Podcasts about pierre auguste renoir

The Daily Quiz - Art and Literature Today's Questions: Question 1: Which book contains the character 'T. S. Garp'? Question 2: Which artistic movement employed an analytic vision based on fragmentation and multiple viewpoints? Question 3: What did Harry Potter get for Christmas in his first semester at Hogwarts School? Question 4: Who wrote "The Time Machine"? Question 5: Which author wrote 'Rendezvous with Rama'? Question 6: Which author wrote 'Night Shift'? Question 7: The painting "Luncheon on the Boating Party" by Pierre-Auguste Renoir is a part of which art movement? Question 8: Who wrote "Animal Farm"? This podcast is produced by Klassic Studios Learn more about your ad choices. Visit megaphone.fm/adchoices

Drawing bought for $12 in Pennsylvania might be an authentic Pierre-Auguste Renoir, 'March Napness' bracket tracks hibernation habits of sanctuary bears, Shopper is curious as to why the Walmart in Anchorage, Alaska has the SPAM locked up, Man plays 6-6-6 in Daily 3 lottery contest and then good things happened

So much better than Instagram! Pierre-Auguste Renoir invited 14 friends to lunch one summer--several lunches actually--and ended up creating this spectacular work of art.  In today's episode we find out about this happy group and that beautiful riverside restaurant they're clearly enjoying. And I'll tell you a pretty funny story about how Duncan Phillips was able to get this stunner for his new modern art museum, the Phillips Collection in Washington DC.  SHOW NOTES  “A Long Look” themes are "Easy" by Ron Gelinas https://youtu.be/2QGe6skVzSs and “At the Cafe with You” by Onion All Stars https://pixabay.com/users/onion_all_stars-33331904/ Episode music “Parisian” by Kevin MacLeod https://incompetech.com/music/royalty-free/music.html Licensed under Creative Commons: By Attribution 4.0 License https://creativecommons.org/licenses/by/4.0 From Blue Dot Sessions: “Via Verre” https://app.sessions.blue/browse/track/306837 “Symphony 40 In G Minor” https://app.sessions.blue/browse/track/306840 “Etude 9 Stefan” https://app.sessions.blue/browse/track/306841 Artwork information  https://www.phillipscollection.org/collection/luncheon-boating-party https://www.phillipscollection.org/event/2017-10-06-renoir-and-friends-luncheon-boating-party “The Eye of Duncan Phillips: A collection in the making” by Duncan Philips and David W. Scott. 1999. Edited by Erika D. Passantino. Washington, DC: Phillips Collection in association with Yale University New Haven. Sitters identified https://en.wikipedia.org/wiki/Luncheon_of_the_Boating_Party Holston papers William H. Holston papers, 1915-1964. Archives of American Art, Smithsonian Institution. Reel D-169 #1029-31 “Luncheon of the Boating Party” by Susan Vreeland https://bookshop.org/p/books/luncheon-of-the-boating-party-susan-vreeland/11716075?ean=9780143113522&next=t Maison Fournaise https://www.maisonfournaise.com  https://en.wikipedia.org/wiki/Maison_Fournaise Caillebotte episode https://alonglookpodcast.com/08-skiffs-caillebotte Transcript available at https://alonglookpodcast.com/boatingparty/  

For the 34th episode of "Reading the Art World," host Megan Fox Kelly speaks with Sebastian Smee, Pulitzer Prize-winning art critic for The Washington Post and author of "Paris in Ruins: Love, War, and the Birth of Impressionism,” published by W. W. Norton.This fascinating conversation explores the violent political upheavals of 1870-71 Paris — the Siege of Paris and the Paris Commune — and how they influenced the Impressionist movement. Smee shares insights into the lives of the artists who survived these dramatic days, including Edgar Degas, Édouard Manet and Berthe Morisot, who were trapped in Paris; Pierre-Auguste Renoir and Frédéric Bazille, who joined regiments outside of the capital; and Claude Monet and Camille Pissarro, who fled the country just in time.Through rigorous research into personal letters and historical documents, Smee illuminates the human context behind familiar masterpieces of light created during this dark period. He offers a fresh perspective on why the Impressionists, with their newfound sense of the fragility of life, turned toward transient subjects of modern life, leisure, fleeting moments and the impermanence of all things in the aftermath of such devastating events.ABOUT THE AUTHOR Sebastian Smee is an art critic for The Washington Post and winner of the 2011 Pulitzer Prize for Criticism. His previous works include "The Art of Rivalry" and books on Mark Bradford and Lucian Freud. He was awarded the Rabkin Prize for art journalism in 2018 and was a MacDowell Fellow in 2021.PURCHASE THE BOOK https://wwnorton.com/books/9781324006954SUBSCRIBE, FOLLOW AND HEAR INTERVIEWS:For more information, visit meganfoxkelly.com, hear our past interviews, and subscribe at the bottom of our Of Interest page for new posts.Follow us on Instagram: @meganfoxkelly"Reading the Art World" is a live interview and podcast series with leading art world authors hosted by art advisor Megan Fox Kelly. The conversations explore timely subjects in the world of art, design, architecture, artists and the art market, and are an opportunity to engage further with the minds behind these insightful new publications. Megan Fox Kelly is an art advisor and past President of the Association of Professional Art Advisors who works with collectors, estates and foundations.Music composed by Bob Golden

Phil speaks with curator Mary Morton at one of his favourite galleries - the National Gallery of Art, Washington DC - about a poignant view of Paris a year on from one of the worst years in Parisian history...Support the show

What a gift and a blessing it was to sit by Judy's side, (at least that what it felt like during our Zoom interview) and have a conversation with this grace-filled creative! To say that she is a storyteller would be the understatement of the century...and there was SO MUCH GOODNESS in our conversation that this byte-sized episode is longer than most-but I figure you won't mind because the SWEETNESS and COZINESS that Judy brings is worth every second of your day! (and mine, obvs). Judy is so many things, like all of us, right? But it is her art and her artist's life that we focus on...(don't even get me started that she studied with the famous painter Pierre-Auguste Renoir's grandson, as well as famous director Jean Renoir's son!!) Her work emerges through many different mediums, and each evokes deep emotion. To read up a bit more about this incredible human and the BEAUTY she is bringing into the world, head on over to her website here. Truth be told I had to be urged to reach out to Judy to be on the show-she simply gobsmacked me when I took her class, and so had to be prompted to have the guts! Thanks Barb! ;-) THANKS TO EVERYONE FOR LISTENING TO THE PODCAST! Please do consider writing a review or leaving a little rating! Those ratings and reviews are ever so important for small creators like moi! Your bit of beauty this week? This excerpt from the film Judy refers to in the interview, "Fiddler on the Roof!" I dare you to not get up and dance!! See you next week for the very next episode of the pod! Until then, make sure to slide into this favorite season of mine, fall, with all the gentleness and sweetness autumn provides!

What a gift and a blessing it was to sit by Judy's side, (at least that what it felt like during our Zoom interview) and have a conversation with this grace-filled creative! To say that she is a storyteller would be the understatement of the century...and there was SO MUCH GOODNESS in our conversation that this episode is longer than most-but I figure you won't mind because the SWEETNESS and COZINESS that Judy brings is worth every second of your day! (and mine, obvs). DON'T MISS THE EASTER EGG AT THE END OF THE EPISODE-WE DISCUSS MORE WONDERFULNESS THERE!! Judy is so many things, like all of us, right? But it is her art and her artist's life that we focus on...(don't even get me started that she studied with the famous painter Pierre-Auguste Renoir's grandson, as well as famous director Jean Renoir's son!!) Her work emerges through many different mediums, and each evokes deep emotion. To read up a bit more about this incredible human and the BEAUTY she is bringing into the world, head on over to her website here. Truth be told I had to be urged to reach out to Judy to be on the show-she simply gobsmacked me when I took her class, and so had to be prompted to have the guts! Thanks Barb! ;-) THANKS TO EVERYONE FOR LISTENING TO THE PODCAST! Please do consider writing a review or leaving a little rating! Those ratings and reviews are ever so important for small creators like moi! Your bit of beauty this week? This excerpt from the film Judy refers to in the interview, "Fiddler on the Roof!" I dare you to not get up and dance!! See you next week for the very next episode of the pod! Until then, make sure to slide into this favorite season of mine, fall, with all the gentleness and sweetness autumn provides!

When embarking on your mokuhanga journey, whether through making or collecting, one name stands out above the rest: (pause) Yoshida. The Yoshida family of artists have helped create some of the most important and exciting mokuhanga prints of the last 100 years. Their designs, techniques, and marketing transformed the perception of prints in Japan and around the world.   I speak with Dr. Monika Hinkel, Lecturer in the Arts of East Asia at SOAS (the School of Oriental and African Studies) at the University of London and an Academic Member of the Japan Research Centre. Dr. Hinkel is also the curator of the current exhibtion (at the time of recording)  about the Yoshida family of artists, titled Yoshida: Three Generations of Printmaking, being held at the Dulwich Picture Gallery in London, England.   Dr. Hinkel joins me to discuss the Yoshida family, from Hiroshi to Ayomi, the exhibition at the Dulwich Picture Gallery—the first of its kind in the United Kingdom—the Yoshida family's history, and their impact on the global art community.   Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note if available. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Print publishers are given if known. Dulwich Picture Gallery - located in London, England the Dulwich Picture Gallery is the worlds first public "purpose-built" public art gallery founded in 1811.  Robert Rauschenberg (1925–2008) - was an American artist known for his innovative and boundary-defying work that blurred the lines between painting, sculpture, and everyday life. Emerging in the 1950s, Rauschenberg challenged the conventions of traditional art with his "Combines," a series of works that incorporated found objects, photographs, and non-traditional materials into paintings, creating dynamic, multi-dimensional pieces. Characterized by a spirit of experimentation and a desire to break down the distinctions between art and the real world, Rauschenberg played a crucial role in the transition from Abstract Expressionism to Pop Art. Charlene (1954) mixed media Pop Art - was an art movement from the 1950s and 1960s that incorporated imagery from popular culture, such as advertising, comic books, and consumer goods. It challenged traditional art by blurring the lines between high art and everyday life. Key figures like Andy Warhol and Roy Lichtenstein used bold colors and familiar icons to both celebrate and critique consumer culture, making Pop Art one of the most influential movements in modern art. Yoshida: Three Generations of Japanese Printmakers - is the current exhibition at the Dulwich Picture Gallery from June 19, 2024 -  November 3, 2024.  Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Kumoi Cherry Tree 23" x 29 1/8 " (1926) Yoshida Fujio (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Flower - B (1954) 15 3/4" x 10 5/8" Yoshida Tōshi (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  American Girl A (1954) 15 7/8" x 11 1/8" Yoshida Chizuko (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Jazz (1953) 15 3/4" x 11" Yoshida Hodaka (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures. Abstract (1958) 11" x 15 7/8" Yoshida Ayomi - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Spring Rain (2018) woodblock installation  Kawase Hasui (1883-1957), a designer of more than six hundred woodblock prints, is one of the most famous artists of the shin-hanga movement of the early twentieth century. Hasui began his career under the guidance of Kaburaki Kiyokata (1878-1971), joining several artistic societies early on. However, it wasn't until he joined the Watanabe atelier in 1918 that he began to gain significant recognition. Watanabe Shōzaburō (1885-1962) commissioned Hasui to design landscapes of the Japanese countryside, small towns, and scenes of everyday life. Hasui also worked closely with the carvers and printers to achieve the precise quality he envisioned for his prints. Spring Rain at Sakurada Gate (1952) 10 3/8" x 15 3/8" Shōzaburō Watanabe (1885-1962) - was one of the most important print publishers in Japan in the early 20th Century. His business acumen and desire to preserve the ukiyo-e tradition were incredibly influential for the artists and collectors in Japan and those around the world. Watanabe influenced other publishers, but his work in the genre is unparalleled. The shin-hanga (new print) movement is Watanabe's, collecting some of the best printers, carvers and designers to work for him. A great article by The Japan Times in 2022 discusses a touring exhibition of Watanabe's work called Shin Hanga: New Prints of Japan, which can be found here.    Impressionism - was an art movement that emerged in France in the late 19th century, characterized by a focus on capturing the fleeting effects of light and color in everyday scenes. Instead of detailed realism, Impressionist artists like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas used loose brushwork and vibrant colors to convey the atmosphere and momentary impressions of their subjects. This movement broke from traditional art by often painting en plein air (outdoors) and prioritizing personal perception over exact representation, leading to a revolutionary shift in modern art. Wassily Kandinsky (1866–1944) - was a key figure in the development of abstract art, known for using color and form to express emotions and ideas without representational content. His influential writings and innovative approach helped shape modern art, making him a central figure in movements like Expressionism and the Bauhaus. Stars (1938) 13 7/8" x 10 1/4" colour lithograph  Charles Freer (1854–1919) - was an American industrialist and art collector, best known for his significant contributions to the field of art through the establishment of the Freer Gallery of Art. Freer was a wealthy entrepreneur who made his fortune in the railroad industry. In his later years, he became an avid collector of art, particularly Asian art, including Chinese and Japanese ceramics, paintings, and sculptures. Nakagawa Hachiro (1877-1922) - was a close friend of Yoshida Hiroshi and traveled to the United States together for the first time in 1899. He was a yōga painter and showed primarily in Japan. Landcape in The Inland Sea 13.94" x 20.87" colour on watercolour  The Great Kanto Earthquake - struck Japan on September 1, 1923, with a magnitude of approximately 7.9. It devastated the Kanto region, including Tokyo and Yokohama, causing widespread destruction and fires that led to the deaths of over 100,000 people. The earthquake also resulted in significant infrastructure damage, homelessness, and economic disruption. In the aftermath, the disaster prompted major rebuilding efforts and urban planning changes. Additionally, the earthquake led to social and political unrest, including widespread anti-Korean sentiment, as rumors falsely blamed Korean immigrants for the disaster. Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here.  Thirty Six Views of Mount Fuji No. 21 Lake at Hakone 14" x 9 1/4" Kawase Hasui (1883-1957) - a designer of more than six hundred woodblock prints, Kawase Hasui is one of the most famous designers of the shin-hanga movement of the early twentieth century. Hasui began his career with the artist and woodblock designer Kaburaki Kiyokata (1878-1971), joining several artistic societies along the way early in his career. It wasn't until he joined the Watanabe atelier in 1918 that he really began to gain recognition. Watanabe Shōzaburō (1885-1962) had Hasui design landscapes of the Japanese country-side, small towns, and everyday life. Hasui also worked closely with the carvers and printers of his prints to reach the level Hasui wanted his prints to be.  Selection of Views of the Tokaido (1934) Bishu Seto Kilns 15 3/4"  x 10 3/8" Itō Shinsui (1898-1972) - Nihon-ga, and woodblock print artist and designer who worked for print publisher Watanabe Shōzaburō (1885-1962). Shinsui designed some of our most famous shin hanga, or “new” prints of the early 20th century. One of my favorites is “Fragrance of a Bath” 1930. Kasumi Teshigawara Arranging Chrysanthemums (1966) 21 7/8" x 16 1/2" Katsushika Hokusai (1760-1849) - is one of the most famous Japanese artists to have ever lived. Hokusai was an illustrator, painter and woodblock print designer. His work can be found on paper, wood, silk, and screen. His woodblock print design for Under The Wave off Kanagawa (ca. 1830-32) is beyond famous. His work, his manga, his woodblocks, his paintings, influence artists from all over the world.  Tama River in Musashi Province from 36 Views of Mount Fuji (1830-32) 9 7/8" x 14 7/8"  Boston Museum of Fine Arts - a museum with a rich history with Japanese artwork, especially woodblock prints. It holds the largest collection of Japanese art outside of Japan. Many of their woodblock prints are held online, here. A video on YouTube found, here, describing the MFA's history, and its collections.  Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most important sōsaku hanga artists and promotor of the medium. His works are highly sought after today. More info, here. Nijubashi Bridge to the Imperial Palace from Scenes of Lost Tokyo (1945) 7.8" x 11.1" published by Uemura Masuro Tarō Okamoto (1911–1996) was a prominent Japanese artist known for his avant-garde works and dynamic use of color and form. His art, which includes painting, sculpture, and public installations like the "Tower of the Sun," often explores themes of chaos and modernity. Okamoto was influential in Japanese contemporary art and also made significant contributions as a writer and cultural commentator. More info, here.  Seashore (1976) lithograph 5.55" × 22.05" Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” St. Olaf College - is a private liberal arts college located in Northfield, Minnesota. Founded in 1874 by Norwegian-American settlers, it has a strong emphasis on a comprehensive liberal arts education, integrating rigorous academics with a commitment to fostering critical thinking, leadership, and global citizenship. The college is known for its vibrant community, strong programs in the humanities, social sciences, and natural sciences, and its affiliation with the Evangelical Lutheran Church in America (ELCA). St. Olaf is also recognized for its strong music program, including its acclaimed choir and music ensembles. More info, here. The Detroit Institute of Arts (DIA) -  is an art museum in Detroit, Michigan, founded in 1885. It is known for its extensive collection of artworks from various cultures and periods, including significant American, European, and African art. The DIA is particularly famous for Diego Rivera's Detroit Industry Murals and serves as a major cultural center with diverse exhibitions and educational programs. More info, here.   baren - is a Japanese word to describe a flat, round-shaped disc, predominantly used in creating Japanese woodblock prints. It is traditionally made of a cord of various types and a bamboo sheath, although baren have many variations.    Jeannie Kenmotsu, PhD - is the Arlene and Harold Schnitzer Curator of Asian Art at the Portland Art Museum in Portland, Oregon. She specializes in early modern Japanese art, with a focus on painting, illustrated books, and prints. Her interview with The Unfinished Print about her work about the Joryū Hanga Kyōkai can be found, here.    © Popular Wheat Productions opening and closing credit - by Gordon Lightfoot - Affair on 8th Avenue from the album Back Here On Earth (1968) on United Artists. logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                        

