Brabantian artist and diplomat
POPULARITY
3 episodes with Peter Paul Rubens
2 episodes with Peter Paul Rubens
2 episodes with Peter Paul Rubens
2 episodes with Peter Paul Rubens
2 episodes with Peter Paul Rubens
2 episodes with Peter Paul Rubens
2 episodes with Peter Paul Rubens
2 episodes with Peter Paul Rubens
2 episodes with Peter Paul Rubens
Der Tag in NRW: Künstliche Intelligenz im Verkehr; Sicherheit auf Volksfesten in NRW; Spuren von Peter Paul Rubens in NRW - zum 385 Todestag; Tagebauregion schlägt Alarm - Sorge um die Zukunft; Moderation: Wolfgang Meyer Von WDR 5.
The Daily Quiz - Art and Literature Today's Questions: Question 1: Which author wrote 'First Folio'? Question 2: In which book series would you find the character 'Jacob Black'? Question 3: In which book series does Draco Malfoy appear? Question 4: Which author wrote 'War and Peace'? Question 5: Which piece of written work starts with the line 'Mrs. Rachel Lynde lived just where the Avonlea main road dipped down into a little hollow, fringed with alders and ladies' eardrops and traversed by a brook that had its source away back in the woods of the old Cuthbert place;'? Question 6: Which author wrote 'Sentimental Education'? Question 7: Which author wrote 'Digte'? Question 8: The painting "Massacre of the Innocents" by Peter Paul Rubens is a part of which art movement? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices
Mon, 21 Apr 2025 03:45:00 +0000 https://jungeanleger.podigee.io/2183-borsepeople-im-podcast-s18-15-veronika-korbei 786a67c4d0c2be7b86e54e6069440868 Mit Veronika Korbei, GoFundMe-Initiatorin für eine emotionale Sache, werde ich am 5.5. auf einer grossen neuen Bühne stehen. Veronika ist promovierte Kunsthistorikerin, nach der Dissertation zu den Handzeichnungen des Peter Paul Rubens arbeitete sie als Archivarin des Ernst H. Gombrich Archivs am Warburg Institute London (2008-2010) sowie für Sotheby`s. Als Eigentümerin der M2 in Hietzing rahmt sie mit ihrem Team Originale, Leinwände, Poster, Fotografien, Grafiken mit hochwertigen Materialien und säurefreien Passepartouts bzw. Klebebändern. Das Vorgespräch fand incl. Begutachtung einer mitgebrachten Mappe mit Prints von gemeinsamen Helden wie The Smiths, The Jam, Madonna, Charlie Watts oder David Bowie statt, in der Aufnahme gibt es natürlich immer wieder Referenzen dazu. Aber es geht auch um den legendären Handball Club West Wien, dem Veronika nach finanzieller Schieflage wieder auf die Beine geholfen hat. Wir sprechen über die West Wien-Legende Stefan Uher (jetzt EY), über Bernhard Krumpel, viele ehrenamtliche Helden sowie die Herzensangelegenheit Frauen-Mannschaft. Zum Abschluss hab ich einen Call to Action in Richtung Börsenotierte. https://www.m2korbei.at West Wien: https://vimeo.com/user214849586 Börsepeople Stefan Uher: https://audio-cd.at/page/podcast/5760 Börsepeople Bernhard Krumpel: https://audio-cd.at/page/podcast/4265 Börsepeople Max Pohanka: https://audio-cd.at/page/podcast/7057 The Business Athletes mit Bernhard Krumpel: https://audio-cd.at/page/podcast/7095 About: Die Serie Börsepeople des Podcasters Christian Drastil, der im Q4/24 in Frankfurt als "Finfluencer & Finanznetworker #1 Austria" ausgezeichnet wurde, findet im Rahmen von http://www.audio-cd.at und dem Podcast "Audio-CD.at Indie Podcasts" statt. Es handelt sich dabei um typische Personality- und Werdegang-Gespräche. Die Season 18 umfasst unter dem Motto „25 Börsepeople“ 25 Talks. Presenter der Season 18 ist die EVN http://www.evn.at. Welcher der meistgehörte Börsepeople Podcast ist, sieht man unter http://www.audio-cd.at/people. Der Zwischenstand des laufenden Rankings ist tagesaktuell um 12 Uhr aktualisiert. Bewertungen bei Apple (oder auch Spotify) machen mir Freude: http://www.audio-cd.at/spotify , http://www.audio-cd.at/apple . 2183 full no Christian Drastil Comm. 1515
Megan Shaw is an art historian who recently completed her PhD at the University of Auckland with her thesis entitled ‘A Female Favourite: Katherine Villiers, Duchess of Buckingham (1603-1649)'. Megan's doctoral research was supported by a Junior Fellowship with the Paul Mellon Centre for Studies in British Art. Her article on York House in the Furniture History journal includes a transcription of a newly discovered inventory of the Duchess of Buckingham's closets. Outside of academia she is an archivist and project manager at the Chartwell Collection Trust and her first book on Chartwell's philanthropy and this prestigious New Zealand art collection will be published in early April.See the artworks discussed in the episode:Peter Paul Rubens, Portrait of Katherine Villiers, Duchess of Buckingham and her family Anthony van Dyck (1599-1641), Charles I and Henrietta Maria with their two eldest children, Prince Charles and Princess Mary, April-August 1632, Royal Collection TrustVilliers tomb at Westminster
Dr. Robert Sorensen, Professor of Theology and Foreign Languages at Concordia University Chicago in River Forest, Illinois, joins Andy and Sarah to talk about St. Matthias, whose commemoration day is February 24, including where we hear about St. Matthias in Scripture, what is unique about how he became an apostle, how he served the Church, and what we can learn from Matthias' story and service to the Church. Feature image: Peter Paul Rubens, Public domain, via Wikimedia Commons As you grab your morning coffee (and pastry, let's be honest), join hosts Andy Bates and Sarah Gulseth as they bring you stories of the intersection of Lutheran life and a secular world. Catch real-life stories of mercy work of the LCMS and partners, updates from missionaries across the ocean, and practical talk about how to live boldly Lutheran. Have a topic you'd like to hear about on The Coffee Hour? Contact us at: listener@kfuo.org. The Coffee Hour is underwritten by Concordia University Wisconsin. Live Uncommon. Learn more at cuw.edu.
