorée de Paul Gauguin, Pierre Bonnard fût longtemps méjugé par l'histoire de l'art. Pierre Bonnard n'était-il, comme on l'a beaucoup dit, que le "peintre du bonheur bourgeois" ? - invités : Benjamin Olivennes Essayiste; Stéphane Guégan Historien, critique d'art, Conseiller scientifique auprès de la Présidence du musée d'Orsay et du musée de l'Orangerie.

Send us a Text Message.In today's episode, Debbi Kickham discusses luxury travel and fashion, highlighting unique discoveries and experiences. Debbi is a former editor of Robb Report, current senior editor at Honeymoons.com and luxury travel contributor to Forbes.com, WestFair and Travel Curator. Follow Debbi's life and work here: http://gorgeousglobetrotter.com/ Instagram:  https://www.instagram.com/DebbiKickham/ X: https://x.com/debbikickham Forbes: https://www.forbes.com/sites/debbikickham/ Honeymoons.com: https://honeymoons.com/about/ Westfair: https://westfaironline.com/author/dkickham/ Travel Curator: https://travelcurator.com/about-us/ Canyon Ranch: https://www.forbes.com/sites/debbikickham/2024/02/14/celebrate-beauty-and-wellness-at-canyon-ranch-spas-first-ever-special-event/ Miraval: https://www.forbes.com/sites/debbikickham/2022/11/15/world-spa-awards-reveals-the-best-spa-and-wellness-brands-for-2022/ Bill: https://westfaironline.com/author/debbi-and-william-d-kickham/ Regent Seven Seas Cruises: https://www.rssc.com/ Viking: https://www.vikingcruises.com/oceans/why-viking/the-viking-difference.html Paul Gauguin: https://www.pgcruises.com/ Channel Five, NY: https://www.fox5ny.com/ I love men in tassled loafers: https://www.amazon.com/Love-Men-Tasseled-Loafers-Judge/dp/155770029X Canfora Capri Sandals: https://www.canfora.com/ Ola: https://hawaiianbodyproducts.com/  French Kande: https://www.frenchkande.com/ Jet Set Candy: https://jetsetcandy.com/ Sandals Jamaica: https://honeymoons.com/best-sandals-in-jamaica/ Bora Bora: https://www.forbes.com/sites/debbikickham/2018/04/27/tahitis-overwater-bungalows-are-the-ultimate-luxury/ 25 Best Overwater Bungalows: https://honeymoons.com/overwater-bungalows-caribbean/ Transcendent Travel: https://www.forbes.com/sites/debbikickham/2024/05/15/transcendent-travel-reigns-supreme-and-will-cross-the-1-trillion-mark-in-2024/ It's Easy.com: https://www.itseasy.com/ Thank you for listening!  Please take a moment to rate, review and subscribe to the Media in Minutes podcast here or anywhere you get your podcasts:

Qui était cette Marie Henry, propriétaire de la buvette du Pouldu où séjournèrent, en 1890 Paul Gauguin et ses amis peintres ?   Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

durée : 01:25:06 - Toute une vie - par : Pascale Lismonde - "C'est de la musique, si vous voulez !" Voilà comment Gauguin a pu parler de sa peinture. Les ombres roses ou violette, les chiens rouges ? La peinture est harmonique. Découvrir la peinture de Paul Gauguin, c'est plonger dans le mystère éclatant de la couleur pure.