Our guests are Priscilla and Floyd LeBleu, Lafayette residents and owners of the world's largest collection of artwork by the renowned Edna Hibel. Priscilla and Floyd are looking for a permanent home to publicly display their beloved Hibel collection, hopefully in Lafayette LA. Edna Hibel, an American artist, was revered for her paintings of people expressing emotion or contemplation, which were painted on ceramic, canvas, or etched on Bavarian limestone. She created over 6000 works during her lifetime, including 600 different lithographs. Born as a native of Massachusetts in 1917, she had a fulfilling career promoting peace through her exhibitions and artwork all around the world. Using her artistry, Hibel was able to raise money for charity across the globe. She passed away in her home at the age of 97 in December 2014, right before her 98th birthday. Her work was inspired by Mary Cassatt and Pierre-Auguste Renoir and sought by royalty, collected by museums, commissioned by the United Nations and National Archives, and awarded the Medal of Honor and Citation by Pope John Paul II. The World Cultural Council presented the 2001 Leonardo da Vinci World Award of Arts to Edna Hibel, who is often referred to as the USA's most versatile artist, as well as its best colorist. The Award acknowledges those who endeavour to create different expressions of art and whose work constitutes a significant contribution to the artistic legacy of the world. Priscilla and Floyd became close friends with Ms. Hibel, after Priscilla won a trip to the Edna Hibel Museum of Art in Florida in 1992. She was accompanied by Floyd, who went along just expecting to hang out on the beach. While Floyd had never been a person that was bent to studying art, he immediately became enamored with Ms. Hibel and her captivating art, especially "Russian Mother and Two Children," an oil painting Ms. Hibel had painted in 1990. Floyd bought the piece, his first of some 500 Hibels, and was hooked thereafter. Floyd says, "It was almost like a religious experience when you met her. She captured me....the artist herself and her art. She captured people's dignity." The LeBleu family befriended Ms. Hibel and would visit her in Florida and she would travel to Lafayette to see them. Hibel enjoyed Lafayette and attended a benefit for the Acadiana Center for the Arts, and Floyd recalled her saying, "There is just a feeling of comraderie in Lafayette. I think this is my favorite place." While traveling on a Hibel Society cruise with Priscilla, Floyd asked Ms. Hibel why she never painted men. She replied, women wear pretty hats and dresses that give them a lot of color and flair and make them more interesting subjects." As a joke, Floyd dressed up in a straw hat and toga as he headed to a demonstration Hibel was giving. She laughed and told Floyd he would be the subject of her demonstration that day and she turned him into an Arabian prince in a painting aptly called, "Floyd in a Turban." The LeBleus became owners of a great deal of her works which had previously been displayed at the Hibel Museum of Art on the campus of Florida Atlantic University in Jupiter, Florida. " Floyd and Priscilla LeBleu own the Myrtles Plantation in St. Francisville and have 127 pieces of Edna Hibel art displayed throughout for visitors to enjoy. They call it their "Hibel addiction" when describing their huge collection Lafayette is now home to the world's largest collection of Edna Hibel's artwork, some of which is on exhibit at Lafayette Consolidated Government's Building at 705 W. University Avenue for the remainder of 2024. Pictured above are Priscilla and Floyd LeBleu, in current times, and the original pose that Edna Hibel utilized to depict the LeBleu family in her own special way. Priscilla and Floyd are reaching out to our community, public officials, and art lovers in the quest to find a permanent home for Hibel's works so...

Nous sommes le 15 septembre 1894, à Montmartre. Le peintre Pierre-Auguste Renoir écrit à son amie Berthe Morisot: "J'ai à vous annoncer une chose complètement ridicule : l'arrivée d'un second fils qui s'appelle Jean. Mère et enfant se portent à merveille." La naissance, en effet, s'est déroulée sans problème, au 13 de la rue Girardon. Un peu après minuit, Aline Renoir a mis au monde un gros garçon que tout le monde s'accorde à reconnaitre … très laid. Le père se serait exclamé : " Quelle bouche ! C'est un four ! Ce sera un goinfre ! » Dans ses souvenirs, Jean rapportera qu'un célèbre caricaturiste de l'époque, Abel Faivre, déclara que « le bébé serait un excellent modèle pour lui ! » Jean Renoir ne sera finalement pas trop gêné par cette disgrâce : né un an avant le cinématographe, il deviendra un réalisateur majeur du 7e art. La grande illusion, La règle du jeu, Boudu sauvé des eaux, Le Crime de monsieur Lange, Le Caporal épinglé, entre autres, lui apporteront une renommée internationale. Le cinéaste est mort il y a 45 ans, le 12 février 1979, à Beverly Hills. Retrouvons-le au travers des archives de la Sonuma. Sujets traités : Pierre-Auguste Renoir, Berthe Morisot, Jean Renoir, La grande illusion, La règle du jeu, Boudu sauvé des eaux, Le Crime de monsieur Lange, Le Caporal, Jean Gabin, Jean-Pierre Cassel, Claude Brasseur Merci pour votre écoute Un Jour dans l'Histoire, c'est également en direct tous les jours de la semaine de 13h15 à 14h30 sur www.rtbf.be/lapremiere Retrouvez tous les épisodes d'Un Jour dans l'Histoire sur notre plateforme Auvio.be : https://auvio.rtbf.be/emission/5936 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.

In “Augen zu”, dem Kunstpodcast von ZEIT und ZEIT ONLINE, geht es in der neuesten Folge um einen ganz besonderen Außenseiter der Kunst des französischen Impressionismus: um Pierre-Auguste Renoir (1841–1919). Selbst seine Teilnahme am Deutsch-Französischen Krieg 1871 und sein Erleben des Ersten Weltkrieges trübten nicht seine heitere, sinnenfrohe Weltsicht: Er wollte, anders als so viele Künstler seiner Zeit, nicht die Moderne vorantreiben oder die Gesellschaft umwälzen. Er wollte einfach nur Frauen malen, Licht in den Bäumen und Obst auf dem Teller. Aber wie er das machte, mit unglaublicher technischer Meisterschaft und größtem Einfühlungsvermögen – das brachte ihm den Respekt und die Liebe der größten Maler seiner Zeit ein. Seit Studientagen war er eng befreundet mit Monet und Manet – und Cézanne bewunderte ihn genauso wie der Schriftsteller Marcel Proust. Renoir wurde als Porzellanmaler ausgebildet und war deshalb von Anfang an dem Dekorativen zugetan, seine freie Zeit verbrachte er im Museum und im Garten, den Fortschritt hielt er für überbewertet. Florian Illies und Giovanni die Lorenzo fragen in ihrem Podcast “Augen zu”: Was kann uns diese vor Lebensfreude strotzende Kunst heute in einer Zeit der Verzagtheit schenken? Was hat Renoir zu tun mit dem Lebensgefühl des französischen Rokoko? Und was hatte er für ein Frauenbild? Lob, Kritik, Anmerkungen? Schreiben Sie uns gern an augenzu@zeit.de [ANZEIGE] Mehr über die Angebote unserer Werbepartnerinnen und -partner finden Sie HIER [ANZEIGE] Falls Sie uns nicht nur hören, sondern auch lesen möchten, testen Sie jetzt 4 Wochen kostenlos Die ZEIT. Hier geht's zum Angebot.

Una tarde primaveral en el París de la segunda mitad del siglo XIX, concretamente en el barrio de Montmartre, allí se celebra un baile al aire libre, es fin de semana y todos lo están pasando en grande.

Susie Goodman is Executive Director of Strauss & Co and she joins Pippa to describe a notable late-career painting by renowned French impressionist, Pierre-Auguste Renoir, titled "Fruits (Oranges et Citrons)". Painted in 1912 and valued between R2-3 million, this piece exemplifies Renoir's distinctive late style and has been authenticated by the esteemed Wildenstein Plattner Institute in Paris.See omnystudio.com/listener for privacy information.

When making mokuhanga and producing The Unfinished Print, I have looked towards various online tools for research and inspiration. One of these tools is ukiyo-e.org. A Japanese woodblock print database which collects and archives woodblock print collections from around the world.  John Resig is the chief software architect at the Khan Academy who, in 2013, for his love of mokuhanga and the Japanese woodblock print, and through his own  collection, developed ukiyo-e.org.  Those researching, collecting, and making mokuhanga can explore some of the best Japanese print collections at the click of a button. In this episode of The Unfinished Print, I speak with ukiyo-e.org developer John Resig about why he decided to create the website and how his collecting of mokuhanga and making mokuhanga affected that decision. We also discuss the evolution of the humanities in mokuhanga, archiving prints, tradition, and the copywriting of images, as well as John's work with the Japanese Art Society of America.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. John Resig  - Ukiyo-e.org, Digital Humanities Research, John's personal mokuhanga collection on Airtable,   Sky Above Clouds IV: After Georgia O'Keefe (2019) Utagawa Kuniyoshi (1798-1861) - is considered one of the last “masters” of the ukiyo-e genre of Japanese woodblock printmaking. His designs range from landscapes, samurai and Chinese military heroes, as well as using various formats for his designs such as diptychs and triptychs.  Five portraits of the actor Ichikawa Danjuro VIII (1823-1854) in various roles (1849) yakusha-e - (役者絵) is the Japanese term for actor prints in mokuhanga.  Utagawa Kunisada (1786-1865) Tsukioka Yoshitoshi  1839-1892 (月岡 芳年) was a mokuhanga designer who is famous for his prints depicting violence and gore. His work is powerful, colourful, and one of the last vibrant moments of the ukiyo-e genre of woodblock prints. More information about Yoshitoshi's life and his copious amount of work can be found, here.   Iga no Tsubone and the Ghost of Fujiwara Nakanari, from the series One Hundred Ghost Stories from China and Japan (1865) Annie Bissett - is an American mokuhanga printmaker and graphic designer based in Rhode Island, USA. Her work touches on politics, and beauty. Her interview with The Unfinished Print can be found, here. Annie's work can be found, here. Irene (2023) Onchi Kōshirō (1891-1955) - originally designing poetry and books Onchi became on of the most I important sōsaku hanga artists and promotor of the medium. His works are saught after today. More info, here. Portrait of a Poet: Hagiwara Sakutarō (1886-1942) Meiji Era Prints - The Meiji Era of Japan was between 1868-1912 CE. This was a period of immense modernization and industrialization in Japan, where the Japanese economy was booming. New ideas within mokuhanga was occurring as well. Perspective, colour, through new pigments (gamboge, certain yellows), the advancement of photography, and new topics and themes (war, industry, architecture), the Meiji era print designer and publisher had a lot of choice when producing their prints.  Shigeru Kuriyama (1912-2010) - was a sōsaku hanga  printmaker who worked with Onchi Kōshirō (1891-1956), and U'nichi Hiratsuka (1895-1997). He founded the print magazine Yukari and Kasuri. His prints were focused on folk arts.   Fragrance of Lavender (1996) sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Your First Print: David Bull - this was the first DVD I ever purchased on how to make mokuhanga. This was in and around 2007. While I look back at that time thinking about why I didn't take it up as seriously as I do now, I sometime wonder, "Where would I be now in my Mokuhanga journey?" I realize that that is a redundant way of thinking. I am where I am now today, and to be happy with just that. You can still find this product on Dave's website.  Takuji Hamanaka - printmaker based in Brookly, NY. Uses bokashi,  a printmaking technique, predominately in his works. Unique and powerful. website Instagram Collapse (2016) April Vollmer - is an established artist who works predominantly in mokuhanga. Her book Japanese Woodblock Print Workshop is one of the most authoritative books on the subject and has influenced many mokuhanga artists. April's interview with The Unfinished Print can be found, here. Wood Like Matsumura - is an online and brick and mortar store, for woodblock printmaking, located in Nerima City, Tōkyō. Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Kiso River (1927) kabuki - is a traditional form of Japanese theatre which started in Kyoto on the banks of the Kamo River in the 17th Century. Today it is a multi million dollar business and is almost exclusively run, professionally, by The Shochiku Company. Kabuki, the word, is separated into three different sounds; ka - meaning to sing, bu - meaning to dance, and ki- meaning skill. There are various families in kabuki which generate actors, passing down tradition throughout the lineage. For more information please read this fine article from Nippon.com. There are many books written on the subject of kabuki, but in my opinion, to begin, one needs to read Leonard Pronko's work Theatre East & West, Kawatake Toshio's Kabuki, and Earl Ernst's The Kabuki Theatre. Online, please visit Kabuki21.com, who's site is unparalleled. On YouTube there is the new(ish) Kabuki In-Depth which is updated regularly on kabuki information and history, and is very well done.  Georgia O'Keeffe (1887 – 1986) was a renowned American artist, known for her pioneering contributions to modern American art, particularly in the realm of abstract and contemporary art. Lake George Reflection (1921) bokashi - is a mokuhanga technique, where the pigment fades from a heavy colour to a softer, broad colour. Made famous by prints designed by Hokusai and Hiroshige, this technique is, for me, the most popular technique utilized by  mokuhanga printmakers. There are various types: Ichimoji-bokashi or straight line graduation, used in the above mentioned Hiroshige and Hokusai prints. Ichimoji-mura-bokashi or straight line gradation with uneven edge. Ō-bokashi or wide gradation, Ate-nashi-bokashi or gradation without definition. Futa-iro-bokashi or two tone gradation, and ita-bokashi or softer-edge gradation, where the block is cut in a specific way to achieve this style of gradation. All of these styles of bokashi technique take practice and skill but are very much doable.  Bertha Lum (1869-1954) - was born in Iowa. Having begun travelling to Japan in 1903, Bertha Lum noticed the decline of the Japanese woodblock print in Japan in the early 20th Century, deciding to take up the medium. Lum began making woodblock prints after learning in Japan from an unknown teacher during her first trip to Japan. Japan, Lafcadio Hearn (1850-1904), and China influenced Bertha Lum's prints. Lum's work focused on these themes through an American lens.  Winter (1909) Frances Gearhart (1869-1958) - Born in Illinois, Gearhart was a self-taught artist who spent most of her life in California. Originally a watercolorist, Frances Gearhart began experimenting with Japanese woodblock and linoleum in and around 1913. The themes of her work are predominately landscapes of the Pacific Coast and other areas of California. Her work is associated with the Arts and Crafts movement in California. A fine article on Frances Gearhart's life can be found, here.  In The Sun (1930) Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida (1926-1995). Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Roses (1925) TinEye - is an image search and recognition company. They use technology which allows the user to search an image creating a reverse image match. More information can be found, here.  The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here. Waseda University  - is a private research university located in Tōkyō, Japan. It was established in 1882. Waseda has one of the largest woodblock print databases in the world, and are free to use. More information can be found, here.  Ristumeikan - is a university founded in 1869, and located in Kyoto and Ōsaka. Like Waseda it holds one of the largest collection of Japanese woodblock prints. You can search their database, here.  Mike Lyon  -  is an American artist. His medium has been varied throughout his career such as "square tiles," or "pixels," through to making mokuhanga, monoprinting, and machine-assisted etching, drawing and mezzotint. Mike Lyon also has a large woodblock print collection which he has curated for the public, here. More information about his work can be found, here.  Linda In Black (2019) Frick Reference Library - is a reference library in the Frick Museum in New York City. The museum was once the mansion of wealthy American industrialist Henry Clay Frick (1849-1919). The museum houses some of the finest pieces of sculpture, paintings, and art in the United States. There is also the public Frick Reference Library located on 10E 71st Street in New York City. More information can be found, here.  Hokusai: Inspiration and Influence - was an exhibition held from March 26 - July 16, 2023 at the Museum of Fine Arts Boston. More information can be found, here.  Japanese Art Society of America (JASA) - Starting in 1973 by a small group of collectors of ukiyo-e in New York City, JASA has expanded to cover many Japanese arts. Their magazine Impressions is a biannual magazine that discusses in a scholarly way various Japanese arts. More information can be found, here.  Utagawa Hiroshige (1797-1858) - born in Edo, Hiroshige is famous for his landscape series of that burgeoning city. The most famous series being, One Hundred Famous Views of Edo (1856-1859), and the landcape series, Fifty-Three Stations of the Tōkaidō (1833-1834). His work highlights bokashi, and bright colours. More info about his work can be found, here. Below is, Coastal Landscape In Moonlight (1857) Kingfisher and Iris Scholten Japanese Art - is a mokuhanga-focused art gallery in midtown Manhattan. René Scholten, an avid collector of the Japanese print, founded it. You can find more info here. Katherine Martin is the managing director of Scholten Japanese Art. Katherine has written extensively for the gallery and conducted lectures about Japanese prints. Her interview with The Unfinished Print can be found, here.  International Mokuhanga Conference - is a bi-yearly conference dedicated to mokuhanga which started in 2011 by the International Mokuhanga Association. Each conference is themed. The latest conference was in 2021, delayed a year because of the pandemic. More information can be found, here.   Cameron Bailey - is a mokuhanga woodblock printmaker based in Queens, New York. His work is predominantly reduction woodblock. Camerons work has shown around the world. You can listen to one of his earliest interviews on The Unfinished Print, here. His work can be found, here.  Reflection (2020) sumo - while sumo wrestling has been known to Western audiences for quite some time, it is only in the past several years that the Japan Broadcasting Corporation (NHK) has created content for Western audiences to watch tournaments and engage with wrestlers through videos, such as YouTube.  Sumo prints were being produced in the Edo Period (1603-1868), with the Kastukawa school of artists beginning to create prints in the vein of actor prints of the day (yakusha-e).  Utagawa Kunisada (1786-1865) A portrait of Inoyama Moriemon (1846) Acolytes of The Baren  - is the Facebook group dedicated to Dave Bull and Mokuhankan. It can be found, here. Emerging Hanga - is a Facebook group dedicated to new mokuhanga, and sharing information. It can be found, here.   Brush & Baren  - is a Facebook group dedicated to sharing the history of mokuhanga of the late 19th and early 20th Century. It can be found, here.  Friends of Baren Forum - is a Facebook group dedicated to those interested in mokuhanga and woodblock printing in general. it can be found, here.  © Popular Wheat Productions opening and closing musical credit - Flowers & Fire by BLITZ. From the album Second Empire Justice (1983), first released on Future Records.  logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                    