A meditation preached by Fr. Eric Nicolai to High School students in Beamsville, Ontario ,on February 2, 2025. Today is the feast of the presentation. It is a feast of pour Lady, but really focused on Our Lord who is being presented by his parents in the temple. It was the law of Israel that each first born should be presented to the Lord, 40 days after his birth. They are complying with the Mosaic Law. It is his mission. He is presented, offered, given over, and his parents do so with faith, knowing his purpose more than anyone. Music: Original track by Michael Lee, of Toronto. Thumbnail, Peter Paul Rubens, Presentation in the Temple, sketch, 1632, Naala Nura, ground level, Grand Courts.
Last weekend, warnings to evacuate were issued to the suburban westside neighborhood of Brentwood, which includes the esteemed Getty Center, home to one of the city's most prized art collections. After more than a week of burning, L.A.'s devastating wildfires, which began on January 7, are still not fully contained, forcing ongoing evacuation orders around the coastal city. It is the worst fire event in L.A.'s history and has taken 24 lives. As part of the Getty Trust, the museum features European paintings, including Van Gogh's Irises, and works by Rembrandt, Monet, Manet, and Peter Paul Rubens. It also houses Greek, Roman, and Etruscan art from the Neolithic to Late Antiquity—some of which is partially held at its second campus, the Getty Villa. Days before the threat of fire reached the museum's main venue over the weekend, the Villa was already grappling with the Palisades blaze, which ended up destroying or damaging around 4,000 structures and spreading over 23,000 acres. As the fires raged around Los Angeles, intensified by strong winds, media imagery circulating online showed brush burning around the Getty Villa in the Palisades. This prompted panic about the security of the collection. The institution, however, has long billed itself as a highly fire-safe institution. Built in 1997, the Getty Center has been described as “a marvel of anti-fire engineering.” Throughout the last week, its team has worked tirelessly to defend the property and has communicated daily about the safety and security of its sites. Unfortunately, many other properties—including thousands of homes, businesses, and smaller cultural institutions—have been destroyed. Many cultural workers, collectors, and gallerists are among those who lost their homes, and artists' homes and studios—including entire bodies of work and archives—have been irretrievably lost. The extent of livelihoods destroyed in Los Angeles is truly heartbreaking. We will link to resources in the show notes where you can find out how to help. We also have a story on our website providing frequent updates on the state of the cultural scene. This week, the J. Paul Getty Trust and a coalition of local and international cultural institutions announced a $12 million emergency relief fund for members of the Los Angeles arts community affected by the wildfires. Katherine E. Fleming, president and CEO of the J. Paul Getty Trust, joins me on The Art Angle to discuss her experience of the wildfires, the Getty's state-of-the-art prevention protocols for its valuable art, and what the fires mean for Los Angeles' cultural scene as it eventually seeks to rebuild.
Last weekend, warnings to evacuate were issued to the suburban westside neighborhood of Brentwood, which includes the esteemed Getty Center, home to one of the city's most prized art collections. After more than a week of burning, L.A.'s devastating wildfires, which began on January 7, are still not fully contained, forcing ongoing evacuation orders around the coastal city. It is the worst fire event in L.A.'s history and has taken 24 lives. As part of the Getty Trust, the museum features European paintings, including Van Gogh's Irises, and works by Rembrandt, Monet, Manet, and Peter Paul Rubens. It also houses Greek, Roman, and Etruscan art from the Neolithic to Late Antiquity—some of which is partially held at its second campus, the Getty Villa. Days before the threat of fire reached the museum's main venue over the weekend, the Villa was already grappling with the Palisades blaze, which ended up destroying or damaging around 4,000 structures and spreading over 23,000 acres. As the fires raged around Los Angeles, intensified by strong winds, media imagery circulating online showed brush burning around the Getty Villa in the Palisades. This prompted panic about the security of the collection. The institution, however, has long billed itself as a highly fire-safe institution. Built in 1997, the Getty Center has been described as “a marvel of anti-fire engineering.” Throughout the last week, its team has worked tirelessly to defend the property and has communicated daily about the safety and security of its sites. Unfortunately, many other properties—including thousands of homes, businesses, and smaller cultural institutions—have been destroyed. Many cultural workers, collectors, and gallerists are among those who lost their homes, and artists' homes and studios—including entire bodies of work and archives—have been irretrievably lost. The extent of livelihoods destroyed in Los Angeles is truly heartbreaking. We will link to resources in the show notes where you can find out how to help. We also have a story on our website providing frequent updates on the state of the cultural scene. This week, the J. Paul Getty Trust and a coalition of local and international cultural institutions announced a $12 million emergency relief fund for members of the Los Angeles arts community affected by the wildfires. Katherine E. Fleming, president and CEO of the J. Paul Getty Trust, joins me on The Art Angle to discuss her experience of the wildfires, the Getty's state-of-the-art prevention protocols for its valuable art, and what the fires mean for Los Angeles' cultural scene as it eventually seeks to rebuild.
Aanstormend Vlaams-Nederlands schrijftalent laat zich inspireren door schilderijen van Peter Paul Rubens, Jan Steen en andere 17e-eeuwse kunstenaars uit de collectie van het Mauritshuis vanuit één kernvraag: wat zie je als je met oog voor alternatieve geschiedenis naar deze artefacten kijkt?
Aanstormend Vlaams-Nederlands schrijftalent laat zich inspireren door schilderijen van Peter Paul Rubens, Jan Steen en andere 17e-eeuwse kunstenaars uit de collectie van het Mauritshuis vanuit één kernvraag: wat zie je als je met oog voor alternatieve geschiedenis naar deze artefacten kijkt?
Aanstormend Vlaams-Nederlands schrijftalent laat zich inspireren door schilderijen van Peter Paul Rubens, Jan Steen en andere 17e-eeuwse kunstenaars uit de collectie van het Mauritshuis vanuit één kernvraag: wat zie je als je met oog voor alternatieve geschiedenis naar deze artefacten kijkt?
Aanstormend Vlaams-Nederlands schrijftalent laat zich inspireren door schilderijen van Peter Paul Rubens, Jan Steen en andere 17e-eeuwse kunstenaars uit de collectie van het Mauritshuis vanuit één kernvraag: wat zie je als je met oog voor alternatieve geschiedenis naar deze artefacten kijkt?
Aanstormend Vlaams-Nederlands schrijftalent laat zich inspireren door schilderijen van Peter Paul Rubens, Jan Steen en andere 17e-eeuwse kunstenaars uit de collectie van het Mauritshuis vanuit één kernvraag: wat zie je als je met oog voor alternatieve geschiedenis naar deze artefacten kijkt?