David discusses the movies he's been watching lately, including Wicked Little Letters, Occupied City, Birth/Rebirth, One from the Heart, BlackBerry, Our Body, Boudica, Coonskin, Heavy Traffic, One Hand Don't Clap, First Time Female Director, Close to Vermeer, La région centrale, The Tuba Thieves, Delicate Arch, Immaculate, We Grown Now, Summer Vacation 1999, Housekeeping for Beginners, The Song of Styrene, Civil War, Igualada, On the Waterfront, The Wild One, Not a Pretty Picture, Paul Gauguin, Guernica, Bumpkin Soup, The Crazy Family, The People's Joker, All the World's Memory, Slam, In a Lonely Place, The Big Heat, Van Gogh, Air Force One and In the Line of Fire.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to the MAKES SENSE podcast, where we apply the science, art and philosophy of sense making to the things that make you go Hmmm? Those most pressing thoughts and discussions going on in our minds today. The Makes Sense Podcast is an expense free service with the intention of helping you execute on the concept of changing the way you look at things, so that the things you look at begin to change.  Today we'll MAKE SENSE of THE PROGRAM-  That way you think, feel and act? It's not your fault, its your program.   Contact - Dr. JC Doornick - https://zez.am/makessense  SHOW NOTES: As we move further into this new Makes Sense podcast, it's important that I continue to provide you with the base constructs, concepts and language that we will be using in later episodes. This podcast is about you transforming into a more conscious version of yourself so you can begin to see the previously unseen.  My intention in this episode is to expose something to your conscious mind. What makes this challenging is that this thing I want to show you is invisible to you. In fact it often cloaks itself as you. No it's not your ego. In fact, your ego works for it. “I woke up to realize that my perception of reality was not my own but one I assumed, as a result of the information I had been consuming.” - Dragon Stop for a moment and ask yourself this question. Is your interpretation of reality, including the way you look at and respond to things, your own? Or can you acknowledge the outside forces that have played a role in it? Before you say no, can you prove that it's not possible? That the way you perceive, believe and respond are a manifestation of what you have been taught and continue to reinforce everyday with the things you consume with regularity? Welcome to the program. An excerpt from my new book MAKES SENSE, Solving the mystery of why shit happens.  After a life of misfortune and suffering, French artist, Paul Gauguin painted a masterpiece in his dying days while living in exile in Tahiti. Viewed from right to left, it demonstrates the circle of life from birth to death. This powerful piece unveils the deepest mysteries of the human race and is appropriately named. Where do we come from? Where are we? And where are we going?  These questions are the premises upon which we all roam this planet in search of answers as sense-making machines. When we seek the answers to unanswerable questions, we are forced to do our best to fill in the gaps and make sense of things.. In other words, we make shit up. In fact, this is the birthplace of religion, psychology, theories, and science. All representing man's attempt to make sense of things.  Think about that for a second. Whatever it is that represents your foundation for your reality. What's good or bad. Right or Wrong? Just or injust?  Did you come up with that? Well if you came up with it, you are pretty special as most humans are born into this world without knowing these things until they are taught to them.  Why is this important? To recognize that our sense making machines have been programmed and that program is the backbone software that is controlling your hardware and virtual reality suit? Well, for starters, what if it's not accurate? I know you've been sold into the idea that it was. But what if it is not? Here you are doing your best to make the right decisions in life, choose the right path as well as stay on track and follow through with your physical, mental and financial goals. And now we are for the first time noticing a red, check engine light that's been on yet had black tape over it for years. That light, now illuminated, is suggesting that we take a look under the hood at an engine that was built by others with their own intentions for you. Perhaps different than the ones that are actually FOR YOU. It's important here to shift into a curious state of possibility thinking. Why? If you can't justify a reason to rethink or re-evaluate something due to the mere possibility that there may be another truth or better way? The idea of making changes to your regularly scheduled program will seem nonsensical. So in order to experience growth we must be willing to challenge this programming that we have received and become open to a better way. Otherwise, you will find yourself hell bent on protecting and justifying your position on things and that is the life of the herd. The majority. The popular masses that are ok with trying to get into town in a rocking chair. Because they believe in that rocking chair and that rocking chair is part of their core values etc.. This of-course gives rise to the definition of insanity. To add some color to this, it's interesting to look at the characteristics and strategies of scientists. There is no group of humans more open and curious than scientists. Why? Scientists seek the truth and seek facts. The idea of coming across something that improves or debunks their own theories excites them. Because it is the truth they seek and will let nothing deter them from acquiring it. Not even their own theories. So a nice role playing exercise to play in life is that of a scientist. Checking facts and remaining open and curious to better ones.  