During the early days of the COVID-19 Pandemic, being at home with my thoughts, I kept busy by researching mokuhanga. And one of my many discoveries was the exhibition at the Portland Art Museum held from September 24, 2020, to June 13, 2021, called Joryū Hanga Kyøkai, 1956-1965: Japan's Women Printmakers and curated by Japan Foundation Associate Curator of Japanese Art and Interim Head of Asian Art Jeannie Kenmotsu. It was an exhibition of mokuhanga, etchings, and lithography of a group of printmakers I didn't know much about. Individually I may have heard their names but as a group? I needed to learn more.    History is an essential part of mokuhanga; to search out those printmakers who have come before us to understand what they did and how they did it. I have learned so much from the past that I can use it in my own work for my present and future.        On this episode of The Unfinished Print, I speak with Jeannie Kenmotsu, Ph.D., about the Joryu Hanga Kyokai and, the road to this exhibition, the work that went behind it. We explore how the Joryu Hanga Kyokai showed a different face of printmaking in Japan. We discuss Tokyo during the 1950s and 1960s, the mokuhanga and print culture of the time, internationalism, and how this exhibition could catalyze more research on this incredible group.  Please follow The Unfinished Print and my own mokuhanga work on Instagram @andrezadoroznyprints or email me at theunfinishedprint@gmail.com  Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Artists works follow after the note. Pieces are mokuhanga unless otherwise noted. Dimensions are given if known. Joryū Hanga Kyōkai, 1956-1965: Japan's Women Printmakers - was an exhibition curated by Jeannie Kenmotsu from September 24, 2020 - June 13, 2021, at the Portland Art Museum. It is the first step in understanding and education on the subject of women in Japanese printmaking in modern Japan. Members of the group were  Romanesque Architecture - is a style developed in the north of Italy, parts of France, and the Iberian Peninsula in the 10th century. Evolving from thick walls, no sculpture, and ornamental arches into towering round arches, massive stone and brickwork, small windows, thick walls, and an inclination for housing art and sculpture of biblical scenes.  For more information abbot Romanesquwe architecture you can find that, here.  Portland Art Museum - established in 1892, the PAM has established itself as one of the preeminent art musuems on the West coast of the United States. The musuem has 40,000 pieces of art and art objects. More information about PAM can be found here.  The Royal Ontario Museum - also known as The ROM, is an art, world culture, and natural history museum in the city of Toronto, and is one of the oldest museums in the city. More info, here.  mokuhanga in the 1950's and 1960's - Japanese woodblock printmaking became quite popular after World War II. With Japan growing exponentially post war, through industry and art, the independent philosphy that the West perpetuated began to filter into the Jpaanese art world. Sōsaku hanga became increadingly popular where there is only one carver, printer and draughtsman. These prints touched on various themes, but especially in the abstract. Artists such as Shigeru Hatsuyama (1897-1973), and Kiyoshi Saitō (1907-1997) spring to mind, who created a new kind of mokuhanga by using various techniques, colours, and sizes  that were unique and expressive. Oliver Statler's book, written in 1956, Modern Japanese Prints : An Art Reborn, was published because the art form was growing so quickly. It is a great summary  on the sōsaku hanga movement during that time.  Edo Period prints - woodblock prints of the Edo Period (1603-1867) were predominantly of kabuki actors (Sharaku), and courtesans (Harunobu) beginning in the middle of the 18th century. The traditional system of production came into play when making ukiyo-e of this period, designer,  carver, printer, and publisher. Famous designers of the day were Hiroshige (1797-1858), Hokusai (1760-1849). Lewis and Clark Centennial Exposition - was an international fair in 1905 held in Portland, Oregan, USA from June 1 - October 15 and attracted over 1 million visitors. It helped to showcase Portland and its environs, promoting the movement and expansion West by settlers. The Portland Art Museum began shortly after the Exposition as The Portland Art Association needed its own space to showcase art pieces from the Exposition.  The Metropolitan Museum of Art - is the largest art museum in North and South America. It began to be assembled by John Jay (1817-1894) in the late 19th century. Incorporated in 1870, the museum has collected many essential pieces, such as the works of Henri Matisse (1869-1954) and Pierre-Auguste Renoir (1841-1919). For more information about the MET, you can find it here. Adolphe Braun (1812-1877) - was a German-born photographer who helped to establish photography as an art form. His work with the reproduction of art furthered art history throughout the world. Chizuko Yoshida (1924-2017) - was the wife of painter and printmaker Hodaka Yoshida. Beginning as an abstract painter, Chizuko, after a meeting with sōsaku hanga printmaker Onchi Kōshirō (1891-1955), Chizuko became interested in printmaking. Chizuko enjoyed the abstraction of art, and this was her central theme of expression. Like all Yoshida artists, travel greatly inspired Chizuko's work. She incorporated the colours and flavours of the world into her prints. Rain B (1953) 14 3/4 x 9 7/8" Yoshida Hiroshi (1876-1950) - a watercolorist, oil painter, and woodblock printmaker. Is associated with the resurgence of the woodblock print in Japan, and in the West. It was his early relationship with Watanabe Shōzaburō, having his first seven prints printed by the Shōzaburō atelier. This experience made Hiroshi believe that he could hire his own carvers and printers and produce woodblock prints, which he did in 1925.  Osaka Castle (1935) Fujio Yoshida (1887-1997) - the wife of Hiroshi Yoshida and the mother of Tōshi Yoshida (1911-1995) and Hodaka Yoshida. Fujio was so much more than a mother and wife. She had a long and storied career as a painter and printmaker. Fujio's work used her travels and personal experiences to make her work. Subjects such as Japan during The Pacific War, abstraction, portraits, landscapes, still life, and nature were some of her themes. Her painting mediums were watercolour and oil. Her print work was designed by her and carved by Fujio.  Yellow Iris (1953)  Hodaka Yoshida (1926-1995) - was the second son of woodblock printmaker and designer Hiroshi Yoshida (1876-1950). Hodaka Yoshida's work was abstract, beginning with painting and evolving into printmaking. His inspirations varied as his career continued throughout his life, but Hodaka Yoshida's work generally focused on nature, "primitive" art, Buddhism, the elements, and landscapes. Hodaka Yoshida's print work used woodcut, photo etching, collage, and lithography, collaborating with many of these mediums and making original and fantastic works. Outside of prints Hodaka Yoshida also painted and created sculptures.     Dawn At Sea (1969) - silkscreen 25 5/8" x 19 3/8" (AP) Tōshi Yoshida (1911-1995) - was the second child of Hiroshi Yoshida and Fujio Yoshida, although the first to survive childhood. Beginning with oil paintings and then apprenticing under his father with woodblock cutting. By 1940 Tōshi started to make his mokuhanga. After his father's death in 1950, Tōshi began to experiment with abstract works and travel to the United States. Later travels to Africa evolved his prints, inspiring Tōshi with the world he experienced as his work focused on animals and nature.  Irises and Ducks - 19 5/8" x 11 3/4" Ayomi Yoshida - is the daughter of Chizuko and Hodaka Yoshida. She is a visual artist who works in mokuhanga, installations and commercial design. Ayomi's subject matter is colour, lines, water, and shape. Ayomi's lecture referred to by Jeannie at PAM can be found here. She teaches printmaking and art. You can find more info here.  Black Marks (1999) 20 1/2 × 20 1/8 in (AP) Guide to Modern Japanese Woodblock Prints: 1900-1975 - is a book published by the University of Hawai'i in 1995. It is a reference book describing artists, publishers, and carvers. It contains no images but is a valuable resource for the mokuhanga academic.  Uchima Toshiko (1918-2000) - was a Manchurian-born Japanese artist who worked in mokuhanga, liothography, assemblages and collage. She was one of the founders of the Joryū Hanga Kyōkai in 1955/56. She lived most of her life in the United States, specifically New York City.  Package From Italy - collage 19.8"x16.8" in Ansei Uchima (1921-2000) - was a mokuhanga printmaker in the sōsaku hanga style of Japanese printmaking. He was the translator for Japanologist Oliver Statler (1915-2002). Way For Hakone (1966) 13 3/4 x 21 in Oliver Statler (1915-2002) -  was an American author and scholar and collector of mokuhanga. He had been a soldier in World War 2, having been stationed in Japan. After his time in the war Statler moved back to Japan where he wrote about Japanese prints. His interests were of many facets of Japanese culture such as accommodation, and the 88 Temple Pilgrimage of Shikoku. Oliver Statler, in my opinion, wrote one of the most important books on the sōsaku-hanga movement, “Modern Japanese Prints: An Art Reborn.” Iwami Reika (1927-2020) - was a Japanese-born artist and one of the founders of the Joryū Hanga Kyōkai. For a short video about Iwami Reika's work, check out Artelino.com. Round Shadow C (1957) sōsaku-hanga - or creative prints, is a style of printmaking which is predominantly, although not exclusively, prints made by one person. It started in the early twentieth century in Japan, in the same period as the shin-hanga movement. The artist designs, carves, and prints their own works. The designs, especially in the early days, may seem rudimentary but the creation of self-made prints was a breakthrough for printmakers moving away from where only a select group of carvers, printers and publishers created woodblock prints.  Yoseido Gallery - is a fine print gallery located in the Ginza district of Tōkyō, Japan since 1953. More information can e found, here. Francis Blakemore (1906-1997) - was an American-born artist, writer, philanthropist and curator of modern Japanese mokuhanga. She lived in Japan for over fifty years and helped to support the burgeoning sōsaku hanga print movement of the 1950s. Blakemore worked in mokuhanga (collaborating with Watanabe Shōzaburō) and making self-printed and carved prints. She also worked in oils.  Far Eastern Madonna (1939) white line woodblock print  Japanese Economy of the 1950's - from 1945-1991 Japan had its most prosperous period of economic growth. By 1955 the economic began to grow twice as fast as prior to '55. According to The Berkley Economic Review the advancement of technologies, accumulation of capital, increased quantity and quality of labor, and increased international trade were the main reasons that strenghtend Japan. For more information regarding the begining of this growth you can find the BER article here.  intaglio printing - is a printing method, also called etching, using metal plates such as zinc, and copper, creating “recessed” areas which are printed with ink on the surface of these "recesses.” More info, here. The MET has info, here.   Minami Keiko (1911-2004) - was a Japanese-born artist and a founder of the Joryū Hanga Kyōkai. Keiko's work is abstract, whimsical and youthful. She lived mainly in Paris, France, where she studied aquatint etching under Johhny Friedlaender (1912-1992). More information about Minami Keiko's art and life can be found here.  House With Sun and Trees : watercolour and gouache 14 3/4x11 in. Yōzō Hamaguchi (1909-2000) - was a Japanese-born mezzotint printmaker who lived in Paris, France, for most of his life. He was the husband of Minami Keiko.  Bottle With Lemons and Red Wall (1989) mezzotint 30 x 24 in. mezzotint - is a style of printmaking which uses a copper plate, “rocked” with a tool called a rocker, and then burnished with various devices. A good video showing the entire process from start to finish of a mezzotint print can be found here by the artist Julie Niskanen Skolozynski. Kobayashi Donge - is an aquatint etching artist who's subject is generally women and literature.  Roses Go Well With Mount Fuji (1993) etching with hand colouring on paper Tokyo University of the Arts (Geidai) - founded during the merger of the Tokyo Fine Arts School and the Tokyo Music School in 1949, TUA offers Masters's and Doctorate degrees in various subjects such as sculpture, craft and design as well as music and film. It has multiple campuses throughout the Kantō region of Japan. More information regarding the school and its programs can be found here.  担当者 - is a Japanese word which means “person in charge." Nihon Hanga Kyōkai - is the Japanese Printmakers Association. It was created in 1918, focusing on the new sōsaku hanga print movement. It evolved into a modern print organization covering various types of printmaking, such as relief, intaglio, planographic (lithography and offset printmaking), and stencil. You can find more information on their website in Japanese and English here. First Thursday Society (一木会) - was created by printmaker Onchi Kōshirō (1891-1955). The group brought artists and collectors to discuss the growing sōsaku hanga (creative print) movement to collaborate, share their work, and it acted as a mentorship program.  Un'ichi Hiratsuka (平塚 運一) - (1895-1977) - was one of the important players of the sōsaku hanga movement in mokuhanga. Hiratsuka was a proponent of self carved and self printed mokuhanga, and taught one of the most famous sōsaku hanga printmakers in Shikō Munakata (1903-1975). He founded the Yoyogi Group of artists and also taught mokuhanga at the Tōkyō School of Fine Arts. Hiratsuka moved to Washington D.C in 1962 where he lived for over thirty years. His mokuhanga was multi colour and monochrome touching on various subjects and is highly collected today.  Landscape (1934)  College Women's Association of Japan - was started by the alumnae of Mount Holyoke College from Massachusetts. Later expanding to other universities and colleges in the US, the CWAJ  established Japanese women to study abroad through travel grants and scholarships, thereby promoting Japanese culture. What began as a fundraising program from 1956 onward, the annual print show has become one of the most essential print shows in the world, showcasing prints of all types. It is the largest juried print show in Japan. More information about the CWAJ and its print show can be found here.  Kantō (関東地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Gunma, Tochigi, Ibaraki, Saitama, Tōkyō, Chiba and Kanagawa. The Kantō Regional Development Bureau of the Ministry of Land Infrastructure, Transport and Tourism oversees these prefectures. More information can be found here.  Kansai (関西地方) - is a region located on the main island of Honshu, Japan, which encompasses the Prefectures of Nara, Kyoto, Wakayama, Osaka, Hyōgo, Shiga and Mie. It has the most UNESCO world heritage sites in Japan. For tourist information about Kansai, see here.  Jun'ichirō Sekino (1914-1988) - was a Japanese mokuhanga printmaker of the sōsaku hanga creative prints movement. Sekino's works are landscapes and portraits and are black and white and colourful. Sekino studied under Onchi Kōshirō. He was invited to the United States several times as a visiting professor at Oregon State University, the University of Washington, and Penn State University in 1963, where he taught classes on mokuhanga. You can find more information about Sekino and his work and life on his website here.  U.S Army Officer (1948)  24"x18.8" in. Munakata Shikō (志功棟方) - (1903-1975) arguably one of the most famous modern printmakers; Shikō is renowned for his prints of women, animals, the supernatural and Buddhist deities. He made his prints with an esoteric fervour where his philosophies about mokuhanga were just as interesting as his print work.  Night Birds (The Fence of...) 7.4"x11.5" in. Aomori (青森県) - is a prefecture in north Japan. Located about an hour and a half from Tōkyō, Aomori is known for its incredible nature, festivals, sports and outdoor activities in all four seasons. More information can be found here.  Kobe, Japan - is the capital city of Hyōgo Prefecture in Japan. One of the few ports open to Western trade, Kobe has always had a great vibe. With a lot to visit and see, Kobe has many attractions, such as its harbour, Mount Rokkō, and various museums and mansions on the hill; its proximity to Osaka and Kyoto makes it an ideal place to visit. For more information about Kobe, Japan, see here.  Shirokiya - was a department store company which started in Japan with various stores throughout Japan and Hawai'i. It was founded in Tōkyō in 1662 and went out of business in 2020. The store was famously depicted in a Hiroshige print, View of Nihonbashi Tori-itchome 1858.  Sarah Lawrence College - is a liberal arts college in Yonkers, New York.  Founded in 1926, Sarah Lawrence has been dedicated to the education process and inclusivity of its student body since its inception. For more information about the school and their work can be found here. Pratt Institute - is a private university located in Brooklyn, New York. Established in 1887 and founded by American business magnate Charles Pratt (1830-1891), the Pratt Institute focuses on the liberal arts such as architecture, art and design, shaping leaders of tomorrow. For more information about TPI, you can look here.  Elise Grilli (d.1969) - was an art critic and author who wrote for the Japan Times. She lived in Japan throughout the 1940's into the 1960's. Her book The Art Of The Japanese Screen is considered a classic.  Charles Terry (1926-1982) - was an author and translator of Japanese in Tōkyō for Harry J. Abrams.  James A Michener (1907-1997) - a Pulitzer Prize winning writer, scholar and academic who wrote on Japanese prints, amongst many more topics. Shima Tamami (1937-1999) - was a mokuhanga printmaker who joined the JHK when they had already established themselves. Her career was short, moving to the United States in the 1960s. Her mokuhanga depicts Japanese aesthetics and themes producing still lives. Her work was featured in James Michener's book, The Modern Japanese Print: An Appreciation, in 1962. For more information and images of Tamami Shima's work, please check out the Viewing Japanese Prints site here. Bird B (1959) 11.9"x16.3" in. Noriko Kuwahara - is a scholar, curator, and author of Japanese art in Japan.  PoNJA-GenKon - is an online listserve group which means Post-1945 (Nineteen Forty Five) Japanese Art Discussion Group Geidai Bijutsu Kondankai. It was established in 2003 to bring together specialists in Japanese art in the English speaking world. For more information about what PoNJA-GenKon does search here. Philadelphia Museum of Art - originating with the Centennial Exhibition of 1876, the PMA has over 200,000 pieces of art and objects and is one of the preeminent museums in the US. More information can be found here. Sakura City Museum of Art -  is a fine art museum located in Sakura City, Chiba, Japan. It is dedicated to the arts of those form Sakura City and Bosho. More information in Japanese here.  Ao no Fūkei (Landscape in Blue) - is a mokuhanga print created by Chizuko Yoshida in 1972.  Futurism - is an art movement which began in Italy. It was established in the early 20th Century by artists Filippo Tommaso Marinetti (1876-1944), Umberto Boccioni (1882-1916), and Carlo Carrà (1881-1966), amongst others. The idea of Futurism was to reject the past and celebrate the speed and power of the present, of industrialization and modernity through art. Futurism influenced other artistic communities around the world.  The Endless Manifesto - Started by Tommaso Marinetti's original manifesto on Futurism called Manifesto of Futurism, the Futurists wrote many manifestos about their ideas on art, history, politics, literature, music, among other topics, until 1914, as well as books, articles in literary journals, magazines and newspapers. The MoMA has written a good article on the Futurists and their manifestos and writings here. © Popular Wheat Productions opening and closing musical credit - Joe Chambers "Ruth" released on Blue Note Records (2023) logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) Слава Українi If you find any issue with something in the show notes please let me know. ***The opinions expressed by guests in The Unfinished Print podcast are not necessarily those of André Zadorozny and of Popular Wheat Productions.***                    

