Podcasts about picasso's guernica

On today's date in 1937, some jaunty music by the French composer Darius Milhaud premiered in Paris. It was a suite for two pianos entitled "Scaramouche," after a stock character in the Italian commedia dell arte, an art form famous for thumbing its nose at authority. Its upbeat, carefree mood made "Scaramouche" an instant hit, much to the composer's surprise. For his part, Milhaud was in an apprehensive mood that year. When he and his wife Madeleine had visited the 1937 Paris International Exposition, they saw premonitions of war reflected all-too clearly in many of its exhibits. "Picasso's Guernica adorned the walls of the Spanish pavilion," recalled Milhaud, "but the Spanish Republic had been murdered. Placed face to face, the German and the Soviet pavilions seemed to challenge each other to mortal combat. One evening, as we watched the sun set behind the immense mass of flags of all nations, Madeleine clutched my arm in anguish and whispered 'This is the end of Europe!'" In 1940, Milhaud was forced to leave France when the Germans occupied Paris. As a Jew, his music was promptly banned. But like Scaramouche himself, French musicians soon found ways of thumbing their noses at the unwelcome German authorities. In 1943, two French pianists performed "Scaramouche" in concert, tricking the censors by listing its composer's name as "Hamid-al-Usurid"—a fictitious Arabic composer whose name just happens to be an anagram of "Darius Milhaud."

On today's date in 1937, some jaunty music by the French composer Darius Milhaud premiered in Paris. It was a suite for two pianos entitled "Scaramouche," after a stock character in the Italian commedia dell arte, an art form famous for thumbing its nose at authority. Its upbeat, carefree mood made "Scaramouche" an instant hit, much to the composer's surprise. For his part, Milhaud was in an apprehensive mood that year. When he and his wife Madeleine had visited the 1937 Paris International Exposition, they saw premonitions of war reflected all-too clearly in many of its exhibits. "Picasso's Guernica adorned the walls of the Spanish pavilion," recalled Milhaud, "but the Spanish Republic had been murdered. Placed face to face, the German and the Soviet pavilions seemed to challenge each other to mortal combat. One evening, as we watched the sun set behind the immense mass of flags of all nations, Madeleine clutched my arm in anguish and whispered 'This is the end of Europe!'" In 1940, Milhaud was forced to leave France when the Germans occupied Paris. As a Jew, his music was promptly banned. But like Scaramouche himself, French musicians soon found ways of thumbing their noses at the unwelcome German authorities. In 1943, two French pianists performed "Scaramouche" in concert, tricking the censors by listing its composer's name as "Hamid-al-Usurid"—a fictitious Arabic composer whose name just happens to be an anagram of "Darius Milhaud."

In the twentieth episode of Dissecting Philosophy with Dr McDonald, he discusses the section Of Bestowing Virtue in Nietzsche's Thus Spoke Zarathustra. Artwork Michelangelo's David (1501-4), Picasso's Guernica (1939), Warhol's Campbell's Soup Cans (1961-2) and films Tigers Are Not Afraid (2017) and School of Rock (2003) are discussed to illustrate the sections. If you would like to follow along we are using the Penguin edition translated by R. J. Hollingdale.Feel free to send questions or comments to dissectingphilosophy@gmail.comFind Dr McDonald on Twitter: @iamarubbermanNew episodes every Monday.Support the podcast by visiting its Patreon where you can get exclusive benefits:https://www.patreon.com/DissectingphilosophyCredits: Podcast Intro and Outro Music - Arctic and Fir from the album Delicate Felt Piano by Chad Crouch that can be downloaded at https://soundofpicture.bandcamp.com/album/delicate-felt-pianoPodcast Logo - created using Canva https://www.canva.comSupport the show (https://www.patreon.com/Dissectingphilosophy)