Aanstormend Vlaams-Nederlands schrijftalent laat zich inspireren door schilderijen van Peter Paul Rubens, Jan Steen en andere 17e-eeuwse kunstenaars uit de collectie van het Mauritshuis vanuit één kernvraag: wat zie je als je met oog voor alternatieve geschiedenis naar deze artefacten kijkt?
Aanstormend Vlaams-Nederlands schrijftalent laat zich inspireren door schilderijen van Peter Paul Rubens, Jan Steen en andere 17e-eeuwse kunstenaars uit de collectie van het Mauritshuis vanuit één kernvraag: wat zie je als je met oog voor alternatieve geschiedenis naar deze artefacten kijkt?
Aanstormend Vlaams-Nederlands schrijftalent laat zich inspireren door schilderijen van Peter Paul Rubens, Jan Steen en andere 17e-eeuwse kunstenaars uit de collectie van het Mauritshuis vanuit één kernvraag: wat zie je als je met oog voor alternatieve geschiedenis naar deze artefacten kijkt?
Aanstormend Vlaams-Nederlands schrijftalent laat zich inspireren door schilderijen van Peter Paul Rubens, Jan Steen en andere 17e-eeuwse kunstenaars uit de collectie van het Mauritshuis vanuit één kernvraag: wat zie je als je met oog voor alternatieve geschiedenis naar deze artefacten kijkt?
When Jesus speaks of marriage and children, he sets out to correct his time's misuse and misunderstanding of these things. Likewise today, we must hear his words and take them to heart as we approach these most holy of subjects.Image: Portrait of a Married Couple with a Child, by Peter Paul Rubens, Public domain, via Wikimedia Commons
Znowu opowiadam Wam o obrazie, który stworzył Rubens. Sama jestem zaskoczona tą częstotliwością pojawiania się mistrza z Antwerpii w moich opowieściach. Jednak ten obraz jest wyjątkowy i niezwykle zgrał się ze szczególnym moim prywatnym życiu. Stara kobieta, chłopiec i świece. Niepozorna scena rodzajowa czy głęboka metafora ludzkiego losu? A może wyzwanie rzucone mistrzom antyku? Dzieło musiało być ważne dla Rubensa, bo nigdy się z nim nie rozstał. Peter Paul Rubens, "Stara kobieta, chłopiec i świece", ok. 1616-1617, Mauritshuis w Hadze *** Lubisz moją pracę i treści, które przygotowuję z myślą o Tobie? Możesz mnie wesprzeć w Patronite i pomóc dalej rozwijać naszą społeczność miłośników sztuki ❤️ Zajrzyj tutaj: https://patronite.pl/otulina_o_sztuce *** Nagrań możecie posłuchać na: Spotify: https://spoti.fi/3bS7qEa Podcasty: https://www.podkasty.info/katalog/podkast/8697-OTULINA_O_SZTUCE Apple Podcasts: https://apple.co/3lgoqoS You Tube: https://www.youtube.com/@otulinaosztuce Możecie znaleźć moje wpisy na profilu na Facebooku: https://www.facebook.com/otulinablogpl lub na Instagramie: https://www.instagram.com/otulina_o_sztuce Oraz na stronie www.otulinaosztuce.pl
How and Why We Make Games (CRC Press, 2024) delves into the intricate realms of games and their creation, examining them through cultural, systemic, and, most notably, human lenses. It explores diverse themes such as authorship, creative responsibility, the tension between games as a product and games as a form of cultural expression, and the myth of a universal audience. The book analyzes why we should put politics in our games and how hyperrealism may be a trap. It also proposes a new framework for thinking about game narrative and a different paradigm for the production altogether. Topics tackled are approached from a multidisciplinary perspective, so be prepared to read both about Peter Paul Rubens and John Carmack. There are also graphs, system rhetorics discussions, and the market reality—stakeholders, return on investments, and the gaming bubble bursting. This book is written for readers passionate about the craft of making games, including journalists and industry professionals. It offers a more humanistic perspective on games, presented by experienced writers who know the intricacies of game development. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Titel kulturmagazin, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
How and Why We Make Games (CRC Press, 2024) delves into the intricate realms of games and their creation, examining them through cultural, systemic, and, most notably, human lenses. It explores diverse themes such as authorship, creative responsibility, the tension between games as a product and games as a form of cultural expression, and the myth of a universal audience. The book analyzes why we should put politics in our games and how hyperrealism may be a trap. It also proposes a new framework for thinking about game narrative and a different paradigm for the production altogether. Topics tackled are approached from a multidisciplinary perspective, so be prepared to read both about Peter Paul Rubens and John Carmack. There are also graphs, system rhetorics discussions, and the market reality—stakeholders, return on investments, and the gaming bubble bursting. This book is written for readers passionate about the craft of making games, including journalists and industry professionals. It offers a more humanistic perspective on games, presented by experienced writers who know the intricacies of game development. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Titel kulturmagazin, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology
How and Why We Make Games (CRC Press, 2024) delves into the intricate realms of games and their creation, examining them through cultural, systemic, and, most notably, human lenses. It explores diverse themes such as authorship, creative responsibility, the tension between games as a product and games as a form of cultural expression, and the myth of a universal audience. The book analyzes why we should put politics in our games and how hyperrealism may be a trap. It also proposes a new framework for thinking about game narrative and a different paradigm for the production altogether. Topics tackled are approached from a multidisciplinary perspective, so be prepared to read both about Peter Paul Rubens and John Carmack. There are also graphs, system rhetorics discussions, and the market reality—stakeholders, return on investments, and the gaming bubble bursting. This book is written for readers passionate about the craft of making games, including journalists and industry professionals. It offers a more humanistic perspective on games, presented by experienced writers who know the intricacies of game development. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Titel kulturmagazin, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications
How and Why We Make Games (CRC Press, 2024) delves into the intricate realms of games and their creation, examining them through cultural, systemic, and, most notably, human lenses. It explores diverse themes such as authorship, creative responsibility, the tension between games as a product and games as a form of cultural expression, and the myth of a universal audience. The book analyzes why we should put politics in our games and how hyperrealism may be a trap. It also proposes a new framework for thinking about game narrative and a different paradigm for the production altogether. Topics tackled are approached from a multidisciplinary perspective, so be prepared to read both about Peter Paul Rubens and John Carmack. There are also graphs, system rhetorics discussions, and the market reality—stakeholders, return on investments, and the gaming bubble bursting. This book is written for readers passionate about the craft of making games, including journalists and industry professionals. It offers a more humanistic perspective on games, presented by experienced writers who know the intricacies of game development. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Titel kulturmagazin, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society