The Operating System “We seldom realize, for example, that our most private thoughts and emotions are not actually our own. For we think in terms of languages and images which we did not invent, but which were given to us by our society.” ― Alan Watts If you look into a baby's eyes, you'll see they have little self-awareness. The person one grows into is a mask worn over their consciousness. You'll be surprised to learn that this mask is given to them from the outside in. Once a human becomes awakened, their consciousness begins to penetrate and shine through the mask to see what it sees. Not what it's been trained to see. We come into this world as biologically conditioned structures without a self-image.  However, there is much debate over the idea that we are all born prematurely. This is because a newborn baby's brain is not fully developed at birth. In a perfect world, we'd further our stay in our mother's womb for 15 months. Not a good thing at all for the mom, I know. However, the theory makes sense and unveils our susceptibility to not only learning and absorbing from the outside in. But reminds us that our brains can become permanently wired to accept all that we consume at this early phase as reality. Simply, the way things are. As we grow through life, we face the challenge of increased responsibility for ourselves. Over the next several years, I began experiencing a series of awakenings that unveiled an inefficient operating system that was not moving me forward.  I became aware that I was running a program inside that was unconsciously calling the shots. This program decided what was good or bad, and what I should or should not do. What is interesting about this program is that I was unaware that it was running. I always assumed that I was voluntarily making decisions. Not the case. There was an automatic operating system that would activate in different ways in response to certain happenings, people, and scenarios. The side effects and symptoms of this programmed response system began showing up. For example, I'd find myself overeating, and saying things I didn't intend to friends and family. There was something inside me calling the shots without consulting me. SPONSOR MAKES SENSE ACADEMY: https://www.riseupwithdragon.com/makes-sense-academy  M.F.T.P.S.E. (The Programmers) This brings up a unique challenge. See, once a program has been absorbed, we have a fail-safe defense mechanism to protect it from anything otherwise. Its your number one employee and right hand man. Your ego. A fun analogy to use is one I call The Bouncer: A bouncer stands outside his nightclub with a detailed guest list, checking every ID. The nightclub represents your life and your bouncer controls who and what gets in and who doesn't. That's your trained ego safeguarding and preserving your programmed thoughts, feelings, and concepts labeling and judging everything it perceives. Your bouncer works closely with your VR Suit and decides who and what gets into the nightclub, and it's not open to new ways of perceiving the world. Remember, the bouncer works for you and is just doing its job.  In order to consider reprogramming our intel processor and VR Suit, we must take control of the bouncer. It's like the write-protected switch on an SD card. Your bouncer, or ego, is committed and not open to new ideas. If it is protected, it cannot receive new data. I became intensely curious to identify where I received this inefficient operating system?  Think about it. Whenever we buy a new car or technology, it malfunctions or breaks down. Who do we blame? Yes, the manufacturers. I was already blaming my parents for all my problems, and now I know why. They played a role in programming my operating system by teaching me to adopt theirs. They taught me the good and bad of what they were taught. I bought into it all, as most kids do, and unknowingly started viewing the world through their eyes. But I knew there was more. I couldn't blame or credit them solely for it all. I wasn't consuming and absorbing information from them alone.  Who else is involved in my programming? Like a detective, I began unpacking the files of my past and evaluating where I picked up the thoughts, perceptions and concepts that controlled my mind and VR suit?  My mother. My father. Oh, wait, my teachers and preachers too! Making these observations into my 30's, I recognized that I had spent over 20 years in the box of the education system. Consuming with regularity, the lessons shared by my teachers. We weren't religious, but I sure had preachers in my life. They were represented by those that spoke from a place of being right about things. People that shared concepts over and over again with my vulnerable, neuroplastic mind. Friends, family, and authority figures. I was in school, in and out of synagogues and churches throughout my life as well. Consuming and assuming their uploads were valid. All well-intentioned, I'm sure. But unconscious to the ramifications of me buying into their program. The very nature of mothers, fathers, teachers, and preachers is to nurture, guide, and protect. Some useful, some harmful, but all are well-intentioned. Nobody's perfect, right? So, I couldn't blame them as that would imply that they were at fault. In fact, I've learned through parenting my own children and mentoring others throughout my career, my goal is not to indoctrinate people to believe what I do. Or look at the world the way I do? Mothers, Fathers, Teachers and Preachers often unconsciously push their own concepts of reality onto others to simply validate themselves. If someone buys into what I think, it only validates what I think. Not them. Make sense? Traveling further into my evidence room, and placing all things on my evidence board aka my CRAZY WALL. I discovered other elements at play that were responsible for my own operating system.  