Melvyn Bragg and guests discuss the context and impact of Pablo Picasso's iconic work, created soon after the bombing on 26th April 1937 that obliterated much of the Basque town of Guernica, and its people. The attack was carried out by warplanes of the German Condor Legion, joined by the Italian air force, on behalf of Franco's Nationalists. At first the Nationalists denied responsibility, blaming their opponents for creating the destruction themselves for propaganda purposes, but the accounts of journalists such as George Steer, and the prominence of Picasso's work, kept the events of that day under close scrutiny. Picasso's painting has gone on to become a symbol warning against the devastation of war. With Mary Vincent Professor of Modern European History at the University of Sheffield Gijs van Hensbergen Historian of Spanish Art and Fellow of the LSE Cañada Blanch Centre for Contemporary Spanish Studies and Dacia Viejo Rose Lecturer in Heritage in the Department of Archaeology at the University of Cambridge Fellow of Selwyn College Producer: Simon Tillotson.

My friend Leah Marshall joins me on this episode to discuss how to appreciate art.  As a docent at an art museum, Leah knows how to help visitors of all ages engage with a painting by talking about basic elements of design, asking how it makes them feel, and thinking about what an artist is trying to communicate.  Art doesn't have to be mysterious or overwhelming!   In this episode we refer to several different paintings that you can look up if you'd like to follow along with us in the discussion. Rublev's "The Trinity" 15th century Picasso's "Guernica" 1937 Van Gogh's "The Starry Night" 1889 Cezanne's "The Basket of Apples" 1895 Vermeer's "The Milkmaid" 1658 Bollongier's "Floral Still Life" 1639 Jackson Pollack Show sponsor is Patty Gerstenberger at crosspointcoaching.com

Melvyn Bragg and guests discuss the context and impact of Pablo Picasso's iconic work, created soon after the bombing on 26th April 1937 that obliterated much of the Basque town of Guernica, and its people. The attack was carried out by warplanes of the German Condor Legion, joined by the Italian air force, on behalf of Franco's Nationalists. At first the Nationalists denied responsibility, blaming their opponents for creating the destruction themselves for propaganda purposes, but the accounts of journalists such as George Steer, and the prominence of Picasso's work, kept the events of that day under close scrutiny. Picasso's painting has gone on to become a symbol warning against the devastation of war. With Mary Vincent Professor of Modern European History at the University of Sheffield Gijs van Hensbergen Historian of Spanish Art and Fellow of the LSE Cañada Blanch Centre for Contemporary Spanish Studies and Dacia Viejo Rose Lecturer in Heritage in the Department of Archaeology at the University of Cambridge Fellow of Selwyn College Producer: Simon Tillotson.

Melvyn Bragg and guests discuss the context and impact of Pablo Picasso's iconic work, created soon after the bombing on 26th April 1937 that obliterated much of the Basque town of Guernica, and its people. The attack was carried out by warplanes of the German Condor Legion, joined by the Italian air force, on behalf of Franco's Nationalists. At first the Nationalists denied responsibility, blaming their opponents for creating the destruction themselves for propaganda purposes, but the accounts of journalists such as George Steer, and the prominence of Picasso's work, kept the events of that day under close scrutiny. Picasso's painting has gone on to become a symbol warning against the devastation of war. With Mary Vincent Professor of Modern European History at the University of Sheffield Gijs van Hensbergen Historian of Spanish Art and Fellow of the LSE Cañada Blanch Centre for Contemporary Spanish Studies and Dacia Viejo Rose Lecturer in Heritage in the Department of Archaeology at the University of Cambridge Fellow of Selwyn College Producer: Simon Tillotson.