How and Why We Make Games (CRC Press, 2024) delves into the intricate realms of games and their creation, examining them through cultural, systemic, and, most notably, human lenses. It explores diverse themes such as authorship, creative responsibility, the tension between games as a product and games as a form of cultural expression, and the myth of a universal audience. The book analyzes why we should put politics in our games and how hyperrealism may be a trap. It also proposes a new framework for thinking about game narrative and a different paradigm for the production altogether. Topics tackled are approached from a multidisciplinary perspective, so be prepared to read both about Peter Paul Rubens and John Carmack. There are also graphs, system rhetorics discussions, and the market reality—stakeholders, return on investments, and the gaming bubble bursting. This book is written for readers passionate about the craft of making games, including journalists and industry professionals. It offers a more humanistic perspective on games, presented by experienced writers who know the intricacies of game development. Rudolf Inderst is a professor of Game Design with a focus on Digital Game Studies at the IU International University of Applied Science, department lead for Games at Titel kulturmagazin, editor of “DiGRA D-A-CH Game Studies Watchlist”, a weekly messenger newsletter about Game Culture and curator of @gamestudies at tiktok. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture
Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist's designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects. Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021) by Dr. Aaron M. Hyman is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analysing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network
Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist's designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects. Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021) by Dr. Aaron M. Hyman is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analysing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history
Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist's designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects. Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021) by Dr. Aaron M. Hyman is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analysing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/latin-american-studies
Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist's designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects. Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021) by Dr. Aaron M. Hyman is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analysing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices
Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist's designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects. Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021) by Dr. Aaron M. Hyman is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analysing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art
Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist's designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects. Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021) by Dr. Aaron M. Hyman is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analysing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices
Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist's designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects. Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021) by Dr. Aaron M. Hyman is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analysing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices
Peter Paul Rubens (1577–1640) never crossed the Atlantic himself, but his impact in colonial Latin America was profound. Prints made after the Flemish artist's designs were routinely sent from Europe to the Spanish Americas, where artists used them to make all manner of objects. Rubens in Repeat: The Logic of the Copy in Colonial Latin America (Getty Research Institute, 2021) by Dr. Aaron M. Hyman is the first comprehensive study of this transatlantic phenomenon, despite broad recognition that it was one of the most important forces to shape the artistic landscapes of the region. Copying, particularly in colonial contexts, has traditionally held negative implications that have discouraged its serious exploration. Yet analysing the interpretation of printed sources and recontextualizing the resulting works within period discourse and their original spaces of display allow a new critical reassessment of this broad category of art produced in colonial Latin America—art that has all too easily been dismissed as derivative and thus unworthy of sustained interest and investigation. This book takes a new approach to the paradigms of artistic authorship that emerged alongside these complex creative responses, focusing on the viceroyalties of New Spain and Peru in the seventeenth and eighteenth centuries. It argues that the use of European prints was an essential component of the very framework in which colonial artists forged ideas about what it meant to be a creator. This interview was conducted by Dr. Miranda Melcher whose new book focuses on post-conflict military integration, understanding treaty negotiation and implementation in civil war contexts, with qualitative analysis of the Angolan and Mozambican civil wars. Learn more about your ad choices. Visit megaphone.fm/adchoices
rWotD Episode 2632: Gabriel François Doyen Welcome to Random Wiki of the Day, your journey through Wikipedia’s vast and varied content, one random article at a time.The random article for Thursday, 18 July 2024 is Gabriel François Doyen.Gabriel François Doyen (French: [gabʁjɛl fʁɑ̃swa dwajɑ̃]; 1726 – 5 June 1806) was a French painter who was born in Paris.He became an artist against his father's wishes, becoming a pupil at the age of twelve of Charles-André van Loo. Making rapid progress, he obtained at twenty the Grand Prix de Rome, and in 1748 set out for Rome. He studied the works of Annibale Carracci, Pietro Berrettini da Cortona, Giulio Romano and Michelangelo, then visited Naples, Bologna and, crucially, Venice. While in the latter city Doyen was greatly influenced by the work of the famous colourists, such as Titian.In 1755 returned to Paris and, at first unappreciated and disparaged, he resolved by one grand effort to achieve a reputation, and in 1758 he exhibited his Death of Virginia. It was completely successful, and procured him admission to the Académie Royale de Peinture et de Sculpture. Doyen was also influenced by Peter Paul Rubens after a visit to Antwerp. This influence is, perhaps, best displayed in his Le Miracle des ardents, painted for the church of St Genevieve at St Roch (1767). This painting was exhibited in the salon of 1767, which was recorded by Saint-Aubin in "View of the salon of 1767'". Art historian Michael Levey described this painting as the 'high point' in the artist's career, suggesting the drama of the piece may be a precursor to that which characterises the French Romantic painting of the 19th century. He notes how the writhing figures of the foreground are similar to those found in The Raft of the Medusa by Théodore Géricault. In 1773 Doyen painted his The Last Communion of St Louis for the high altar of the chapel at the École Militaire; it is strongly reminiscent of The Last Communion of St Jerome by Domenichino and displays a sharp clarity of message, required by its position far above the high altar. Another notable work of this period in Doyen's life is the Triumph of Thetis for the chapel of the Invalides. In 1776 he was appointed professor at the academy.During the initial stages of the French Revolution he became active in the national museum project; however in 1791 he left France for Russia on the invitation of Catherine II of Russia. He settled in St Petersburg, where he was much honoured by the Imperial family and Russian art establishment. He died there on 5 June 1806.This recording reflects the Wikipedia text as of 00:53 UTC on Thursday, 18 July 2024.For the full current version of the article, see Gabriel François Doyen on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Brian.