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

So poetisch beschrieb Pierre-Auguste Renoir (1841-1919) die Kanalinsel Guernsey in einem Brief an seinen Freund Edmond Maître. Im Spätsommer 1883 verbrachteRenoir einige Wochen auf der Insel und schuf dabei Gemälde und Skizzen, die seine Faszination für die spektakuläre Küstenlandschaft widerspiegelt.Jetzt abonnieren:https://seazentravel.com/kiosk/seazen-abo/ Hosted on Acast. See acast.com/privacy for more information.

Today, Renoir is remembered as one of the greatest painters of the Impressionist movement. His paintings are soft and delicate, but his life and his work was a painful struggle. Most painters pride themselves on their ability to work with their hands. They spend years practicing, developing fine motor skills and muscle memory to easily render a beautiful image, but Renoir's hands weren't on board with the plan. As his son Jean recounted “Visitors who were unprepared for this could not take their eyes off his deformity. Though they did not dare to mention it, their reaction would be expressed by some such phrase as ‘it isn't possible! With hands like that, how could he paint those pictures?” In 1899, Pierre-Auguste Renoir was sticken with Rhumetiod Arthritis which not only caused painful inflammation of the joints. It left his hands deformed. While even the most minor movements of his hand or wrist would bring pain, Renoir persisted. He continued making beautiful paintings until his death 20 years later because as he said, “pain passes, but beauty remains.” Fill out the Airwave Media Network survey to give me feedback and get a chance to win a $500 gift card: www.surveymonkey.com/r/airwave  Check out my other podcast Art Smart Arts Madness Tournament links: Check out the Brackets Who ARTed is an Airwave Media Podcast. If you are interested in advertising on this or any other Airwave Media show, email: advertising@airwavemedia.com Connect with me: Website | Twitter | Instagram | Tiktok Support the show: Merch from TeePublic | Make a Donation Learn more about your ad choices. Visit megaphone.fm/adchoices

Un día como hoy, 25 de febrero: Nace: 1841: Pierre Auguste Renoir, pintor impresionista francés (f. 1919). 1866: Benedetto Croce, filósofo e historiador italiano (f. 1952). 1873: Enrico Caruso, tenor italiano (f. 1921). 1917: Anthony Burgess, escritor y músico británico (f. 1993). 1949: Amin Maalouf, escritor libanés. Fallece: 1970: Mark Rothko, pintor estadounidense (n. 1903). Conducido por Joel Almaguer. Una producción de Sala Prisma Podcast. 2023

A humble guitar bassist - you've definitely heard. Also, an Impressionist painting, creates polar opinions, with a potential worth - 6 digits or more. ____________ NOTES: ep 106. Subtle Genius - 02 12 2023 Bassist Timothy B. Schmit - https://en.wikipedia.org/wiki/Timothy_B._Schmit _________ John Fugelsang with Timothy B. Schmit: https://podcasts.apple.com/us/podcast/in-depth-with-singer-bassist-timothy-b-schmit-also/id1464094232?i=1000599152396 ______ Fake or Fortune, BBC. Series 4, episode 2 of 4: "Art series with Fiona Bruce and Philip Mould. The team investigate whether a painting is really the work of celebrated impressionist Pierre-Auguste Renoir." https://www.bbc.co.uk/programmes/b062vmg1 _____ Guy Wildenstein, art dealer: https://en.wikipedia.org/wiki/Guy_Wildenstein _____ "French court will not intervene over work that was championed by BBC's Fake or Fortune" = https://www.theartnewspaper.com/2016/02/01/wildenstein-cant-be-forced-to-recognise-disputed-monet _______ 12 step, Adult Children of Alcoholics: https://adultchildren.org/ _______ National Suicide Prevention Lifeline, Hours: Available 24 hours. Languages: English, Spanish. 1-800-273-8255 ____ National Sexual Assault Hotline Hours: Available 24 hours 1-800-656-4673 _____ POD DESCRIPTION: This is The House on Valencia Street. This is a place where ghosts & psychics, with PTSD, exist, & I'm talking about it. Share time with a rare survivor, walking back to haunted rooms and space being claimed from long ago. This is from the survivor's perspective, communicated as I see fit, in a way that feels right, for me. I do not offer advice here, I share what worked for me. I am not a professional therapist, this is just one case study, one perspective. Please seek professional help, if mental health issues need attention. This podcast is intended for entertainment purposes only, and I am a commentator. USE YOUR DISCERNMENT. Language is explicit. Names may or may not be changed, to protect some. Content Warning: ghosts, psychic ability, rape, incest, foster care, murder, emancipation, BDSM, therapy, lightning strikes, personal responsibility, Buddhism, LGBTQIA+, recovery, codependency, comedy, domestic violence - and inappropriate humor, most likely. Picture inset: This is me, so many years ago, standing in front of my mother's Impala, and the House on Valencia Street. --- Support this podcast: https://podcasters.spotify.com/pod/show/mohmah/support

Einmal die Woche spielen Hamburgs Kunsthallen-Direktor Alexander Klar und Abendblatt-Chefredakteur Lars Haider „Ich sehe was, was du nicht siehst“ – und zwar mit einem Kunstwerk. Heute geht es um das Bild „Morgendlicher Ausritt im Bois de Boulogne“ von Pierre-Auguste Renoir aus dem Jahr 1873, das unglaublich groß ist und irgendwie untypisch für den großen Maler.

"Allow | Events on December 3rd…. Dance in the Garden of the Moulin de la Galette, 1876 (Bal au Moulin de la Galette) Pierre-Auguste Renoir died on December 3, 1919 at the age of 78 Pierre-Auguste Renoir was one of the most important French painters of Impressionism (including ""Bal au Moulin de la " "START AD- #TheMummichogblogOfMalta Amazon Top and Flash Deals(Affiliate Link - You will support our translations if you purchase through the following link) - https://amzn.to/3CqsdJH Compare all the top travel sites in just one search to find the best hotel deals at HotelsCombined - awarded world's best hotel price comparison site. (Affiliate Link - You will support our translations if you purchase through the following link) - https://www.hotelscombined.com/?a_aid=20558 “So whatever you wish that others would do to you, do also to them, for this is the Law and the Prophets."""" #Jesus #Catholic. Smooth Radio Malta is Malta's number one digital radio station, playing Your Relaxing Favourites - Smooth provides a ‘clutter free' mix, appealing to a core 35-59 audience offering soft adult contemporary classics. We operate a playlist of popular tracks which is updated on a regular basis. https://smooth.com.mt/listen/ Follow on Telegram: https://t.me/themummichogblogdotcom Tumblr: https://www.tumblr.com/themummichogblogofmalta Blogspot: https://themummichogblogofmalta.blogspot.com/ END AD" "Galette"" 1876, the tenth most expensive painting in the world sold in 1990 for 78 million US dollars). He was born in Limoges, France, on February 25, 1841 and died in Cagnes-sur-Mer on December 3, 1919, at the age of 78. 2022 marked the 181st anniversary of his birth. Dancer, 1874 (danseuse) The Loge, 1874 (La loge) The Great Bathers, 1887 (Les Grandes Baigneuses) https://de.wikipedia.org/wiki/Pierre-Auguste_Renoir John Akii-Bua was born on December 3, 1949 John Akii-Bua was a Ugandan track and field athlete who became the first athlete in his country to win a gold medal at the 1972 Munich Olympics, completing the 400-meter hurdles in under 48 seconds. He was born in Lira, Uganda on December 3, 1949 and died in Kampala on June 20, 1997 at the age of 47. This year he would have been 73 years old. https://de.wikipedia.org/wiki/John_Akii-Bua Jean-Luc Godard was born on December 3, 1930 Jean-Luc Godard was an influential French film director and screenwriter who knew how to both fascinate and provoke with his films of the New Wave that revolutionized cinema, such as Out of Breath (1960), Contempt (1963) and Weekend (1967). and for his work i.a. was awarded an honorary Oscar. He was born in Paris on December 3, 1930 and died this year at the age of 91 on September 13, 2022 in Rolle, Switzerland. Poster advertising A Woman is a Woman (1962) https://de.wikipedia.org/wiki/Jean-Luc_Godard Manne Siegbahn was born on December 3, 1886 Karl Manne Georg Siegbahn was a Swedish physicist and winner of the 1924 Nobel Prize in Physics ""for his discoveries and research in X-ray spectroscopy"". He was born in the 1880s on December 3, 1886 in Örebro, Sweden and died at the age of 91 on September 26, 1978 in Stockholm. 2022 marks the 136th anniversary of his birthday. https://de.wikipedia.org/wiki/Manne_Siegbahn Max von Pettenkofer was born on December 3, 1818 Max Josef von Pettenkofer was a German chemist and hygienist who became a pioneer or ""father of hygiene"", held the first professorship for hygiene in Germany (1865), founded the first hygiene institute and worked in the field of chemistry e.g. discovered periodically occurring properties in elements. He was born on December 3, 1818 in Lichtenau (today zu Weichering) and died at the age of 82 on February 10, 1901 in Munich. 2022 marks the 204th anniversary of his birthday. The Max von Pettenkofer Institute of the LMU Munich, founded by Pettenkofer and later named after him The monument to

The distinguished French painter Pierre Auguste Renoir was afflicted with arthritis that gradually crippled his hands.  Little by little his hands became gnarled and twisted, and it became increasingly painful to just hold a brush.  Anyone who has been strong and then has had pain begin to cripple him can relate to what Renoir went through, but Renoir's pain didn't go away with a few aspirin.  Eventually holding a brush became a painful challenge.  At last, the arthritis put him in a wheelchair and the easel had to be lowered for him to even reach it. 

Le cercle des lecteurs vous propose une lecture, un poème ou un extrait de livre, bienvenue dans ce podcast littéraire et poétique. Je vous souhaite un beau voyage dans ma bibliothèque.

PATREON

"Kendimi akıntıya kaptırdım, sular nereye götürürse oraya giderim." Renoir'ın her resminden sağlık ve neşe akmaktadır. Kötümserlik ve hüzün onun sanatında yer almaz. Bu sözler modern sanatın en canlı ve neşeli renklerini bize sunan Pierre Auguste Renoir'a ait. Kimi yiyecek ekmek bulamazken, kimi sırf ruhunun gıdasını almak için sanat dünyasının çarkına kendini kaptırır. Renoir da bu insanlardan biriydi. "Temiz,saf,sağlam ve zarif" sözcükleri sanatını en iyi açıklayan sözcüklerdir. Bu kez hırsızımız Renoir'ın renk senfonisinin paletteki en iyi yansımalarından, en önemli başyapıtlardan "Moulin de la Galette'te dans" tablosunu konuşturuyor. "Gerçek bir sanat eseri izah istemez çünkü kendiliğinden anlaşılır." Bu sözleri söyleyen Renoir gerçekten sanat tarihinde bu cümleye en çok uyan resimleri yaratmıştır. Onun berrak,açık ve insani dünyasına hoş geldiniz.

Vladislav Ginzburg is the Chief Executive Officer at Blockparty.Ginzburg leads Blockparty and the mission to build a blockchain-agnostic platform for collectible NFTs at the intersection of art, music and culture. Blockparty launched their MVP In August 2020 with a number of mainstream oriented drops, including first digital artworks by 3lau Slime Sunday, Adventure Club, Dave Krugman and others.Earlier, Ginzburg was Chief Business Development officer at Blockparty Tickets where he introduced blockchain as an NFT powered ticketing system to music festivals and professional sports teams, including a partnership with the Sacramento Kings of the NBA.Before entering the Blockchain and entertainment spaces, Ginzburg managed a fine art fund where he transacted more than $150 million in blue chip artworks. Ginzburg studied at Miami University in Oxford, Ohio as well as The New School in New York.Let's dig into your art background first, I believe it lays the groundwork for your interest in NFT related art and event?In the art world,  Vladislav Ginzburg has managed several high-value growth funds in the fine art industry where he has executed transactions for iconic canvas works by Pablo Picasso, Andy Warhol, Jean-Michele Basquiat, Salvador Dali, Pierre Auguste Renoir, and hundreds of others for clients., including placing works into museum exhibitions globallyWhat is your relationship with Warner Music and how will it compliment Blockparty goals for the artist?Opensea is the amazon for NFTs; it's the most common and most costly to mint because there's so many people on it. Rarible and a few others are less expensive. By having their own storefront on Blockparty (part Website, Etsy and Shopify?, Is this a solution to the two ends of the spectrum of Opensea and Rarible?Wants to dive into the live event aspect because of Lively partnership. Does Blockparty expect to be more of an event platform in the end? Or are they primarily a storefront/tools provider? What's the endgame?Ginzburg is the co-founder for Moonwalk. No code: there is code that sits behind the NFT. Moonwalk, being a no code platform, allows people who don't have developers in their back pocket to mint NFTs and play in the same arena as people who do have their own developers. Is Moonwalk going to eventually live on Blockparty?Are Ginzburg's platforms working toward democratizing crypto/NFTs for any and all?We are speaking on NFT.NYC in June!!Data to market yourself, your wallet, online habits, or curated social media look?Creators pushing for Blockparty to push further with them, innovating togetherEasy vs. creating smart contracts that work for the artists on the platformDali and Warhol experimented with digital art, NFT artists that were painters, sculptors and photographers using AR and image recognitionToken, receive it into your wallet, send it out of your wallet or stake it.look forward alpha: music NFTs will thrive with UGC (user generated content) selling viral content from fans taking and creating NFTs and sending to the viral TikTok artist.Vladislav Ginsburg on Twitter Holly Shannon's WebsiteZero To Podcast on AmazonHolly Shannon, LinkedinHolly Shannon, InstagramHolly Shannon, Clubhousehttps://youtu.be/PKCND4FqGLc#utility #creator #warner #brands #art #creativetechnologist #music #musician #spinnin'records #integrity #intention #purpose #impact #lockeddiscord #accesskeys #rightsownership #Fortnight #wearables #legacy #warnermusic #indieartist #fans #nfts #nft #nftart #cryptocurrency #blockchain #metaverse #culturefactor #web3 #smartcontracts #bitcoin #nftartist #nftcollectors #eth #ethereum #youtubers #tiktok #instagram #reels #branding #bitcoin #web3 #smartcontracts #bitcoin #nftartist #nftcollectors #community #decentralizedeconomy