Melvyn Bragg and guests discuss the context and impact of Pablo Picasso's iconic work, created soon after the bombing on 26th April 1937 that obliterated much of the Basque town of Guernica, and its people. The attack was carried out by warplanes of the German Condor Legion, joined by the Italian air force, on behalf of Franco's Nationalists. At first the Nationalists denied responsibility, blaming their opponents for creating the destruction themselves for propaganda purposes, but the accounts of journalists such as George Steer, and the prominence of Picasso's work, kept the events of that day under close scrutiny. Picasso's painting has gone on to become a symbol warning against the devastation of war. With Mary Vincent Professor of Modern European History at the University of Sheffield Gijs van Hensbergen Historian of Spanish Art and Fellow of the LSE Cañada Blanch Centre for Contemporary Spanish Studies and Dacia Viejo Rose Lecturer in Heritage in the Department of Archaeology at the University of Cambridge Fellow of Selwyn College Producer: Simon Tillotson.

I wrote this after the April 13th bombing of Afghanistan with what was referred to as "the mother of all bombs," reflecting on the stories I har as a child about the bombing of Spain during the Spanish Civil War, which gave rise to Picasso's Guernica and the first poem I ever translated, by Pablo Neruda. I also talk about the real mothers of the world, who work to keep all our children whole.

A special edition of the Spanish Jazz radio show 'Club de Jazz' where we conducted an interview with Barry Guy. A blue drape covering the Picasso's "Guernica" reproduction at the United Nations headquarters during Colin Powell's press conference in 2003, where he lied to justify the need to declare the war to Iraq, was Barry Guy's main inspiration to compose "The Blue Shroud". The interview was originally broadcasted on April, 16th 2016. All rights reserved: http://www.elclubdejazz.com

Movie Meltdown - Episode 173 It's a Super CreepFest including... flying babies, they keep finding interesting ways to keep beating that dead horse, Carnage, putting your head in an oven, Valhalla Rising, evil kids, Ninja Turtles with zombies, not your typical bigfoot movie, Christoph Waltz, The Anniversary Party, Hostel, Tilda Swinton, Thunderstruck!, cartoon blood, Kermit hosting The Tonight Show, children are evil, claustrophobic and tedious, Crab Man, Hard Eight, Norway comedians, Becoming Elmo, rooting for the War Horse, Philip Baker Hall, Orphen, if you like to pretend like you’re in New York, John C. Reilly, Ving Rhames, Picasso's Guernica, Philip Seymour Hoffman, Jay Leno, My Boyfriend's Back, Troll Hunter, Portlandia, Roman Polanski, Phoebe Cates, We Need to Talk About Kevin, George W. and Bigfoot, the Forrest Gump of horses, Joshua, zombie Easter bunny, a bigfoot hunter’s convention, more on Bugsy Malone and Roxanne... you don’t have to wear that dress tonight!“All you have to be is undead... and you’re doing it wrong!”

Pablo Picasso painted his large scale Guernica (1937) in response to the bombing of the Spanish town by German and Italian forces during the Spanish Civil War. Art historian T J Clark discussed Guernica, examining how a work of such enduring political resonance emerged. He looked at the step-by-step creation of Guernica, taking advantage of the set of photographs of the work in progress taken by Dora Maar. For more info and speaker's biography see this page: http://sydney.edu.au/sydney_ideas/lectures/2011/professor_t_j_clark.shtml

When it comes to strong emotion what art comes to mind? Such as work that denotes: Love & romance, death & birth, war & peace, religion & politics. Picasso's Guernica, Fredia Kahlo's, The Broken Column, Louise Bourgeois, Maman (spider), Marc Chagal, the Birthday. Compare and contrasts of representational and non-reprensentational works and how this has changed over time. Artists pre-interviewed and live: Aliza Lelah, imaginecolorado.org, AlizaLelah.com, Mary Horrocks, Gallery Coordinator, thedairy.org, & Longmont Studio Tour, longmontstudiotour.org, Jim Caldwell, ArtworkNetwork.com, suzannefrazier, Suzanne Frazier.com, Annette Coleman, AnnetteColemanArtist.com, Danice Crawford, marisolimports.com, Mary Barron, adagioartglass.com, Lillian Kennedy, lilliankennedy.com, Gretchen Acharya, openartsboulder.org, boulderartsresourse.org