Welcome to the Instant Trivia podcast episode 1179, where we ask the best trivia on the Internet. Round 1. Category: State Of The Book 1: "The Help". Mississippi. 2: "The Last Picture Show". Texas. 3: "Washington Square". New York. 4: "Centennial" by James Michener. Colorado. 5: "The Grapes of Wrath"--2 states please, where the story begins and ends. Oklahoma and California. Round 2. Category: Tell 1: Although he may be legendary, William Tell is one of the best-known heroes of this nation. Switzerland. 2: This form of "William" is in the German title of Friedrich Schiller's play about Tell. Wilhelm. 3: In the traditional William Tell story, this is the cause of death of the cruel governor Gessler. shot with an arrow. 4: It was Tell's response when Gessler asked what the extra arrow was for. to kill him if he missed with the first one. 5: The overture to this Italian composer's opera about William Tell is used to speed things up. Rossini. Round 3. Category: Guinness Animal Records 1: The largest one ever made by birds was built by bald eagles and weighed over 6,700 lbs.. a nest. 2: A Texas cat named Dusty must have been the cat's meow as she had 420 of these. kittens. 3: Some of these arthropods have as many as 750 legs, not a thousand as their name implies. a millipede. 4: The Gaboon viper has the longest of any snake, nearly 2". the fang. 5: It's the slowest-moving land mammal, and its name is a synonym for laziness. a sloth. Round 4. Category: The New York Times Style 1: An nytimes.com slide show on this woman's style included the red and black number from Election Night 2008. Michelle Obama. 2: Disco hoops and other styles of extravagant these "suggest you are taking the party with you". earrings. 3: A blog post notes that Junya Watanabe's Spring '09 collection continues to rely on this basic type of working pants. jeans. 4: In May 2008 the times reported on a more modest look in this wear, including boy shorts and halter tops. swimwear. 5: The times said this "NY" designer became "a Seventh Avenue original" using tights as a foundation for skirts and shirts. Donna Karan. Round 5. Category: A Success With Brush 1: In "The Story of Painting" Sister Wendy says, "He is much more than a painter of the fair and fat". (Peter Paul) Rubens. 2: An early 1730s work by Canaletto shows this canal city's "Quay of the Piazzetta". Venice. 3: There are 2 versions of John Singleton Copley's "Watson and" this sea predator in U.S. galleries. the Shark. 4: For your information, no, your six-year-old could not make paintings just like this man's 1952 "Convergence". (Jackson) Pollock. 5: Victorine Meurent, his favorite model, is the nude in his "Le dejeuner sur l'herbe". Edouard Manet. Thanks for listening! Come back tomorrow for more exciting trivia!Special thanks to https://blog.feedspot.com/trivia_podcasts/ AI Voices used
Peter Paul Rubens wasn't your typical 17th-century artist. He produced magnificent Baroque masterpieces, his canvases overflowing with vibrant colors and dynamic figures. While Baroque art was known for its high drama, in this case, the real life of the artist may have been even more intriguing. Rubens was not only a highly skilled artist, he was also a shrewd diplomat and a cunning spy, a man who navigated the treacherous world of European politics with as much finesse as he wielded his paintbrush. Arts Madness 2024 links: The Brackets Spotify Playlist Vote in the Current Round Check out my other podcasts Art Smart | Rainbow Puppy Science Lab Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Learn more about your ad choices. Visit megaphone.fm/adchoices
The Flemish Baroque painter Peter Paul Rubens produced around 1,500 artworks, and a new research project explores the Islamic themes in his art. Dr Adam Sammut discusses why the Ottoman Empire's influence on Rubens has been at the periphery of research, and what it reveals about the early modern understanding of cultural identity. Dr Nil Palabiyik has been researching the artist, musician and linguist Ali Bey who was taken as a war captive from Poland and placed at the palace school in Constantinople. He became a key figure at court, bridging cultural differences between east and west through his collections of Ottoman music and translation of the bible. Dr Adam Sammut is a Leverhulme Early Career Fellow in History of Art at the University of York. His current project is called ‘Rubens and Islam: Global exchange and European identity in early modern Antwerp. Dr Nil Palabiyik is Lecturer in Medieval and Early Modern Studies at Queen Mary University of London. In 2023 she was awarded the Philip Leverhulme prize and is the author of ‘Silent Teachers: Turkish Books and Oriental Learning in Renaissance Europe, 1544-1680'. Dr Sarah Jilani is a Lecturer in English at City, University of London, looking at post-colonial world literatures and film and was a New Generation Thinker on the scheme run by the BBC and Arts and Humanities Research Council to put research on the radio. This New Thinking episode of the Arts & Ideas podcast was made in partnership with the Arts and Humanities Research Council, part of UKRI. You can find more on BBC Sounds and in a collection on Radio 3's Free Thinking programme website called New Research with discussions on topics ranging from disability in music and theatre to why we talk Producer: Martha Owen
Mark Yang's colorful, incongruous arrays of anonymous limbs entangled together investigate the nuances of human interaction through a critical lens of art history. Morphing and distorting idealized figures into conglomerates of body parts, Yang's forms exhibit a sculptural quality, the result of the artist's thoughtful rendering of plane, dimension, and space. Reducing, dismantling, and reassembling their limbs almost to the point of abstraction with a variety of painterly techniques, Yang creates characteristically mysterious compositions that are not immediately forthcoming with their narrative plot. With a comprehensive set of art historical references, from the Baroque compositions of Peter Paul Rubens to the postwar abstractions of Ellsworth Kelly, Yang's anatomical abstractions have been praised for their complication of gender norms. Yang's ambiguous bodily arrangements rarely depict his figures' faces, prioritizing their bodies over their identities. Resisting homogenizing classifications, Yang calls attention to shifting cultural conceptions of masculinity between South Korea, where Yang was born, and the United States, where he was raised. Mark Yang, Kelly's Colors for a Larger Wall, 2023 oil on canvas 72 x 60 inches 182.9 x 152.4 cm Mark Yang, Life (3), 2023 oil on canvas 40 x 50 inches 101.6 x 127 cm Mark Yang, Seated and Standing Nude, 2023 oil on canvas 66 x 44 inches 167.6 x 111.8 cm
Anthony van Dyck was a commercially successful painter in Antwerp and Italy, but he may have had the most influence in England when he served as court painter to King Charles I. Research: Blake, Robin. “Anthony Van Dyck.” Ivan R. Dee. 2009. “Anthony Van Dyck.” The Art Story. https://www.theartstory.org/artist/van-dyck-anthony/ Maddicott, Hilary. “‘Qualis vita, finis ita': The life and death of Margaret Lemon, mistress of Van Dyck.” The Burlington Magazine. February 2018. https://www.burlington.org.uk/media/_file/generic/article-42279.pdf?fbclid=IwAR2dE5AscipktnTy4QDCc0CN_cYOlVYCPkNerrHsR0oi0V4zCUdiOpEz2to Solly, Meilan. “Digital Art Detectives Identify Original van Dyck Portrait.” Smithsonian. Oct. 10, 2019. https://www.smithsonianmag.com/smart-news/digital-art-detectives-identify-original-van-dyck-portrait-spanish-royal-180973308/ Liedtke, Walter. “Peter Paul Rubens (1577–1640) and Anthony van Dyck (1599–1641): Paintings.” The Met. October 2003. https://www.metmuseum.org/toah/hd/rvd_p/hd_rvd_p.htm Vance, Heidi. “15 Facts About Anthony van Dyck: A Man Who Knew Many Faces.” The Collector. Aug. 16, 2020. https://www.thecollector.com/anthony-van-dyck-painter/ “In focus: Sir Anthony van Dyck.” National Portrait Gallery. https://www.npg.org.uk/assets/files/pdf/learning/NPG_VanDyck_14.pdf “The Iconographie and Other Early Portrait Prints after Van Dyck.” The Frick Collection. https://www.frick.org/exhibitions/van_dyck/iconographie White, Christopher. “Anthony van Dyck and the Art of Portraiture.” Modern Art Press. 2021. Wood, Jeremy. “Dyck, Sir Anthony [formerlyAntoon] Van.” Oxford Dictionary of National Biography. Sept. 23, 2004. https://doi.org/10.1093/ref:odnb/28081 See omnystudio.com/listener for privacy information.