Vladislav Ginzburg is the Chief Executive Officer at Blockparty.Ginzburg leads Blockparty and the mission to build a blockchain-agnostic platform for collectible NFTs at the intersection of art, music and culture. Blockparty launched their MVP In August 2020 with a number of mainstream oriented drops, including first digital artworks by 3lau Slime Sunday, Adventure Club, Dave Krugman and others.Earlier, Ginzburg was Chief Business Development officer at Blockparty Tickets where he introduced blockchain as an NFT powered ticketing system to music festivals and professional sports teams, including a partnership with the Sacramento Kings of the NBA.Before entering the Blockchain and entertainment spaces, Ginzburg managed a fine art fund where he transacted more than $150 million in blue chip artworks. Ginzburg studied at Miami University in Oxford, Ohio as well as The New School in New York.Let's dig into your art background first, I believe it lays the groundwork for your interest in NFT related art and event?In the art world,  Vladislav Ginzburg has managed several high-value growth funds in the fine art industry where he has executed transactions for iconic canvas works by Pablo Picasso, Andy Warhol, Jean-Michele Basquiat, Salvador Dali, Pierre Auguste Renoir, and hundreds of others for clients., including placing works into museum exhibitions globallyWhat is your relationship with Warner Music and how will it compliment Blockparty goals for the artist?Opensea is the amazon for NFTs; it's the most common and most costly to mint because there's so many people on it. Rarible and a few others are less expensive. By having their own storefront on Blockparty (part Website, Etsy and Shopify?, Is this a solution to the two ends of the spectrum of Opensea and Rarible?Wants to dive into the live event aspect because of Lively partnership. Does Blockparty expect to be more of an event platform in the end? Or are they primarily a storefront/tools provider? What's the endgame?Ginzburg is the co-founder for Moonwalk. No code: there is code that sits behind the NFT. Moonwalk, being a no code platform, allows people who don't have developers in their back pocket to mint NFTs and play in the same arena as people who do have their own developers. Is Moonwalk going to eventually live on Blockparty?Are Ginzburg's platforms working toward democratizing crypto/NFTs for any and all?We are speaking on NFT.NYC in June!!Data to market yourself, your wallet, online habits, or curated social media look?Creators pushing for Blockparty to push further with them, innovating togetherEasy vs. creating smart contracts that work for the artists on the platformDali and Warhol experimented with digital art, NFT artists that were painters, sculptors and photographers using AR and image recognitionToken, receive it into your wallet, send it out of your wallet or stake it.look forward alpha: music NFTs will thrive with UGC (user generated content) selling viral content from fans taking and creating NFTs and sending to the viral TikTok artist.Vladislav Ginsburg on Twitter Holly Shannon's WebsiteZero To Podcast on AmazonHolly Shannon, LinkedinHolly Shannon, InstagramHolly Shannon, Clubhousehttps://youtu.be/PKCND4FqGLc#blockparty #blue-chip #authenticity #prognosticator #wallstreet #artnet #database #creatorcollector #web2.5 #web2fatigue #nocode #massadoption #digitallynative #imagerecognition #nfts #nft #nftart #cryptocurrency #blockchain #metaverse #culturefactor #web3 #smartcontracts #bitcoin #nftartist #nftcollectors #eth #ethereum #youtubers #tiktok #instagram #reels #branding #bitcoin #web3 #smartcontracts #bitcoin #nftartist #nftcollectors #community #decentralizedeconomy

No denying it: there will always be P-A-I-N  in P-A-I-N-T.In this ARTish Words episode, Canadian artist Janice Tanton and Washington painter Valerie Collymore address the issue of pain and beauty by reflecting on French Impressionist Pierre-Auguste Renoir's struggle with rheumatoid arthritis and the herculean efforts he made to sustain his art practice during the last twenty years of his life. If your life's mission is to “die with a paintbrush in your opposite hand,” this episode is for you. Mentioned:Renoir, Galette, Rod Stewart & Lefties, blog post by Janice Tanton (read)  Rod Stewart, A Night on the Town, “The First Cut Is The Deepest,” 1976 (listen)    The Story Behind Renoir's ‘Bal du moulin de la Galette', My Modern Met (read) The Art of Louise Bourgeois, The Tate (read) Renoir - The Pain Passes But The Beauty Remains, blog post by Valerie Collymore (read)Renoir's Controversial Second Act, Smithsonian Magazine (read) Find Janice Tanton: Website:  www.janicetantonblog.com Instagram:  jantanton Janice Tanton Art Academy: www.janicetanton.net Facebook: janice.tantonFind Valerie: Website:  www.valeriecollymore.com Instagram:  valeriecollymore Valerie's Workshops:   www.valeriecollymore.com/workshops Facebook:  ValerieCollymoreFineArtFind Me, Kristy Darnell Battani: Website:    https://www.kristybattani.com Instagram:  kristybattaniart Facebook:  kristybattaniart Did you enjoy this episode? If so, please take a moment to leave a rating and a comment: https://lovethepodcast.com/artishplunge   Music:"Surf Guitar Madness," Alexis Messier, Licensed by PremiumBeat.comSupport the show (https://www.buymeacoffee.com/artishplunge)

- Pierre-Auguste Renoir - 5 siècles d'art en Occident - Vincent et Fukuoka

《亚麻色头发的少女》，选自德彪西的钢琴小品集《前奏曲》，为第一集中的第八曲，作于1910年，也是这套钢琴小品集中最为人熟知的曲目之一。《La fille aux cheveux de lin》这首短小而又抒情的前奏曲，具有"五声音阶"的特色。所描绘的少女清新、恬静、优雅而充满活力——这大概是德彪西心中的那位“亚麻色头发的少女”最美的模样吧。但，她是谁？这首钢琴曲常与一幅少女画像结伴出现，很多人认为，这幅画中的人物正是这位亚麻色头发的少女。这幅画名为《小艾琳》，出自十九世纪法国印象派画家雷诺阿（Pierre-Auguste Renoir），是其最具印象主义风格的肖像画之一。这幅画的初衷则是他为一位银行家朋友的8岁的女儿艾琳所作的画像。而德彪西这首小品的真正灵感来自于法国诗人勒孔特·德·里尔的一篇同名诗，诗中描写的是"坐在盛开着鲜花的越桔树丛中的遥远爱人的温雅和妩媚姿态"，德彪西因此获得创作灵感而创作出了《亚麻色头发的少女》。 在紫色苜蓿盛开的土地上是谁在清晨低吟浅唱？是亚麻色头发的少女嘴唇红如樱桃她的歌声轻放就像夏日骄阳里百灵鸟在枝头引吭歌唱……——法国诗人勒孔特·德·里尔《亚麻色头发的少女》作为与德彪西同时期的画家，雷诺阿和德彪西都是印象派的领军人，而《小艾琳》这幅画和《亚麻色头发的少女》这首钢琴曲也因多次在书中同时出现，从而产生千丝万缕的联系。

《亚麻色头发的少女》，选自德彪西的钢琴小品集《前奏曲》，为第一集中的第八曲，作于1910年，也是这套钢琴小品集中最为人熟知的曲目之一。《La fille aux cheveux de lin》这首短小而又抒情的前奏曲，具有"五声音阶"的特色。所描绘的少女清新、恬静、优雅而充满活力——这大概是德彪西心中的那位“亚麻色头发的少女”最美的模样吧。但，她是谁？这首钢琴曲常与一幅少女画像结伴出现，很多人认为，这幅画中的人物正是这位亚麻色头发的少女。这幅画名为《小艾琳》，出自十九世纪法国印象派画家雷诺阿（Pierre-Auguste Renoir），是其最具印象主义风格的肖像画之一。这幅画的初衷则是他为一位银行家朋友的8岁的女儿艾琳所作的画像。而德彪西这首小品的真正灵感来自于法国诗人勒孔特·德·里尔的一篇同名诗，诗中描写的是"坐在盛开着鲜花的越桔树丛中的遥远爱人的温雅和妩媚姿态"，德彪西因此获得创作灵感而创作出了《亚麻色头发的少女》。 在紫色苜蓿盛开的土地上是谁在清晨低吟浅唱？是亚麻色头发的少女嘴唇红如樱桃她的歌声轻放就像夏日骄阳里百灵鸟在枝头引吭歌唱……——法国诗人勒孔特·德·里尔《亚麻色头发的少女》作为与德彪西同时期的画家，雷诺阿和德彪西都是印象派的领军人，而《小艾琳》这幅画和《亚麻色头发的少女》这首钢琴曲也因多次在书中同时出现，从而产生千丝万缕的联系。

《亚麻色头发的少女》，选自德彪西的钢琴小品集《前奏曲》，为第一集中的第八曲，作于1910年，也是这套钢琴小品集中最为人熟知的曲目之一。《La fille aux cheveux de lin》这首短小而又抒情的前奏曲，具有"五声音阶"的特色。所描绘的少女清新、恬静、优雅而充满活力——这大概是德彪西心中的那位“亚麻色头发的少女”最美的模样吧。但，她是谁？这首钢琴曲常与一幅少女画像结伴出现，很多人认为，这幅画中的人物正是这位亚麻色头发的少女。这幅画名为《小艾琳》，出自十九世纪法国印象派画家雷诺阿（Pierre-Auguste Renoir），是其最具印象主义风格的肖像画之一。这幅画的初衷则是他为一位银行家朋友的8岁的女儿艾琳所作的画像。而德彪西这首小品的真正灵感来自于法国诗人勒孔特·德·里尔的一篇同名诗，诗中描写的是"坐在盛开着鲜花的越桔树丛中的遥远爱人的温雅和妩媚姿态"，德彪西因此获得创作灵感而创作出了《亚麻色头发的少女》。 在紫色苜蓿盛开的土地上是谁在清晨低吟浅唱？是亚麻色头发的少女嘴唇红如樱桃她的歌声轻放就像夏日骄阳里百灵鸟在枝头引吭歌唱……——法国诗人勒孔特·德·里尔《亚麻色头发的少女》作为与德彪西同时期的画家，雷诺阿和德彪西都是印象派的领军人，而《小艾琳》这幅画和《亚麻色头发的少女》这首钢琴曲也因多次在书中同时出现，从而产生千丝万缕的联系。

This episode is also available as a blog post: http://quiteaquote.in/2021/02/25/pierre-auguste-renoir-beauty-remains/ --- Send in a voice message: https://anchor.fm/quiteaquote/message

In this short Joanna talks about Luncheon of the Boating Party by French impressionist Pierre-Auguste Renoir. you can find us at  www.artsplanations.com find us on Twitter @artsplanations https://twitter.com/artsplanations if you want to support Joanna and I check out our Store - www.collaborativecouple.bigcartel.com

In Part II of their discussion Stephen Blackwood and Alexander Stoddart speak about the transhistorical community of past, present, and future. Stoddart explicates his Schopenhauerian view of art as life-denying and thus paradoxically able to help us relinquish our own will to power. He contrasts this view with that of a shallow presentism, a self-absorbed modernist outlook that views the present as inherently superior to both past and future, cutting off its own vital resources and neglecting its fundamental obligations. Stoddart shows another way. Artists, Art, and Writings Mentioned in this Episode: Homer; Palmyra; Br'er Rabbit and the Tar-Baby; Arthur Schopenhauer; Jean-Paul Sartre; Michel Foucault; Friedrich Nietzsche; Walter Scott; Richard Wagner; Giovanni Pierluigi da Palestrina; Charles Dickens; Walter Pater; Gian Lorenzo Bernini; Buddhas of Bamiyan; Trajan's Forum; The Colosseum; Bartolomeo Colleoni Monument; The Shard of London; Albert Speer's Volkshalle ("People's Hall"); T. S. Eliot: “Four Quartets”; Gone with the Wind, House of Tara (Antebellum architecture); Richard James Wyatt; Lincoln Memorial; John Flaxman: Am I Not a Man; Thomas Banks profile of Thomas Muir of Huntershill (https://www.nationalgalleries.org/art-and-artists/artists/thomas-banks); Edgar Degas; Paul Cézanne; Pierre-Auguste Renoir; The Acropolis; Tyche; Statue of Tyche and Plutus in Istanbul; Statue of Liberty; Christ the Redeemer in Rio de Janeiro; Mount Rushmore

Hoy les platicamos sobre Pierre-Auguste Renoir, uno de los grandes artistas del Impresionismo que encontró en la pintura una forma distinta de interpretar los acontecimientos de la vida. En sus composiciones nos muestra el placer y la alegría de vivir. Renoir decía que sin diversión la pintura no tendría sentido, así que no la dudes y ¡ponle play!

Don't be fooled by the colorful and relaxing paintings created by the French Orientalists! These 19th century artists really liked to objectify women. Listen as Klaire Lockheart reveals the problematic aspects of Orientalism, argues with dead artists, and introduces you to the brodalisque. Artists and Artwork: Jean-Auguste-Dominique Ingres (Grande Odalisque, Turkish Bath, Portrait of Monsieur Bertin), Jean-Léon Gérôme (Pollice Verso, Snake Charmer, the Meuzzin, the Grief of the Pasha Sabre Dance in a Café, the Slave Market), Pierre-Auguste Renoir, Eugène Delacroix, Guerrilla Girls (Do women have to be naked to get into the Met. Museum?), and Felix Nadar Additional Topics: Edward Said (Orientalism), Mohja Kahf (Western Representations of the Muslim Woman), Odalisques, Harems, Karin van Nieuwkerk (A Trade Like Any Other: Female Singers and Dancers in Egypt), Colonialism, Cultural Appropriation, Gladiator, Linda Nochlin (“The Imaginary Orient”), Awalim, Belly Dancers, and Ghawazee klairelockheart.com instagram.com/klairelockheart facebook.com/klairealockheart

In this episode of Accessible Art History: The Podcast, I continue through our exploration of Impressionism. This work, Luncheon of the Boating Party, is one of the most famous pieces from the period due to its bright and vivacious reflection of the moment! Please rate and review if you enjoy this episode! For images and sources: https://www.accessiblearthistory.com/post/podcast-episode-37-luncheon-of-the-boating-party-by-pierre-auguste-renoir --- Support this podcast: https://anchor.fm/accessiblearthistory/support

In this episode, we explore how the imagery and visuals that are infused into racist and misogynistic tropes today can be traced to classical works of art, including both the intentional messaging of the artist… as well as the cultural context we bring, and how we interpret and use that imagery. We also discuss how the art we think of as canon was actually deliberately and intentionally defined in an early and successful PR effort that persists to today. My guest is Letha Ch’ien, Ph.D., assistant professor of art history at Sonoma State University. Works of art mentioned in this episode include: The Feast in the House of Levi by Paolo Veronese Olympia by Édouard Manet The Bath by Jean-Léon Gérome Alfonso d'Avalos of Vasto (with Page) by Titian Bal du moulin de la Galette by Pierre-Auguste Renoir

Wir schlagen heute das Familienalbum von Pierre-Auguste Renoir auf. Er war nicht nur einer der bedeutendsten französischen Maler des Impressionismus, sondern auch ein aufmerksamer Vater, der die Kindheit seiner Söhne in zahlreichen Bildern festhielt ... Dir gefällt unser Wortbild? Die Lesedusche hält weitere Überraschungen für dich parat: https://lesedusche.de/fe/wortbilder

Apoie a cultura! Seja um Apoiador do Canal Loucos por Biografias! https://www.catarse.me/loucosporbiografias Youtube - https://www.youtube.com/c/BiografiasTâniaBarros Instagram - https://www.instagram.com/loucosporbiografias Twitter - https://twitter.com/LoucosBiografia E essa é nossa história de hoje. Espero ter contribuído para que seu dia seja muito bom! Se você gostou, deixe seu joinha, faça seu comentário, conheça as outras histórias do canal e compartilhe com seus amigos. Lembrando que o Canal “LOUCOS POR BIOGRAFIAS” traz novas histórias toda semana no youtube, em podcast. E agora estamos também no Twitter e no Instagran. Encontro vocês nas próximas biografias do canal. Até mais! (Tânia Barros). Fontes: -Filme: Renoir (2012) -Coleção: “Pinturas Mais Valiosas do Mundo” -Livro da Arte (Coleção Editora Globo) --- Send in a voice message: https://anchor.fm/loucosporbiografias/message Support this podcast: https://anchor.fm/loucosporbiografias/support

Lorsqu'on pense aux grands maîtres impressionnistes, on songe immédiatement à Claude Monet, Pierre-Auguste Renoir, Paul Cézanne ou Edgar Degas. Rares sont ceux qui évoquent spontanément le nom de Berthe Morisot alors qu'elle est une des membres fondatrices et historiques du Groupe des Impressionnistes et que bon nombre d'historiens de l'art la considèrent comme l'une des plus audacieuses du mouvement. Afin de mettre en lumière l'œuvre de cette peintre et sa contribution importante à l'histoire de l'art français du XIXe siècle, le Musée national des beaux-arts du Québec, la Fondation Barnes (Philadelphie, Pennsylvanie), le Dallas Museum of Art (Dallas, Texas) et le Musée d'Orsay (Paris, France) ont décidé d'organiser une exposition à son sujet qui est présentée à Québec jusqu'au 23 septembre 2018. De notre côté, nous avons invité André Gilbert, conservateur aux expositions au MNBAQ, à venir nous parler de cette figure majeure de l'histoire de la peinture. Première diffusion le 25 juillet 2018 sur les ondes de CHYZ 94,3 (Université Laval)

Tai Snaith returns to the studio for the fortnightly visual arts segment Art Attack, chatting about her artistic process whilst working from home, and reviewing Judy Watson and Yhonnie Scarce’s ‘Looking Glass’, on display at the TarraWarra Museum of Art. Described by curator Hetti Perkins as both “a love song and lament for country”, this exhibition sees Watson, a Waanyi artist, and Scarce, a Kokatha and Nukunu artist, explore the painful, dark history of the Australian landscape in poignant synergy. Jane Scott, Curator of Flesh After Fifty at the Abbotsford Convent introduces the exhibition’s program of events, challenging ageism, sexism, and body shame to celebrate and promote older women within the art world. Featuring commissions from 14 dynamic Australian artists, the exhibition includes talks from both artists and medical professionals on subjects such as menopause and family violence.Finally, Dr Miranda Wallace, Senior Curator at the NGV announces the gallery’s winter offering, French Impressionism, featuring 79 works which have never previously been exhibited in Australia. Presented in collaboration with the Museum of Fine Arts, Boston, the exhibition will chart the major developments of this artistic period through key figures such as Claude Monet, Pierre-Auguste Renoir and Edgar Degas. 