Now referring to our programmers as our M.F.T.P.S.E. There's the mother, father, teacher, preacher, society and evolution. The last two being the silent killers. Silent meaning we are often unaware of their influence because we don't consider these things. Remember, that which you consume with regularity, programs your mind and VR suit to assume with regularity. It's hard to register, but society and evolution represent other components of our programming. We are exposed to society daily through interactions, social media and the idiot box. That's what my grandfather called the TV. Throw in the passing on and forward paying of all things our predecessors and ancestors learned through the evolution of man dating back to the days of the caveman. Even though there are no more sabertooth tigers and T Rexes trying to kill us, our stress response systems have been wired to fight or flight in the face of anything that remotely resembles anything from the past. That's right, you've been programmed and continue to  unconsciously consume and, over time, assume its programming. Now, it's become  your operating system.  What's interesting to note is that you've constructed a customized surrounding and strategic perception of society that validates and supports your program. This is known as confirmation bias, where we seek out and favor only the information that supports our existing beliefs. Even in the absence of them being factual. Turning our head from anything and everyone that thinks otherwise. This can lead to an illusion of reality and creates a challenge should you decide to change the way you look at things. Think about those things in your life you call your core values and beliefs? Perhaps the non-negotiables? You might even be known as stubborn or hard nosed?  “The confidence people have in their beliefs is not a measure of the quality of evidence, but of the coherence of the story the mind has managed to construct.”   ―Daniel Kahneman Rock climbers refer to that one hard move in their line that poses the biggest challenge. The Crux! The Crux in reclaiming control of our program lies with the bias we've developed over time to support that program.  Confirmation and cognitive bias is the simplified processing of all information through a filter that references all past experiences and preferences. We use this filter to process perceptions, make decisions, and determine our reality. This cognitive bias can direct our focus on things that others can't see. Typically due to the fact that they are not there to be seen. Outside the realm of logic and rationale. Projecting an augmented version of reality that suits our current needs which prompts us to support that reality by focusing only on the things that confirm it and ignoring those that falsify it. In other words, we make shit up to make our story true. Even in the absence of facts. All of this, going on without you even knowing it. Almost makes you feel like a puppet, no? The programming we've received thus far becomes justified and protected by our bias, or the ego's opinion. You could even say that the ego is the master of puppets. Many refer to Descartes's famous quote, “I think; therefore, I am, " as the fall of civilization. It began a movement that prompted people to address reality and form opinions and reactions based on their thoughts. In his defense, I don't think Descartes knew how much we would be thinking about how susceptible we would be to the repetitive suggestions from our programmers. Our influential MFTPSEs.  It's easy to become wired into the suggestions, opinions, and concepts we consume regularly. “Neurons that fire together wire together.” This principle is known as the Hebbian learning rule; when two neurons in the brain are activated at the same time, they become more strongly connected to each other over time. This process is called synaptic plasticity, and it is the basis for learning and memory formation in the brain. Hebb's theory also proposes that the strength of the connection between two neurons depends on the frequency and timing of their activation. When two neurons are activated at the same time repeatedly, the connection between them becomes stronger. This reminds us of the power of consistency as it leverages these neural connections where memories of the event are formed. This created a situation where people could be led to believe one thing and be close-minded to the possibility of another. Descartes also said;  "Since our senses cannot put us in contact with external objects themselves, but only with our mental images of such objects, we can have no absolute certainty that anything exists in the external world.”  Descartes postulated what he called the “evil demon argument.” This is where he proposed we all live with an entity, a demon, capable of deceiving us. As a result, we lose our inherent ability to process what we see, without doubting its difference compared to what we think. Hmmm. Interesting to think about this concept. That there's an evil demon, or machine, living inside our heads calling shots. As if it is a separate entity, implanted in our brains that controls and coordinates our perceptions and responses? I believe we all inherently feel there is a guest or as i call it, the "little liar,” manipulating us. The concept of the “dark passenger” is widely accepted. We have these preposterous thoughts that cause us to cringe at the very idea of others knowing of them. As Jim Dethmer describes in his drama triangle theory, we place blame on the demon or machine in our head. As if it were placed there by others.  