We love a thick bodied babe and it probably doesn't take a genius to figure out that our man Rubens did too! And though we are all finally recovering from the mindfuck in media we grew up with, we're here to remind that FAT has always been P.H.A.T. in this episode! Join us as Chelsea unearths all the TEA surrounding this painter's life. There will be AFFAIRS, there will be MURDER, and there will be... really not-okay age differences within marriages... again! I know, I know, EWWWW. I'm sorry it's not our fault all these artists are just SOOOOO gross. We still make it fun though, promise!Thanks for listening and as always, we love you!Xoxo,The Baroque Bitches#arthistorypodcast #artpodcast #arthistory
WEBSITE: https://micahchristensen.com https://anthonysfineart.com INSTAGRAM: https://www.instagram.com/beardedroman/ _________________________________________________________________________ THANKS TO OUR SPONSORS: ROSEMARY BRUSHES https://www.rosemaryandco.com HEIN ATELIER https://heinatelier.com/ ANTHONYS FINE ART AND ANTIQUES https://anthonysfineart.com _________________________________________________________________________ THANK YOU TO ALL OF MY GENEROUS PATRONS! PLEASE CONSIDER HELPING TO KEEP THIS PODCAST GOING BY BECOMING A MONTHLY PATRON. JUST CLICK THE LINK BELOW. https://patron.podbean.com/theundrapedartist _________________________________________________________________________ FOLLOW THE PODCAST ON INSTAGRAM, FACEBOOK AND YOUTUBE: https://www.instagram.com/THEUNDRAPEDARTIST/ https://www.facebook.com/people/The-Undraped-Artist-Podcast/100083157287362/ https://www.youtube.com/@theundrapedartist __________________________________________________________________________ FOLLOW THE HOST, JEFF HEIN: Jeffhein.com https://www.facebook.com/jeffrey.hein.16/ https://www.instagram.com/jeff_hein_art/ https://www.instagram.com/jeff_hein_studio/
WEBSITE: https://micahchristensen.com https://anthonysfineart.com INSTAGRAM: https://www.instagram.com/beardedroman/ _________________________________________________________________________ THANKS TO OUR SPONSORS: ROSEMARY BRUSHES https://www.rosemaryandco.com HEIN ATELIER https://heinatelier.com/ ANTHONYS FINE ART AND ANTIQUES https://anthonysfineart.com _________________________________________________________________________ THANK YOU TO ALL OF MY GENEROUS PATRONS! PLEASE CONSIDER HELPING TO KEEP THIS PODCAST GOING BY BECOMING A MONTHLY PATRON. JUST CLICK THE LINK BELOW. https://patron.podbean.com/theundrapedartist _________________________________________________________________________ FOLLOW THE PODCAST ON INSTAGRAM, FACEBOOK AND YOUTUBE: https://www.instagram.com/THEUNDRAPEDARTIST/ https://www.facebook.com/people/The-Undraped-Artist-Podcast/100083157287362/ https://www.youtube.com/@theundrapedartist __________________________________________________________________________ FOLLOW THE HOST, JEFF HEIN: Jeffhein.com https://www.facebook.com/jeffrey.hein.16/ https://www.instagram.com/jeff_hein_art/ https://www.instagram.com/jeff_hein_studio/
The actor Patsy Ferran talks to Samira about her transformation from flower girl (with some autonomy) to duchess (with none at all) in Pygmalion at the Old Vic, and a career in which she transformed from Edith, the maid in Blithe Spirit with Angela Lansbury to Blanche DuBois in A Streetcar Named Desire with Paul Mescal, via Jem in Treasure Island. “Rubenesque” has long evoked a voluptuous image of female nudity in art, but a new exhibition at the Dulwich Picture Gallery seeks to explore the complex relationship between Peter Paul Rubens and the women in his life. Co-curator Amy Orrock and critic Louisa Buck discuss how they influenced, and in many cases financially supported, the 17th century Flemish painter. And as Netflix airs the fifth and final series of ‘Top Boy', which first appeared on Channel 4 starring Ashley Waters, Clive Nwonka, author of ‘Black Boys The Social Aesthetics of British Urban Film' and film critic Leila Latif discuss representations of black urban culture on screen. Presenter: Samira Ahmed Producer: Nicki Paxman
This week: three big London shows, in depth. As Marina Abramović draws huge crowds to the Royal Academy of Arts in London, we interview her about the exhibition—the first ever dedicated to a woman artist in the Royal Academy's main galleries. At the National Gallery, meanwhile, is a remarkable survey of the paintings of the 17th-century Dutch master Frans Hals, which will tour next year to Amsterdam and Berlin. We take a tour with Bart Cornelis, curator of the National's incarnation of the show. And this episode's Work of the Week is Peter Paul Rubens's Three Nymphs with a Cornucopia of around 1625 to 1628 (painted with Frans Snyders). In the collection of the Prado in Madrid, it is one of a number of major loans to the exhibition Rubens and Women at the Dulwich Picture Gallery in London. Amy Orrock, one of the curators of the exhibition, tells us more.Marina Abramović, Royal Academy of Arts, London, until 1 January 2024. You can hear our interview with Marina during the Covid lockdown in our episode from 8 May 2020, and a conversation with Tate Modern's Catherine Wood about Ulay, following his death in 2020, in the episode from 6 March that year. Hosted on Acast. See acast.com/privacy for more information.