Dal 4 giugno la mostra Melbourne Winter Masterpieces porterà alla National Gallery of Victoria (NGV) opere di Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Camille Pissarro, Mary Cassatt e altri. 79 di questi dipinti non sono mai stati esibiti prima in Australia.

Il 25 febbraio 1841 nasce a Limoges, in Francia, Pierre-Auguste Renoir - con Costantino D'Orazio

Un día como hoy, 25 de febrero: Nace: 1841: Pierre Auguste Renoir, pintor impresionista francés (f. 1919). 1866: Benedetto Croce, filósofo e historiador italiano (f. 1952). 1873: Enrico Caruso, tenor italiano (f. 1921). 1917: Anthony Burgess, escritor y músico británico (f. 1993). 1949: Amin Maalouf, escritor libanés. Fallece: 1970: Mark Rothko, pintor estadounidense (n. 1903). Una producción de Sala Prisma Podcast. 2021

.

Tous les samedis et dimanches, Vanessa Zhâ et Olivier Poels nous font découvrir quelques pépites du patrimoine français. Aujourd'hui, ils vous emmènent en Champagne, pour y découvrir notamment la maison du peintre Pierre-Auguste Renoir et gouter à une spécialité locale, la potée champenoise.

Un día como hoy, 3 de diciembre: 1596, nace Nicoló Amati. 1729, nace Antonio Soler. 1755, Gilbert Stuart. 1857, nace Joseph Conrad. 1911, nace Nino Rota. 1930, nace Jean-Luc Godard. 1960, nace Julianne Moore. 1985, nace Amanda Seyfried. 1827, fallece Fray Servando Teresa de Mier. 1894, fallece Robert Louis Stevenson. 1919, fallece Pierre-Auguste Renoir. 2014, fallece Vicente Leñero. Una producción de Sala Prisma Podcast. 2020

Today I'll talk about the difference between gourds and squash. We'll also celebrate the man whose philanthropy made the Arnold Arboretum possible. We’ll recognize the painter who said flowers made him paint freely. We salute the English author who gave us a lovely poem called The Garden Year. We Grow That Garden Library™ with a cookbook from two chefs who teach authentic, seasonal cooking with ingredients from your garden in the most delicious and perfect ways possible. And then we’ll wrap things up with the English naturalist who campaigned and won Green Spaces for England and her work lead to the National Trust.   Subscribe Apple | Google | Spotify | Stitcher | iHeart To listen to the show while you're at home, just ask Alexa or Google to “Play the latest episode of The Daily Gardener Podcast.” And she will. It's just that easy.   The Daily Gardener Friday Newsletter Sign up for the FREE Friday Newsletter featuring: A personal update from me Garden-related items for your calendar The Grow That Garden Library™ featured books for the week Gardener gift ideas Garden-inspired recipes Exclusive updates regarding the show and more. Plus, each week, one lucky subscriber wins a book from the Grow That Garden Library™ bookshelf.   Gardener Greetings Send your garden pics, stories, birthday wishes, and so forth to Jennifer@theDailyGardener.org.   Curated News The Same Mobile Protein Governs Seed Size And Inflorescence Structure | Botany One | Hugh Dickinson   Facebook Group If you'd like to check out my curated news articles and blog posts for yourself, you're in luck because I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community.   So, there’s no need to take notes or search for links. The next time you're on Facebook, search for Daily Gardener Community, where you’d search for a friend… and request to join. I'd love to meet you in the group.   Important Events December 3, 1492   On this day, Christopher Columbus noted in his diary: "I climbed a mountain and came to level ground, which was sown with many different crops and gourds." The gourds Columbus was referring to were actually squashes that were turned into utensils. Many people confuse gourds and squash. So here’s a little gourd and squash trivia to keep your knowledge of gourds and squash sharp. Gourds and squash are members of the Cucurbitaceae ("coo-kur-bi-TAY-see-ee") plant family, including over 700 species. Both squash and gourds are fruits because they are part of the flower that contains the seeds, and like grapes, they grow on a vine. The fruits of gourds, squashes, and pumpkins are berries known as a pepo (“pee-poh”). Loofahs are a type of gourd, and they come from the inside of a gourd. Pumpkin is a squash. And while most gourds are not suitable to eat, squash has a mild taste and is delicious. The main difference between summer squash and winter squash is how long they can be stored. Summer squashes are soft-skinned, they're harvested in the summer, and they need to be eaten quickly (i.e., zucchini and yellow crookneck squash). Winter squashes are hard-shelled squashes that can be stored for months (i.e., acorn squash). Here’s a little gourd joke: What vegetable keeps your garden safe? A security gourd. Lastly, if you enjoy puns, gourd puns abound on the internet, and they are truly the worst puns. "You’d butternut forget to grow gourds… because they’re ‘gourd’geous!"   December 3, 1868 Today is the anniversary of the death of the wealthy businessman, philanthropist, and botanist James Arnold. James is the namesake for Harvard's Arnold Arboretum - the very first arboretum in the United States. James was born to a Quaker family in Providence, Rhode Island. In 1807, James married Sarah Rotch. Had James not married Sarah, there would have probably never been an Arnold Arboretum. Sarah's father was part of an exceptionally wealthy whaling family, and James eventually became a partner in his father-in-law's business. James used his wealth to buy an 11-acre estate in New Bedford, Massachusetts. As Quakers, James, and Sarah focused less on making their home ostentatious and more on developing their gardens. Together James and Sarah searched for interesting plants and trees for their home gardens during their many trips to Europe. And history tells us that the Arnold property was so stunning that the gardens were open to the public on Sundays. In 1857, even the writer Herman Melville visited the garden. The Unitarian minister, William Potter, called the Arnold estate, "...the most conspicuous among all our homes for culture, for hospitality, for charity." As both James and Sarah loved gardening and plants, their friends included many naturalists of their time: John James Audubon, Ralph Waldo Emerson, Henry David Thoreau, and Bronson Alcott (Louisa May Alcott’s father). When James died in 1868, as part of his will, he left $100,000 in the hands of three trustees: Francis Parker, John James Dixwell, and George Emerson. Emerson and Dixwell personally knew Asa Gray at Harvard, and they also knew that Harvard needed a Botanic Garden. James Arnold’s trustees included a bodacious mission for the Arboretum: to collect every kind of tree and shrub that would grow outdoors in Massachusetts. By 1873, Charles Sprague Sargent was hired to be the director of the Arnold Arboretum - a position he would hold for over four decades. And James Arnold’s gift and Charles Sprague Sargent’s leadership created the world-class arboretum we enjoy today.   December 3, 1919 Today is the anniversary of the death of the impressionist painter Pierre-Auguste Renoir. Pierre-Auguste Renoir said, when he was painting flowers, he was able to paint, “freely and boldly without the mental effort, he made with a model.” He also said, “If you paint the leaf on a tree without using a model, your imagination will only supply you with a few leaves… But nature offers you millions, all on the same tree. … The artist who paints only what is in his mind must very soon repeat himself.” It was Renoir who said, “What seems most significant to me about [Impressionism] is that we have freed painting from the importance of the subject. I am at liberty to paint flowers and call them flowers, without their needing to tell a story.” And speaking of stories, there's a little-known story about Renoir. For many years, he hung a sign on his garden gate which read, "No Renoirs sold here. Beware the dog."   Unearthed Words January brings the snow, Makes our feet and fingers glow. February brings the rain, Thaws the frozen lake again. March brings breezes, loud and shrill, To stir the dancing daffodil. April brings the primrose sweet, Scatters daisies at our feet. May brings flocks of pretty lambs Skipping by their fleecy dams. June brings tulips, lilies, roses, Fills the children’s hands with posies. Hot July brings cooling showers, Apricots and gillyflowers. August brings the sheaves of corn, Then the harvest home is borne. Warm September brings the fruit; Sportsmen then begin to shoot. Fresh October brings the pheasant; Then to gather nuts is pleasant. Dull November brings the blast; Then the leaves are whirling fast. Chill December brings the sleet, Blazing fire and Christmas treat. — Sara Coleridge, English author, The Garden Year   Grow That Garden Library Earth to Table by Jeff Crump and Bettina Schormann This book came out in 2018, and the subtitle is Cooking with Good Ingredients Through the Seasons. In this book, Slow Food advocates and accomplished chefs Jeff Crump and Bettina Schormann create approachable everyday recipes with the garden harvest. This book was a 2018 Winner for Excellence in Book Design - which is a feature that readers will notice right away when they get this cookbook. By advocating for a seasonal approach to cooking, Jeff and Bettina show you how to seek out the freshest ingredients for your prep table and dining table. Earth to Table Every Day features 140 wholesome, effortless, everyday recipes. I love Jeff and Bettina’s cookbook because they infuse their book with brilliant stories and gorgeous photography that makes their recipes compelling and memorable. My favorites include Arugula and Fennel Salad, Mushroom Tarts, Creamy Hummus with Fried Chickpeas, Buttermilk Fried Chicken, Apple Bacon Pizza, Rhubarb Upside Down Cake, Chocolate Brownies, and Raspberry Swirl Cheesecake. This book is 288 pages of authentic, seasonal cooking from two chefs dedicated to making and using ingredients from the garden in the most delicious and perfect ways possible. You can get a copy of Earth to Table by Jeff Crump and Bettina Schormann and support the show using the Amazon Link in today's Show Notes for around $18   Today’s Botanic Spark Reviving the little botanic spark in your heart December 3, 1838 Today is the birthday of the English activist, conservationist, and naturalist Octavia Hill. From the time she was 13 years old, Octavia worked to make life better for the working class. As Octavia matured, she crystalized her advocacy. And one of Octavia’s most passionate causes was getting access to nature for all of the folks living in large cities like London. Historical records tell us that Octavia was a small woman, she didn’t care a lick for fashion, and she had beautiful brown eyes. She was also an exceptional speaker and persuasive advocate, as is evident by a comment the Bishop of London made after meeting with Octavia, "She spoke for half an hour … I never had such a beating in all my life." In 1884, Octavia's sister and fellow activist Miranda Hill remarked, “It has come to the point when two peers and a cabinet minister call and consult her in one week.” Octavia’s work to save green spaces throughout England led to the establishment of the National Trust. It was Octavia Hill who said, “The need of quiet, the need of air, the need of exercise, and, I believe, the sight of sky and of things growing, are human needs, common to all…” And finally, gardeners will chuckle at this little passage from a letter Octavia wrote to her sister, Gertrude, on October 22, 1852: “Oh, Gertrude! I am so happy, so very very happy. I wish you were with me. You would so love all my beautiful things... I have a little room, all to myself. When anything is wrong or unjust downstairs, I have only to come up into my own little room, and it is so still... I usually have some flowers, for the ladies are very kind in bringing me them. I have a few poor little plants that I am fond of. Then I have eleven dear little snails. They are such darlings.”   Thanks for listening to The Daily Gardener. And remember: "For a happy, healthy life, garden every day."

Versione audio: Il Ballo al Moulin de la Galette, meglio noto con il titolo più corto di Il Moulin de la Galette, è uno dei dipinti più famosi del pittore impressionista Pierre-Auguste Renoir (1841-1919), oltre che uno dei quadri simbolo dell’intero Impressionismo. Fu dipinto dall’artista nel 1876 ed esposto, l’anno successivo, alla terza esposizione impressionista. […] L'articolo Il Ballo al Moulin de la Galette di Renoir proviene da Arte Svelata.

When asked what two films he would take with him "on the ark", Orson Welles simply responded, "La Grande Illusion... and something else!" A classic of prison escape movies, The Grand Illusion (1937) was hugely influential on films that followed, including The Great Escape. Variously banned by both German and French authorities, the film — which deals with themes of class, prejudice, and war — was not without controversy. Film critic Roger Ebert called it "a meditation on the collapse of the old order of European civilization," and critics and film historians alike regard the film not only a masterpiece of French cinema, but also one of the greatest films of all time. The Grand Illusion, in fact, was restored and released as the inaugural DVD of The Criterion Collection. James and Thomas discuss this seminal work by director Jean Renoir, son of the famous French painter Pierre-Auguste Renoir. Next up on Criteria, we'll be viewing and discussing the second installment of Dekalog, the 10-part series of films directed by Polish auteur Krzysztof Kieślowski. Notes Millet and Modern Art: From Van Gogh to Dalí https://www.slam.org/exhibitions/millet-and-modern-art/ The Flight Into Egypt, by Jean Millet https://www.artic.edu/artworks/145832/the-flight-into-egypt CatholicCulture.org Podcast Community https://www.facebook.com/groups/CatholicPods/ Theme music: The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com/

Considered to be one of Ingmar Bergman's greatest and most affecting films, Wild Strawberries (1957) is a moving depiction of a cantankerous-yet-charming old man (famed Swedish filmmaker & actor Victor Sjöström) as he nears the end of his life. Through reveries, dreams, and a series of unlikely encounters, Bergman crafts a visually arresting, tonally varied, and deeply human tale of failure, forgiveness, and hope. We discuss this richly poetic and philosophical work with poet and philosopher James Matthew Wilson. Next up on Criteria, we will be viewing the 1937 French film Le Grande Illusion directed by Jean Renoir (son of the painter Pierre-Auguste Renoir)! Join the discussion at http://www.facebook.com/groups/catholicpods Notes James Matthew Wilson: https://www.jamesmatthewwilson.com/ Quarantine Notebook: https://dappledthings.org/16751/quarantine-notebook-part-15/ Catholic Culture Podcast Ep.  57 - River of the Immaculate Conception - James Matthew Wilson https://www.catholicculture.org/commentary/episode-57-river-immaculate-conception-james-matthew-wilson/ Catholic Culture Podcast Ep.  61 - Liberal Anti-Culture vs.  the Western Vision of the Soul https://www.catholicculture.org/commentary/ep-61-liberal-anti-culture-vs-western-vision-soul-pt-i-james-matthew-wilson/ Theme music: The Duskwhales, “Take It Back”, used with permission. https://theduskwhales.bandcamp.com/

durée : 00:47:59 - Remède à la mélancolie - par : Eva Bester - "War of the worlds" de Stephen Spielberg, Pierre-Auguste Renoir, la peinture, faire l'amour et du vélo, François Damiens, Henri-Pierre Roché, Clément Rosset, Cassius, Philip Glass, Dario Moreno, le coca-cola, Pierre Paul Rubens... Retrouvez tous les remèdes de notre invité !

Cette une ville de caractère pour un restaurant de caractère. Avec un menu généreux au programme, cap sur la petite commune qui accueuillait régulièrement le peintre Pierre-Auguste Renoir. Bon appétit !

For this week's episode, take a trip down memory lane to your first impression of Notes & Strokes. What did you think? How did it make you feel? What were you doing while you listened? Is the memory clear as day, or a little muddled? Well, if you can't recall every detail, you can definitely relate to this week's topic! We are exploring a period of art and music where perfect detail was not the goal. We're glad you're joining us this week to take a look at these works from the period of Impressionism! ----more---- Art: Claude Monet (1841-1926): Impression: Sunrise (1872) Pierre Auguste Renoir (1841-1919): Dance at Le Moulin de la Galette (1876) Berthe Morisot (1841-1895): The Cradle (1872) ----more---- Music: Ernest Chausson (1855-99): Concerto for Piano, Violin and String Quartet (1889-91) Claude Debussy (1862-1918): Prélude à l'après-midi d'un faune (1890s) Claude Debussy: La Cathédrale Engloutie from Preludes - Book 1 (1909-10) Claude Debussy: Voiles from Preludes - Book 1

Montmartre, including the Basilica of the Sacré-Cœur (Roman Catholic - 1914) Montmartre is primarily known for its artistic history, the white-domed Basilica of the Sacré-Cœur on its summit, and as a nightclub district. The other church on the hill, Saint Pierre de Montmartre, built in 1147, was the church of the prestigious Montmartre Abbey. Montmartre (French pronunciation: [mɔ̃.maʁtʁ]) is a large hill in Paris's 18th arrondissement. It is 130 m (430 ft) high and gives its name to the surrounding district, part of the Right Bank in the northern section of the city. Near the end of the 19th century and at the beginning of the twentieth, during the Belle Époque, many artists lived in, had studios, or worked in or around Montmartre, including: Vincent van Gogh, Henri de Toulouse-Lautrec, Pierre-Auguste Renoir, Pablo Picasso, Claude Monet, Amedeo Modigliani, Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Henri de Toulouse-Lautrec, Suzanne Valadon, Piet Mondrian, Pablo Picasso, Camille Pissarro and more. Montmartre is also the setting for several hit movies. Visit the World Without Traveling™ This is part of a continuing series of Videos and Blogs. Episodes visit such notable cities as: London, Paris, Las Vegas, San Francisco, Israel, Napa Valley, Nashville, Monterey and including interesting locations such as: Stonehenge, Eiffel Tower, Changing the Guard, Tower of London - Crown Jewels, Windsor Castle, the Roman baths, the Senine River cruise, Champs-Élysées, Arc de Triomphe, Notre Dame Cathedral, France’s oldest perfume houses, The Louvre Paris Museum, Royal Estate of Versailles, Moulin Rouge, Claude Monet and more. If you are planning on traveling these podcasts are a good primer with useful travel information Listen and Watch Anytime, Anywhere http://www.morganrees.com/podcasts#Montmartre http://www.morganrees.com/videos#Montmartre http://www.morganrees.com/podcasts#Paris http://www.morganrees.com/videos#Paris www.morganrees.com/videos www.morganrees.com/podcasts www.morganrees.com

Auch wenn sich Impessionistische Werke ähneln so kann man doch bei genauerem betrachten einen Unterschied sehen.