Plato's Cave Plato's allegory of the cave is a symbolic story of how humans learn to interpret reality based on what they see rather than what is. In this story, Plato described a scenario where a bunch of prisoners were constrained by chains side by side in a cave where they were forced to only look at a wall in front of them. With a fire lighting the room behind them, the projected shadows on the wall from people walking behind them, became the only thing the prisoners saw over time. After some time, these shadows became their interpretation of the world and reality.  The allegory looks at our philosophical thoughts of truth and how we come to terms with it and confidently describe it. Not until the prisoners are released can they slowly begin to entertain a new reality. The narrative ponders what would happen once the freed prisoners learned of the new reality outside the cave. First, the assumption was that they would return to the cave and attempt to free the others so they, too, could see the vast new reality. Their following belief was that the prisoners still in the cave would try to kill the messenger threatened by his blasphemy.   Humanity today is not much different from Plato's narrative. We are what we eat, and that's not just with food. The “S” in MFTPSE “society” reminds us of our constant daily consumption. Watch the news regularly and see how your perceptions, conversations, and reactions to everyday life shift. Follow politics or the conflict on the Gaza Strip and see how that affects your perceptions and conversations with others? I spent my whole life consuming and shaping my perceptions with a programmed operating system that I received and confirmed from my MFTPSE. My brain (software) and my VR suit (hardware) became hardwired to my unique way of looking at things. My programming was its manifestation, and my perceptions and responses were not actually mine. Not from my conscious mind but my subconscious programmed mind. I learned later that it represented 95% of the operating system. We program and support our subconscious mind with the repetitive consumption of data. Data from your MFTPSE. If you have a concept and belief system, it was created, molded and confirmed by your consumption. Those learned concepts are running on autopilot and in charge of your life. They say what you see is what you get. I agree. However, is what you get what actually is or just a manifestation of what you see.  Another SNAP moment. It was all becoming clear. I began reviewing clips of every event in my life through a new set of lenses. As if I was in a library using the good old news searching system we used to call microfiche. I had been justifying my reality and potential based on something I bought into. Now? I am progressively waking up and disputing everything. All bets are off and that means that I might be wrong about a lot of stuff. Including my potential and the very resource of potential in the world. When I use the word awakening, I'm referring to the opposite of being asleep. The difference between being instinctively closed, unconscious, and unaware vs. being open and conscious and aware. When you've been programmed, your VR suit (your 5 senses) continues to process, consume and confirm your current operating system. You're unaware of it, and it validates the programming.  This is the same way good and bad habits are created. Practice an activity or consume something for 60-90 days, and you not only become good at it. You become unconsciously competent at it. You don't even know who you are. That's a habit. There's something called the rule of 100. It states that an individual that spends 100 hours a year or 18 minutes a day on a discipline will end up being better than 95% of the entire world at that discipline. This awakening helped me tackle things like losing weight and keeping it off for 18 years. Rather than trying to stop the destructive behaviors, I began looking at why they were even there. We wake up one day to recognize our own inefficient operating system. It happens while running our regularly scheduled program, when some sort of glitch in the matrix pops up that suggests it is not working. We notice the insanity of  our behaviors where we expect different outcomes from doing the same old things. If you don't challenge this and just go with the flow and stay comfortable, the universe has a way of forcing your hand to change. The universe is in full support of your success and fulfillment. Yet if you are sleepwalking through life, it will curb stomp you to grab your attention and make you take a look at things.  Get too comfortable? Fat, lazy, depressed. Move too fast? Divorce, hypertension, anxiety, substance abuse.  I experienced a series of car accidents that forced me to recognize I was moving too fast and to re-access my behaviors, priorities and the underlying reason for their existence. Or when I experienced that SNAP moment, I was forced to see that therapist and learn why I hated my birthdays. I'm sure all humans have these universal offerings that force them to see something and make a powerful distinction. However, if we're not seeking growth. We may miss or ignore them. Disclaimer: It is important to acknowledge that I was seeking growth with urgency at this time.  