Our demigods are known for their swordplay, so it's only natural that we devote an episode of the podcast to the arts of war and battle! Epic fights have played a role in so many amazing stories from mythology through the ages, from the poems of Homer to modern movies. In this episode, we talk about the key PVP fight of the Trojan War, between Hector and Achilles, as well as several other major fights from Egyptian, Aztec, and Chinese mythology. This week's interview features Laine Flores, who works for Hermes as a logistics coordinator for Plato Learning, making sure that all our demigods get their swords and shirts every summer! But elsewhere in life, Laine is an expert in stage combat! Learn all about what that means in this episode. If you'd like to submit a story or artwork to be featured on Myths & Muses, use this form (with a Mortal Guardian's permission!). [Transcript for Episode 5] Stuff to Read: The Battle of Hector and Achilles: Read the original story from the Iliad! Hector of Troy: Legendary Hero of the Trojan War Hector vs Achilles: Comparing the Two Great Warriors More about Horus and Set More about Tezcatlipoca and Quetzalcoatl Aztec creation story More about Nuwa Stuff to Watch: Our YouTube Playlist for Episode 5, featuring more on the Trojan War and the Aztec myth of the Five Suns, as well as some of the epic mythological battles we didn't get the chance to talk about in this episode. Please note: Because of the subject matter of this episode, there are some depictions of bloodshed in the context of ancient warfare. Mortal Guardians may want to watch first to make sure it's suitable for their demigods! Cool Images: Achilles Slays Hector, painting by Peter Paul Rubens (c. 1630) Eric Bana as Hector and Brad Pitt as Achilles in Troy (2004) From the throne of a statue of King Sesostri I, showing Horus and Seth binding together the symbolic plants of Upper and Lower Egypt. ca. 1961 -1917 BCE. Quetzalcoatl and Tezcatlipoca, art reproduced from the Codex Borbonicus (c. 1500)
Join hosts Danny and Phoenix as they navigate through an intriguing assortment of topics in this episode of the English Plus Podcast. Start by enhancing your vocabulary with the AI & Machine Learning Vocabuilder before diving into the ethical implications of these technologies. The hosts also discuss the impact of social media on mental health, the ancient Greek theories of the world's creation, and the fascinating ways our brains store memories.Learn about the ins and outs of a career in mechanical engineering and get practical English tips for acing job interviews. Reflect on Peter Paul Rubens masterpieces with poetry and music and learn more about Albert Einstein's contributions. Immerse yourself in Japanese culture by learning about origami's symbolism and origins. Attempt to debunk the mystery of the Bermuda Triangle and the myth of the Great Wall of China's visibility from space.Kick off a comprehensive psychology series with an introduction to the field, and learn more about the Nature vs Nurture debate. Tune in to this diverse and enlightening episode today!Find the interactive transcript, interactive activities and more on https://englishpluspodcast.com/ai-ethics-mental-health-social-media-greek-cosmogony-and-more/Find the poems reflecting on Peter Paul Rubens on https://englishpluspodcast.com/reflecting-on-rubens-poems-inspired-by-five-masterpieces/Support the showNever Stop Leaning on our website englishpluspodcast.com
A soft drink conspiracy starts a riot/A man summons spirits for fortune and fame. Vote For Your Favorite Paranormal Podcast: Dead Rabbit Radio! https://paranormalitymag.com/vote25/ Patreon https://www.patreon.com/user?u=18482113 PayPal Donation Link https://tinyurl.com/mrxe36ph MERCH STORE!!! https://tinyurl.com/y8zam4o2 Amazon Wish List https://www.amazon.com/hz/wishlist/ls/28CIOGSFRUXAD?ref_=wl_share Dead Rabbit Radio Wiki https://deadrabbitradio.pods.monster/doku.php?id=Welcome Help Promote Dead Rabbit! Dual Flyer https://i.imgur.com/OhuoI2v.jpg "As Above" Flyer https://i.imgur.com/yobMtUp.jpg “Alien Flyer” By TVP VT U https://imgur.com/gallery/aPN1Fnw “QR Code Flyer” by Finn https://imgur.com/a/aYYUMAh Links Tropical Fantasy https://en.wikipedia.org/wiki/Tropical_Fantasy#African-American_conspiracy_theory Tropical Fantasy Fruit Punch Premium Juice Cocktail https://tinyurl.com/2p8fwux4 Tropical Fantasy Premium Lemonade, Cherry Blue, 22.5 Fl Oz https://tinyurl.com/3y4tfrps A Storm Over Tropical Fantasy https://www.newsweek.com/storm-over-tropical-fantasy-202142 Conspiracy Theories Can Often Ring True https://people.duke.edu/~ldbaker/clippings/cons.html Tropical Fantasy http://tropicalfantasy.com/ Brooklyn Bottling Group https://en.wikipedia.org/wiki/Brooklyn_Bottling_Group Black Conspiracy Theories 101: Tropical Fantasy Drinks Makes Black Men Sterile?! https://newsone.com/2022788/black-urban-legends-tropical-fantasy-soda/ Tropical Fantasy Renders Blacks Sterile https://www.snopes.com/fact-check/tropical-storm/ Tuskegee Syphilis Study https://en.wikipedia.org/wiki/Tuskegee_Syphilis_Study Black Dynamite - Anaconda Malt Liquor Conclusion Scene https://www.youtube.com/watch?v=2PSueHOY-Jk&ab_channel=flappye The Bizarre Myth Surrounding Church's Chicken https://www.mashed.com/219922/the-bizarre-myth-surrounding-churchs-chicken/ The Shadowlands California Page 2 (Piano Player Channels Musicians story) http://theshadowlands.net/places/california2.htm Archive https://archive.ph/9EJ3 Villa Montezuma https://ghostcitytours.com/san-diego/haunted-san-diego/villa-montezuma-museum/ Villa Montezuma Mansion http://www.weirdca.com/location.php?location=64 VILLA MONTEZUMA MUSEUM https://sdghosts.com/villa-montezuma-museum/ Villa Montezuma https://hiddensandiego.com/things-to-do/places/villa-montezuma Peter Paul Rubens https://www.britannica.com/biography/Peter-Paul-Rubens Shepard, Jesse Francis Grierson(1848-1927) https://www.encyclopedia.com/science/encyclopedias-almanacs-transcripts-and-maps/shepard-jesse-francis-grierson1848-1927 Listen to the daily podcast anywhere you listen to podcasts! ------------------------------------------------ Logo Art By Ash Black Opening Song: "Atlantis Attacks" Closing Song: "Bella Royale" Music By Simple Rabbitron 3000 created by Eerbud Thanks to Chris K, Founder Of The Golden Rabbit Brigade Dead Rabbit Archivist Some Weirdo On Twitter AKA Jack YouTube Champ Stewart Meatball The Haunted Mic Arm provided by Chyme Chili The Golden Rabbit Army: Fabio N, Chyme Chili, Greg Gourley Wiki by Germ http://www.DeadRabbit.com Email: DeadRabbitRadio@gmail.com Twitter: @DeadRabbitRadio Facebook: www.Facebook.com/DeadRabbitRadio TikTok: https://www.tiktok.com/@deadrabbitradio Mailing Address Jason Carpenter PO Box 1363 Hood River, OR 97031 Paranormal, Conspiracy, and True Crime news as it happens! Jason Carpenter breaks the stories they'll be talking about tomorrow, assuming the world doesn't end today. All Contents Of This Podcast Copyright Jason Carpenter 2018 - 2023