Today we celebrate a diary entry made by Columbus as well as the man who introduced the potato to England. We'll learn about the Botanical Painter, who served botanists and French Royalty and the garden writer who inspired many with his Lancashire garden diary. We'll hear some amusing garden prose. We Grow That Garden Library with a book that helps you make your vegetable gardens more beautiful by strategically adding cut flowers. I'll talk about the kind of coal gardeners will want in their stockings this Christmas, and then we'll wrap things up with some thoughts on flowers by the Impressionist painter we lost 100 years ago today.     But first, let's catch up on a few recent events. Grounding in the Garden: Fall Gardening Tips | LearningHerbs @learningherbs Great post from @learningherbs with five herbs that are great to start from seed or cuttings for your winter apothecary: rosemary, horehound, mullein, ground cherries, and common sage.       The Grateful Tree – A Thanksgiving story | @wwediting   Ya’ll need to stop and read this. There are still some sacred parts of nature that remain untouched by us - this is a story about that. Thanks for writing it @wwediting. It's a lovely read. The Grateful Tree – A Thanksgiving story     A Visit to Jupiterartland  | @EllenMaryGarden   Ellen Mary tweeted "Today I visited @jupiterartland in Edinburgh for a private tour of which I’m super thankful I’ve never been to a garden that has floored me quite like it! A mix of awe & terror, inspiration & confusion...the artwork & sculptures are quite something#art #landscape #garden https://pic.twitter.com/kE0rs2ARSY"   I replied: "Now THAT's a garden visit. It will be interesting to hear what your thoughts are about this place over time. It's always fascinating to me how a garden speaks to us long after a visit. Sometimes first impressions are shadows of a more profound understanding that comes later."   Now, if you'd like to check out these curated items for yourself, you're in luck - because I share all of it with the Listener Community in the Free Facebook Group - The Daily Gardener Community. There’s no need to take notes or search for links - the next time you're on Facebook, just search for Daily Gardener Community and request to join. I'd love to meet you in the group.     Brevities #OTD On this day in 1492, Christopher Columbus notes in his diary: "I climbed a mountain and came to level ground, which was sown with many different crops and with gourds." The gourds Columbus was referring to were squashes that were used for more than food.  After the skin had been cleaned and dried, the skins were used as utensils.   #OTD  On this Day in 1586, Sir Thomas Herriot introduced Colombian potatoes to England. Over fifty years earlier, the Spanish had been the first to discover potatoes - but Herriot's potatoes were the first to reach England. Harriot had spent time in Sir Walter Raleigh’s English colony on Roanoke Island in modern-day North Carolina. There, he studied not only wildlife but also potatoes from Columbia. Herriot was also an astronomer. In July of 1609, he created a drawing of the moon through a telescope over four months before Galileo.       #OTD  Today is the anniversary of the death of the French botanical painter for King Louis the XIV and XV, Claude Aubriet, who died on this day in 1742. When Aubriet was appointed "Painter to the King" after the death of his master Jean Joubert in 1707, he technically didn't have the right credentials because he didn't belong to the Academy of painting and sculpture. But, the King approved Aubriet's appointment anyway, and he lived at the Royal Garden until he died. Aubriet was sponsored by the French botanist Joseph Pitton de Tournefort to create over a thousand illustrations for his acclaimed book - Elements of Botany. Other botanists, including Sebastien Vaillant and Antoine Jussieu also hired Aubriet to do their illustrations. During his time at court, Aubriet painted twenty-four miniatures a year for 35 years resulting in nearly 600 vellums for the royal collection. Today, they are preserved at the Museum national d’Histoire Naturelle of Paris. What distinguishes Aubriet’s work was his desire to paint all the known species in both the animal and plant kingdoms. Aubriet painted fish and insects and birds and mammals - in addition to plants. In 1722, Aubriet changed his will. His most prized possession was a cabinet he had inherited from his former master Jean Joubert. Aubriet left the cabinet to his friend, the botanist Bernard Jussieu. The cabinet was described this way: “In a wood veneer, exquisite paintings of parrots... ornamented the panels ... with their golden border.”   As you might have already suspected, the genus Aubrieta (“Aubreesha”) was named for Claude Aubriet by the French Botanist Michel Adanson. Aubrieta is an ornamental plant, and it grows well in rock gardens. The leaves resemble succulents, and after flowering, a light clip will encourage new shoots.     #OTD On this day in 1873, the gardener and writer Henry Arthur Bright began a diary, which would become known as the book "A Year in a Lancashire Garden" - one of the most beloved garden biographies of the nineteenth century. Bright's book would inspire future garden writers like Eleanor Vere Gorden Boyle, Henry Nicholson Ellacombe, Maria Theresa Earle, and Elizabeth Lawrence. Here are some excerpts from Bright's journal entry for this day in 1873. At the very end, he talks about making a potent tincture with petals from a Madonna Lily: "These notes are written for those who love gardens as I do... and they are written ... to convey to others some little of the delight, which grows (more certainly than any bud or flower) from the possession and management of a garden.  Lancashire is not the best possible place for a garden, and to be within five miles of a large town is certainly no advantage. We get smoke on one side, and salt breezes on another, and, worst of all, there comes down upon us every now and then a blast, laden with heavy chemical odors, which is more deadly than either smoke or salt. Still, we are tolerably open, and in the country.  These are certainly what the American poet Bryant calls “the melancholy days, the saddest in the year.” The late autumn flowers are over; —the early spring ones are still buried under the soil. I could only find this morning a single blighted monthly Rose, a Wallflower or two, an uneasy-looking Polyanthus, and some yellow Jasmine against the house—and that was all. Two days of early frost had killed the rest.  Lastly, the Chrysanthemums are in flower. The Chrysanthemum has three merits above almost every flower. It comes in the shortest and darkest days; it blooms abundantly in the smoke of the largest cities; it lasts longer than any flower when cut and put into water. If flowers have virtues, the virtue of the Chrysanthemum is its unselfish kindliness.  In the hybrid beds, I shall plant a number of roots of the Lilium candidum—the dear old white Lily of cottage gardens. And as I write I am told of a recipe [using] the firm white petals. You must gather them while still fresh, place them unbroken in a wide-necked bottle, packed closely and firmly together, and then pour in what brandy there is room for. In case of cut or bruise, no remedy is more efficacious and certainly none more simple."       Unearthed Words “There are many in this old world of ours who hold that things break about even for all of us. I have observed, for example, that we all get the same amount of ice. The rich get it in the summertime, and the poor get it in the winter.” - Bat Masterson - who had a Daylily named in his honor   "An onion can make people cry, but there's never been a vegetable that can make people laugh." - Will Rogers   It's Time to Grow That Garden Library with Today's Book: Vegetables Love Flowers by Lisa Mason Ziegler   The subtitle for this book is Companion Planting for Beauty and Bounty. As the description of this book reminds us, "Planting vegetables and flowers together is one of the oldest ways to create a healthy, bountiful garden, but there's more to the method than you might think. Vegetables Love Flowers will walk you through the ins and outs of companion planting, from how it works to which plants go together and how to grow the best garden for your climate." Lisa provides excellent guidance on how to incorporate flowers into a vegetable garden. She offers helpful tips and ideas for stunning vegetable gardens that are full of color - btw, the images in this book are beautiful. If you've ever wondered how you can enjoy a year of beauty in your garden - growing both healthy veggies and gorgeous flowers to boot, this book will be an Inspiration.       Today's Recommended Holiday Gift for Gardeners: Hoffman 17502 Charcoal Soil Conditioner, 24-Ounce  $5.99 Charcoal soil conditioner Improves drainage and absorbs impurities Horticultural charcoal is an additional item recommended by garden writers for custom mixing potting Will not burn releases nitrogen slowly, feeding plants over a long period, pelletized for easy application This is the kind of coal a gardener would love to find in their stocking.       Something Sweet  Reviving the little botanic spark in your heart Today is the 100th anniversary of the death of the impressionist painter Pierre-Auguste Renoir who died on this day in 1919. There's a little-known story about Renoir. For many years, he hung a sign on his garden gate which read, "No Renoirs sold here. Beware the dog." Pierre-Auguste Renoir said, when he was painting flowers, he was able to paint  “freely and boldly without the mental effort he made with a model.”  He said “If you paint the leaf on a tree without using a model, your imagination will only supply you with a few leaves,” he said. “But Nature offers you millions, all on the same tree. … The artist who paints only what is in his mind must very soon repeat himself.”  It was Renoir who said, “The pain passes but the beauty remains.” “What seems most significant to me about our movement [Impressionism] is that we have freed painting from the importance of the subject. I am at liberty to paint flowers and call them flowers, without their needing to tell a story.”       Thanks for listening to the daily gardener, and remember: "For a happy, healthy life, garden every day."

This is a good one... We go through and discuss a list of 23 important art habits that every artist should consider. A tattoo artist gets advice about composition and Marshall finally roasts me. Woo! Call and Ask Your Art Questions: 1-858-609-9453 Some showlinks contain affiliate links to amazon.com: Currier & Ives Prints - https://proko.com/draftsmen-media/Currier-and-ives-print.jpg K. Anders Ericsson on the 10,000 hour mastery - https://www.bbc.com/news/magazine-26384712 Bernie Wrightson - A Look Back - https://amzn.to/2PCu6Nf The Talent Code - https://amzn.to/326GMgI Seth Godin - https://amzn.to/2ZK8huL Ivan Brunetti - Cartooning - https://amzn.to/2ZILlvW Creativity - Mihaly Csikszentmihalyi - https://amzn.to/2MPBwdK 1000 Tattoos - Taschen - https://amzn.to/2NMPFbs Marshall’s “bad” drawings - https://proko.com/draftsmen-media/Marshall-Vandruff-sloppy-art.jpg Precious Moments calendars - https://proko.com/draftsmen-media/precious-moments-calendars.jpg Marshall’s Tattoo aesthetic - https://proko.com/draftsmen-media/Marshall-Vandruff-tattoo-aesthetic.jpg Albrecht Dürer’s woodcuts - https://proko.com/draftsmen-media/Albrecht-Durer-woodcuts.jpg Scrum book - https://amzn.to/2HEU63Q Ken Burn's the West - https://amzn.to/2NNABds Artists Mentioned in this video - Vincent van Gogh, JC Leyendecker, Howard Pyle, Claude Monet, Pierre-Auguste Renoir, Alphonse Mucha 1. Draw From Life 2. Draw in your head 3. Become your own critic 4. Get information from multiple sources 5. Train like an athlete 6. Break big things into smaller things 7. Protect your most creative time 8. Go beyond the minimum requirements 9. Think like a kid 10. Research, research, research 11. Patience 12. Draw things you enjoy 13. Remix your inspiration 14. Share what you learn 15. Spend time with other artists 16. Say “No” 17. Say “Yes” 18. Make ugly drawings 19. Exercise 20. Draw Daily 21. Finish what you start 22. Discipline 23. Master your calendar Learn to Draw - www.proko.com Marshall Vandruff - www.marshallart.com Stan Prokopenko - instagram.com/stanprokopenko  Learn more about your ad choices. Visit megaphone.fm/adchoices

PIERRE AUGUSTE RENOIR (1841-1919) foi um importante pintor francês, é considerado um dos maiores mestres da pintura impressionista. Na chama Bele Epoque. RENOIR é o mais sensual e descontraído de todos impressionistas. O pintor da alegria, conhecido por celebrar a beleza. O mundo que ele pintou estava livre da ansiedade, feiura e pobreza. Não porque ele achava que as coisas eram assim, mais, porque ele achava que deveriam ser, e a arte era um meio de fuga. Os autores impressionistas não se preocupavam com os ensinamento do Realismo Acadêmico. Eles gostavam de pintar ao ar livre para captar a Luz e o Movimento. Apesar de sua técnica ser essencialmente impressionista, RENOIR nunca deixou de dar importância à forma. Seu principal objetivo, era realizar uma obra agradável aos olhos. Entre suas obras mais importantes está: “Mulher com Sombrinha”, “Rosa e Azul” e “Retrato de Claude Renoir”. Termino essa biografia com uma frase de Renoir ““Numa manhã, um de nós já não tinha preto, e assim nasceu o Impressionismo” Essa é a nossa história de hoje. Se você gostou, deixe seu like! Compartilhe este conhecimento com os amigos. Vamos incentivar a cultura em nosso país. Instruir é construir! O Canal “LOUCOS POR BIOGRAFIAS” traz novas biografias aos sábados em áudio no podcast ou em videos no youtube e no instagran. Até a próxima história! (Tânia Barros). --- Send in a voice message: https://anchor.fm/loucosporbiografias/message

lexander was the president of the country’s largest railroad company in the late 19th century, while his sister, whom he affectionately referred to as Mame, was a struggling artist in France who convinced her brother to purchase some of the artwork of her friends. In the first chapter of John, we are told that “one of the two who heard John [the Baptist] speak and followed Jesus was Andrew, Simon Peter’s brother. He first found his own brother Simon and said to him, “We have found the Messiah.” He brought him to Jesus.”Alexander loved the collection of artwork by his sister’s friends, who included Edgar Degas, Claude Monet, and Pierre-Auguste Renoir. As for Mame, her artwork sells today for over $4 million a painting under her real name, which is Mary Cassatt.Mame was able to introduce her brother to the fledgling Impressionist movement and what has become some of the world’s most valuable artwork, but Andrew introduced his brother to something worth so much more … a meeting with Jesus and the gift of eternal life with Christ. What an incredible honor it is to introduce someone to Jesus. When was the last time you were able to do that?