We all want the same things in life. We want to be Happy-ER, Healthy-ER, and Wealthy-ER. I refer to humans as “seekers of the ER”. However, only those that seek with urgency will follow through and do the work. If you are learning this stuff and not moving into action, that's ok. Your time will come and it will come when you build urgency around it. I was frustrated with my lack of certainty, confidence, and progress at that time. I wanted more and began to engage in personal growth with a specific interest in neuroscience and the study of the human brain and consciousness. I became open and curious about these observations, even while in full survival mode.  This is a lifelong journey, and you're welcome to join me. Are you ready to leave your concept cave? Here's the good news folks. This programmed mind of yours? Demon included. It's completely re-programmable and we're gonna talk about some strategies to execute on that in upcoming episodes and conversations with guests. However, it starts with the awareness and acknowledgement that our perceptions, thoughts and feelings have been persuaded by an outside stimulus which means they may very well not be of our own choice. Here are a few simple practices to begin the process of reclaiming control of your goals, dreams and reality. These practices are not effective by simply knowing them and feeling you understand and agree with them. They must be practiced until they begin to show signs of opening up new alternate beliefs that unveil different possibilities and outcomes of your future potential.  Just say Hmmm?: When you find yourself contemplating yourself in evaluation of your willpower or motivation, just say Hmmm? Not to the thing you are evaluating, but to the very act of generating those concepts of your motivation and belief. Remember the idea of Brain Awareness Perception. Focus on your North Star: Very often when we feel “stuck” and begin contemplating our willpower, motivation and, our belief in ourselves, it's a side effect and symptom of forgetting where you were going and why? When you feel lost and confused, simply look up at the North Star and find your way back home to your goals and dreams.  Practice Patience: A few words missing from most people's 2024 goal sheet are patience , agility, awareness. Again, a side effect of our programmed mind are things like entitlement, impatience and frustration. They easily trigger a contingency plan to abort and move in a different direction. Once the contingency plan is set forth, our program begins to validate the decision to abort with the excuses that demonstrate the concepts of things like self belief, motivation and willpower being precursors to our following through. Saying Hmmm, and pausing your programmed mind will help you practice patience.  Remember. Truly doing the work can be exhausting at first. Not to mention frustrating as there are not too many wins associated with it at first. Making Sense of these distinctions can easily be washed away by your programmed mind and sense making machine as a waste of time if you are not ready. Perhaps showing up as you are telling yourself something like. “Ah, fuck this. We only live once and I don't want to spend my time struggling to move this mountain ahead of me. I want to enjoy my life etc..” My response to you would be “Hmmm?”  If that is going on in your mind right now or later, it's normal and you can feel better knowing that most people will do the same. But right after you feel better because you're not the only one. Ask yourself why only a few individuals sit at the top of the mountain at the table of success, fulfillment and happiness? Then look at your statement of “Ah, fuck this” and see why that is? It's a game I call “DRIFTING and SHIFTING”. Drifting refers to the act of unconsciously falling back into your regularly scheduled program. The one that isn't advancing you towards your desired state. Remember, it's not your fault. You are wired to do this. But if you can learn to simply place a pause on that idea of not following through and retreating to the comfortable place called “known”. By inserting a “Hmmm?” and allow yourself to look at the idea you have from a place of logic and rationale? You'll catch yourself DRIFTING again. See, Drifting is not the problem. Drifting off-course is a normal human behavior. Life gets sticky when you are unconsciously drifting. So catching yourself drifting is where the win is. As it becomes the fertile ground to you SHIFTING. Not only shifting back on course, but shifting into a more conscious version of yourself, that can remember things like the lesson you just heard on Motivation, Self Belief and Timing, and how they are not factors in your success.  It takes what I call PRACTION. A state of practicing being in action. See, you won't be good at this at first. You may find yourself drifting more than shifting. But keep at it. It never gets easy. But it does get easiER. Be well my friends. And remember. If you learned something today? Give it away. That's the only way it will stay. We hope that you will consider paying forward this podcast to your contact sphere. Strike up conversations with them about the topics and you'll find that its when we teach that we learn twice.  Contact - Dr. JC Doornick - https://zez.am/makessense 

durée : 00:51:31 - Répliques - par : Alain Finkielkraut - Tendu entre l'influence de la sensibilité impressionniste et la liberté colorée de Paul Gauguin, Pierre Bonnard fût longtemps méjugé par l'histoire de l'art. Pierre Bonnard n'était-il, comme on l'a beaucoup dit, que le "peintre du bonheur bourgeois" ? - invités : Benjamin Olivennes Essayiste; Stéphane Guégan Historien, critique d'art, Conseiller scientifique auprès de la Présidence du musée d'Orsay et du musée de l'Orangerie.