'In the early-seventeenth century, group portraiture was about social relationships that were the topic of such paintings. And in the late-nineteenth century, visual language in painting was a little more open; a little more abstract. So for me, the canvas is like a stage of happenings that play out on a global level. And that's the reason that my large-scale canvases tend to look like theatrical compositions. They are, basically, meant to portray different digital spaces. I want to paint the metaverse... Some people have more power, some people have less... It's these different levels of social power, which I express in my large-scale work.' —Felix Pensel For the ninth episode of ‘Dutch Art & Design Today', I sat down with Felix Pensel—a Nuremberg-based artist whose work spans many mediums, most notably large-scale canvas paintings, and more recently, digital art. Felix has devoted his life to art; he eats, sleeps, and breathes art; and he is nearly entirely self-taught. He was first inspired to become an artist at his grandfather's urging, which led him to start drawing, then visiting art museums more and more during his youth—ultimately finding his way to the monumental canvases of artists such as Rembrandt van Rijn and Peter Paul Rubens. The compositions of such Old Master paintings have inspired his own work, especially his digital paintings, which are complexly layered three-dimensional planes inhabited by countless figures, sometimes in unsettling or even surreal poses and situations. In this way, his work recalls the haunting worlds of the Netherlandish painter Hieronymus Bosch. Felix's digital artwork is minted on Tezos and Ethereum, whereas his physical works have been widely exhibited throughout Europe. In this incredibly relaxed interview, we meander our way from Felix's childhood, growing up in Nuremberg, and his many visits to museums to visit the Old Masters, specifically the work of Rubens. We then discuss his relationship to drawing as a child, being inspired by the prints and drawings of Albrecht Dürer—a fellow Nuremberg native; his later dabbles in graffiti; and how his experiences in graffiti lead him to turn his attention to creating large-scale paintings. We then discuss how he is influenced by the built environment around him, in Germany, and oppositely, what it is that makes the contemporary art world so fascinating, when it collides with web3. The second half of our talk is centered on the Tezos community; how Felix makes use of and his views on working with AI; and the enthusiasm of artists and collectors in the Tezos space. Lastly, Felix talks about his newest works minted on SuperRare, the ideas behind them, and how they relate to compositions of late-nineteenth-century French group portraiture painting. Works by Felix discussed: 'Cosmos of Cream', 'Blue Haze', and 'Diamonds and Pizza'. You can find Felix on X @paintre_ and at his website linktr.ee/paintre. You can find John on X @johnbezold and at his website johnbezold.com. 'Dutch Art & Design Today' is published by Semicolon-Press.
Fr. Eric Nicolai preached this meditation on December 13, 2022 in a recollection for priests at St. Aidan's parish Toronto. After the annunciation, Mary went with haste, 80 km away to Ain Karim. Not slowly, uninterested. The hill country of Judah, would have been understood as the land of David. Where he grew up. She went with meaning and a sense of purpose. This too is how we must see our vocation. Go with haste. It is the opposite of any form of procrastination in our duties. St. Josemaria says that this is an act of loyalty: Furrow 371: Turn your eyes towards the Blessed Virgin and see how she practises the virtue of loyalty. When Elizabeth needs her, the Gospel says that she went cum festinatione — joyfully making haste. Learn from her! Music: Alfred Cottin, Habanera played by Bert Alink. Thumbnail: Pieter de Jode II (1606–ca. 1674) after Peter Paul Rubens (1577–1640), The Visitation, 1625–74. Metropolitan Museum of Art. For more meditations, check my channel: https://www.youtube.com/c/EricNicolai/videos
Rubens loved to draw his wife, Isabella Brant. The old Flemish master married her in the early 1600s when he was a young upstart. Peter Paul Rubens was popular and famous for his baroque paintings in his lifetime. The work of Rubens now lives in the collective unconscious as an icon of sensual and lush depictions of dramatic scenes. He's considered an old master thanks to his classical training, role as Master of his local guild, and impressive body of work. But the definition for "old master" also calls for working independently. Still, artworks completed by an apprentice or factory are often included in collections by old masters. This can be especially true of a Rubens work. Read LadyKflo's collected works. Learn about this painting and many more masterpieces with a click through to LadyKflo's site. https://www.ladykflo.com/category/masterpieces/ Checkout her socials too: https://www.instagram.com/ladykflo/ https://twitter.com/ladykflo
One the world's greatest unsolved art thefts happened in Montréal, Québec, Canada, in 1972. Seventeen paintings remain missing, and the cat burglars behind the incident have never been apprehended. In fact, the story sounds a lot like a Hollywood script. Under the cover of darkness, three men entered the building through the one skylight that was under repair, and rappelled into the museum galleries below. It was, it's agreed, a very cinematic theft.See omnystudio.com/listener for privacy information.
© 2020-2025 Ivy Podcast Discovery LLC