Listen Here: iTunes | Overcast | PlayerFM Keep up with the North Star Podcast. My guest today is Michael Nielsen a scientist, writer and computer programmer who works as a research fellow at Y Combinator Research. Michael has written on various topics from quantum teleportation, geometric complexity and the future of science. Michael is the most original thinker I have discovered in a long time when it comes to artificial intelligence, augmenting human intelligence, reinventing explanation and using new media to enable new ways of thinking. Michael has pushed my mind towards new and unexpected places. This conversation gets a little wonky at times, but as you know, the best conversations are difficult. They are challenging because they venture into new, unexplored territory and that's exactly what we did here today.  Michael and I explored the history of tools and jump back to the invention of language, the defining feature of human collaboration and communication. We explore the future of data visualization and talk about the history of the spreadsheet as a tool for human thought.  “Before writing and mathematics, you have the invention of language which is the most significant event in some ways. That’s probably the defining feature of the human species as compared to other species.” LINKS Find Michael Online Michael’s Website Michael’s Twitter Michael’s Free Ebook: Neural Networks and Deep Learning Reinventing Discovery: The New Era of Networked Science Quantum Computation and Quantum Information Mentioned In the Show 2:12 Michael’s Essay Extreme Thinking 21:48 Photoshop 21:49 Microsoft Word 24:02 The David Bowie Exhibit 28:08 Google AI’s Deep Dream Images 29:26 Alpha Go 30:26 Brian Eno’s Infamous Airport Music 33:41 Listen to Speed of Life by Dirty South Books Mentioned 46:06 Zen and The Art of Motorcycle Maintenance by Robert M. Pirsig 54:12 Cat’s Cradle by Kurt Vonnegut People Mentioned 13:27 Rembrandt Van Rijn’s Artwork 15:01 Monet’s Gallery 15:02 Pierre Auguste Renoir’s Impressionist Art 15:05 Picasso’s Paintings 15:18 Paul Cezanne’s Post-Impressionist Art 25:40 David Brooke’s NYT Column 35:19 Franco of Cologne 56:58 Alan Kay’s Ted Talk on the future of education 57:04 Doug Engelbart 58:35 Karl Schroeder 01:02:06 Elon Musk’s Mars-bound company, SpaceX 01:04:25 Alex Tabarrok Show Topics 4:01 Michael’s North Star, which drives the direction of his research 5:32 Michael talks about how he sets his long-term goals and how he’s propelled by ideas he’s excited to see in the world. 7:13 The invention of language. Michael discusses human biology and how it’s easier to learn a language than writing or mathematics.  9:28 Michael talks about humanity’s ability to bootstrap itself. Examples include maps, planes, and photography  17:33 Limitations in media due to consolidation and the small number of communication platforms available to us  18:30 How self-driving cars and smartphones highlight the strange intersection where artificial intelligence meets human interaction and the possibilities that exist as technology improves 21:45 Why does Photoshop improve your editing skills, while Microsoft Word doesn’t improve your writing skills? 27:07 Michael’s opinion on how Artificial Intelligence can help people be more creative “Really good AI systems are going to depend upon building and currently depend on building very good models of different parts of the world, to the extent that we can then build tools to actually look in and see what those models are telling us about the world.”  30:22 The intersection of algorithms and creativity. Are algorithms the musicians of the future? 36:51 The emerging ability to create interactive visual representations of spreadsheets that are used in media, internally in companies, elections and more. “I’m interested in the shift from having media be predominantly static to dynamic, which the New York Times is a perfect example of. They can tell stories on newyorktimes.com that they can’t tell in the newspaper that gets delivered to your doorstep.” 45:42 The strategies Michael uses to successfully trail blaze uncharted territory and how they emulate building a sculpture   53:30 Michael’s learning and information consumption process, inspired by the idea that you are what you pretend to be 56:44 The foundation of Michael’s worldview. The people and ideas that have shaped and inspired Michael.  01:02:26 Michael’s hypothesis for the 21st century project involving blockchain and cryptocurrencies and their ability to make implementing marketplaces easier than ever before “The key point is that some of these cryptocurrencies actually, potentially, make it very easy to implement marketplaces. It’s plausible to me that the 21st century [project] turns out to be about [marketplaces]. It’s about inventing new types of markets, which really means inventing new types of collective action.” Host David Perell and Guest Michael Nielsen TRANSCRIPT Hello and welcome to the North Star. I'm your host, David Perell, the founder of North Star Media, and this is the North Star podcast. This show is a deep dive into the stories, habits, ideas, strategies, and rituals that guide fulfilled people and create enormous success for them, and while the guests are diverse, they share profound similarities. They're guided by purpose, live with intense joy, learn passionately, and see the world with a unique lens. With each episode, we get to jump into their minds, soak up their hard-earned wisdom and apply it to our lives. My guest today is Michael Nielson, a scientist, writer, and computer programmer, who works as a research fellow at Y Combinator Research. Michael's written on various topics from quantum teleportation to geometric complexity to the future of science, and now Michael is the most original thinker I've discovered in a long time. When it comes to artificial intelligence to augmenting human intelligence, reinventing explanation, or using new media to enable new ways of thinking, Michael has pushed my mind towards new and unexpected places. Now, this conversation gets a little wonky at times, but as you know, the best conversations are difficult. They're challenging because they venture into new, unexplored territory and that's exactly what we did here today. Michael and I explored the history of tools. This is an extension of human thought and we jump back to the invention of language, the defining feature of human collaboration and communication. We explore the future of data visualization and talk about the history of this spreadsheet as a tool for human thought. Here's my conversation with Michael Nielson. DAVID: Michael Nielson, welcome to the North Star Podcast. MICHAEL: Thank you, David. DAVID: So tell me a little bit about yourself and what you do. MICHAEL: So day to day, I'm a researcher at Y Combinator Research. I'm basically a reformed theoretical physicist. My original background is doing quantum computing work. And then I've moved around a bit over the years. I've worked on open science, I've worked on artificial intelligence and most of my current work is around tools for thought. DAVID: So you wrote an essay which I really enjoyed called Extreme Thinking. And in it, you said that one of the single most important principle of learning is having a strong sense of purpose and a strong sense of meaning. So let's be in there. What is that for you? MICHAEL: Okay. You've done your background. Haven't thought about that essay in years. God knows how long ago I wrote it. Having a strong sense of purpose. What did I actually mean? Let me kind of reboot my own thinking. It's, it's kind of the banal point of view. How much you want something really matters. There's this lovely interview with the physicist Richard Feynman, where he's asked about this Indian mathematical prodigy Ramanujan. A movie was made about Ramanujan’s mathematical prowess a couple of years ago. He was kind of this great genius. And a Feynman was asked what made Ramanujan so good. And the interview was expecting him to say something about how bright this guy was or whatever. And Feynman said instead, that it was desire. It was just that love of mathematics was at the heart of it. And he couldn't stop thinking about it and he was thinking about it. He was doing in many ways, I guess the hard things. It's very difficult to do the hard things that actually block you unless you have such a strong desire that you're willing to go through those things. Of course, I think you see that in all people who get really good at something, whether it be sort of a, just a skill like playing the violin or something, which is much more complicated. DAVID: So what is it for you? What is that sort of, I hate to say I want to just throw that out here, that North Star, so to speak, of what drives you in your research? MICHAEL: Research is funny. You go through these sort of down periods in which you don't necessarily have something driving you on. That used to really bother me early in my career. That was sort of a need to always be moving. But now I think that it's actually important to allow yourself to do that. That's actually how you find the problems, which really get, get you excited. If you don't sort of take those pauses, then you're not gonna find something that's really worth working on. I haven't actually answered your question. I think I know I've jumped to that other point because that's one thing that really matters to me and it was something that was hard to learn. DAVID: So one thing that I've been thinking a lot about recently is you sort of see it in companies. You see it in countries like Singapore, companies like Amazon and then something like the Long Now Foundation with like the 10,000-year clock. And I'm wondering to you in terms of learning, there's always sort of a tension between short-term learning and long-term learning. Like short-term learning so often is maybe trying to learn something that feels a little bit richer. So for me, that's reading, whereas maybe for a long-term learning project there are things I'd like to learn like Python. I'd like to learn some other things like that. And I'm wondering, do you set long-term learning goals for yourself or how would you think about that trade off? MICHAEL: I try to sit long-time learning goals to myself, in many ways against my better judgment. It's funny like you're very disconnected from you a year from now or five years from now, or 10 years from now. I can't remember, but Eisenhower or Bonaparte or somebody like that said that the planning is invaluable or planning plans are overrated, but planning is invaluable. And I think that's true. And this is the right sort of attitude to take towards these long-term lending goals. Sure. It's a great idea to decide that you're going out. Actually, I wouldn't say it was a great idea to say that you're going to learn python, I might say. However, there was a great idea to learn python if you had some project that you desperately wanted to do that it required you to learn python, then it's worth doing, otherwise stay away from python. I certainly favor, coupling learning stuff to projects that you're excited to actually see in the world. But also, then you may give stuff up, you don't become a master of python and instead you spend whatever, a hundred hours or so learning about it for this project that takes you a few hundred hours, and if you want to do a successor project which involves it, more of it. Great, you'll become better. And if you don't, well you move onto something else. DAVID: Right. Well now I want to dive into the thing that I'm most excited to talk to you about today and that's tools that extend human thought. And so let's start with the history of that. We'll go back sort of the history of tools and there's had great Walter Ong quote about how there are no new thoughts without new technologies. And maybe we can start there with maybe the invention of writing, the invention of mathematics and then work through that and work to where you see the future of human thought going with new technologies. MICHAEL: Actually, I mean before writing and mathematics, you have the invention of language, which is almost certainly the most significant single event in some ways. The history of the planet suddenly, you know, that's probably the defining feature of the human species as compared to other species. Um, I say invention, but it's not even really invention. There's certainly a lot of evidence to suggest that language is in some important sense built into our biology. Not the details of language. Um, but this second language acquisition device, it seems like every human is relatively very set to receive language. The actual details depend on the culture we grow up on. Obviously, you don't grow up speaking French if you were born in San Francisco and unless you were in a French-speaking household, some very interesting process of evolution going on there where you have something which is fundamentally a technology in some sense languages, humans, a human invention. It's something that's constructed. It's culturally carried. Um, it, there's all these connections between different words. There's almost sort of a graph of connections between the words if you like, or all sorts of interesting associations. So in that sense, it's a technology, something that's been constructed, but it's also something which has been over time built into our biology. Now if you look at later technologies of thought things like say mathematics, those are much, much later. That hasn't been the same sort of period of time. Those don't seem to be built into our biology in quite the same way. There's actually some hints of that we have some intrinsic sense of number and there's some sort of interesting experiments that suggest that we were built to do certain rudimentary kinds of mathematical reasoning but there's no, you know, section of the brain which specializes sort of from birth in solving quadratic equations, much less doing algebraic geometry or whatever, you know, super advanced. So it becomes this cultural thing over the last few thousand years, this kind of amazing process whereby we've started to bootstrap ourselves. If you think about something like say the invention of maps, which really has changed the way people relate to the environment. Initially, they were very rudimentary things. Um, and people just kept having new ideas for making maps more and more powerful as tools for thought. Okay. I can give you an example. You know, a very simple thing, if you've ever been to say the underground in London or most other subway systems around the world. It was actually the underground when this first happened, if you look at the map of the underground, I mean it's a very complicated map, but you can get pretty good at reasoning about how to get from one place to another. And if you look at maps prior to, I think it was 1936, in fact, the maps were much more complicated. And the reason was that mapmakers up to that point had the idea that where the stations were shown on the map had to correspond to the geography of London. Exactly. And then somebody involved in producing the underground map had just a brilliant insight that actually people don't care. They care about the connections between the stations and they want to know about the lines and they want some rough idea of the geography, but they're quite happy for it to be very rough indeed and he was able to dramatically simplify that map by simply doing away with any notion of exact geography. DAVID: Well, it's funny because I noticed the exact same thing in New York and so often you have insights when you see two things coming together. So I was on the subway coming home one day and I was looking at the map and I always thought that Manhattan was way smaller than Brooklyn, but on the subway map, Manhattan is actually the same size as Brooklyn. And in Manhattan where the majority of the subway action is, it takes up a disproportionate share of the New York City subway map. And then I went home to go read Power Broker, which is a book about Robert Moses building the highways and they had to scale map. And what I saw was that Brooklyn was way, way bigger than Manhattan. And from predominantly looking at subway maps. Actually, my topological geographical understanding of New York was flawed and I think exactly to your point. MICHAEL: It's interesting. When you think about what's going on there and what it is, is some person or a small group of people is thinking very hard about how to represent their understanding of the city and then the building, tools, sort of a technological tool of thought that actually then saves millions or in the case of a New York subway or the London underground, hundreds of millions or billions of people, mostly just seconds, sometimes, probably minutes. Like those maps would be substantially more complicated sort of every single day. So it's only a small difference. I mean, and it's just one invention, right? But, you know, our culture is of course accumulated thousands or millions of these inventions. DAVID: One of my other favorite ones from being a kid was I would always go on airplanes and I'd look at the route map and it would always show that the airplanes would fly over the North Pole, but on two-dimensional space that was never clear to me. And I remember being with my dad one night, we bought a globe and we took a rubber band and we stretched why it was actually shorter to fly over the North Pole, say if you're going from New York to India. And that was one of the first times in my life that I actually didn't realize it at the time, but understood exactly what I think you're trying to get at there. How about photography? Because that's another one that I think is really striking, vivid from the horse to slow motion to time lapses. MICHAEL: Photography I think is interesting in this vein in two separate ways. One is actually what it did to painting, which is of course painters have been getting more and more interested in being more and more realistic. And honestly, by the beginning of the 19th century, I think painting was pretty boring. Yeah, if you go back to say the 16th and 17th centuries, you have people who are already just astoundingly good at depicting things in a realistic fashion. To my mind, Rembrandt is probably still the best portrait painter in some sense to ever live. DAVID: And is that because he was the best at painting something that looked real? MICHAEL: I think he did something better than that. He did this very clever thing, you know, you will see a photograph or a picture of somebody and you'll say, oh, that really looks like them. And I think actually most of the time we, our minds almost construct this kind of composite image that we think of as what David looks like or what our mother looks like or whatever. But actually moment to moment, they mostly don't look like that. They mostly, you know, their faces a little bit more drawn or it's, you know, the skin color is a little bit different. And my guess, my theory of Rembrandt, is that he may have actually been very, very good at figuring out almost what that image was and actually capturing that. So, yeah, I mean this is purely hypothetical. I have no real reason to believe it, but I think it's why I responded so strongly to his paintings. DAVID: And then what happened? So after Rembrandt, what changed? MICHAEL: So like I said, you mean you keep going for a sort of another 200 years, people just keep getting more and more realistic in some sense. You have all the great landscape painters and then you have this catastrophe where photography comes along and all of a sudden you're being able to paint in a more and more realistic fashion. It doesn't seem like such a hot thing to be doing anymore. And if for some painters, I think this was a bit of a disaster, a bit of dose. I said of this modern wave, you start to see through people like Monet and Renoir. But then I think Picasso, for me anyway, was really the pivotal figure in realizing that actually what art could become, is the invention of completely new ways of seeing. And he starts to play inspired by Cezanne and others in really interesting ways with the construction of figures and such. Showing things from multiple angles in one painting and different points of view. And he just plays with hundreds of ideas along these lines, through all of his painting and how we see and what we see in how we actually construct reality in their heads from the images that we see. And he did so much of that. It really became something that I think a lot of artists, I'm not an artist or a sophisticated art theory person, but it became something that other people realized was actually an extraordinarily interesting thing to be doing. And much of the most interesting modern art is really a descendant of that understanding that it's a useful thing to be doing. A really interesting thing to be doing rather than becoming more and more realistic is actually finding more and more interesting ways of seeing and being able to represent the world. DAVID: So I think that the quote is attributed to Marshall McLuhan, but I have heard that Winston Churchill said it. And first, we shape our tools and then our tools shape us. And that seems to be sort of the foundation of a lot of the things that you're saying. MICHAEL: Yeah, that's absolutely right. I mean, on the other side, you also have, to your original question about photography. Photographers have gradually started to realize that they could shape how they saw nature. Ansel Adams and people like this, you know. Just what an eye. And understanding his tools so verbally he's not just capturing what you see. He's constructing stuff in really, really interesting ways. DAVID: And how about moving forward in terms of your work, thinking about where we are now to thinking about the future of technology. For example, one thing that frustrates me a bit as a podcast host is, you know, we just had this conversation about art and it's the limits of the audio medium to not be able to show the paintings of Rembrandt and Cezanne that we just alluded to. So as you think about jumping off of that, as you think about where we are now in terms of media to moving forward, what are some of the challenges that you see and the issues that you're grappling with? MICHAEL: One thing for sure, which I think inhibits a lot of exploration. We're trapped in a relatively small number of platforms. The web is this amazing thing as our phones, iOS and whatnot, but they're also pretty limited and that bothers me a little bit. Basically when you sort of narrow down to just a few platforms which have captured almost all of the attention, that's quite limiting. People also, they tend not to make their own hardware. They don't do these kinds of these kinds of things. If that were to change, I think that would certainly be exciting. Something that I think is very, very interesting over the next few years, artificial intelligence has gotten to the point now where we can do a pretty good job in understanding what's actually going on inside a room. Like we can set up sufficient cameras. If you think about something like self-driving cars, essentially what they're doing is they're building up a complete model of the environment and if that model is not pretty darned good, then you can't do self-driving cars, you need to know where the pedestrians are and where the signs are and all these kinds of things and if there's an obstruction and that technology when brought into, you know, the whole of the rest of the world means that you're pretty good at passing out. You know what's inside the room. Oh, there's a chair over there, there's a dog which is moving in that direction, there's a person, there’s a baby and sort of understanding all those actions and ideally starting to understand all the gestures which people are making as well. So we're in this very strange state right at the moment. Where the way we talk to computers is we have these tiny little rectangles and we talk to them through basically a square inch or so of sort of skin, which is our eyes. And then we, you know, we tap away with our fingers and the whole of the rest of our body and our existence is completely uncoupled from that. We've effectively reduced ourselves to our fingers and our eyes. We a couple to it only through the whatever, 100 square inches, couple hundred square inches of our screens or less if you're on a phone and everything else in the environment is gone. But we're actually at a point where we're nearly able to do an understanding of all of that sufficiently well that actually other modes of interaction will become possible. I don't think we're quite there yet, but we're pretty close. And you start to think about, something like one of my favorite sport is tennis. You think about what a tennis player can do with their body or you think about what a dancer can do with their body. It's just extraordinary. And all of that mode of being human and sort of understanding we can build up antibodies is completely shut out from the computing experience at the moment. And I think over the next sort of five to ten years that will start to reenter and then in the decades hence, it will just seem strange that it was ever shut out. DAVID: So help me understand this. So when you mean by start to reenter, do mean that we'll be able to control computers with other parts of our bodies or that we'll be spending less time maybe typing on keyboards. Help me flesh this out. MICHAEL: I just mean that at the moment. As you speak to David, you are waving your arms around and all sorts of interesting ways and there is no computer system which is aware of it, what your computer system is aware of. You're doing this recording. That's it. And even that, it doesn't understand in any sort of significant way. Once you've gained the ability to understand the environment. Lots of interesting things become possible. The obvious example, which everybody immediately understands is that self driving cars become possible. There's this sort of enormous capacity. But I think it's certainly reasonably likely that much more than that will become possible over the next 10 to 20 years. As your computer system becomes completely aware of your environment or as aware as you're willing to allow it to be. DAVID: You made a really interesting analogy in one of your essays about the difference between Photoshop and Microsoft Word. That was really fascinating to me because I know both programs pretty well. But to know Microsoft word doesn't necessarily mean that I'm a better writer. It actually doesn't mean that at all. But to know Photoshop well probably makes me pretty good at image manipulation. I'm sure there's more there, but if you could walk me through your thought process as you were thinking through that. I think that's really interesting. MICHAEL: So it's really about a difference in the type of tools which are built into the program. So in Photoshop, which I should say, I don't know that well, I know Word pretty well. I've certainly spent a lot more time in it than I have ever spent in Photoshop. But in Photoshop, you do have these very interesting tools which have been built in, which really condense an enormous amount of understanding of ideas like layers or an idea, different brushes, these kinds of ideas. There's just a tremendous amount of understanding which has been built in there. When I watch friends who are really good with these kinds of programs, what they can do with layers is just amazing. They understand all these kind of clever screening techniques. It seems like such a simple idea and yet they're able to do these things that let you do astonishing things just with sort of three or four apparently very simple operations. So in that sense, there are some very deep ideas about image manipulation, which had been built directly into Photoshop. By contrast, there's not really very many deep ideas about writing built into Microsoft Word. If you talk to writers about how they go about their actual craft and you say, well, you know, what heuristics do use to write stories and whatnot. Most of the ideas which they use aren't, you know, they don't correspond directly to any set of tools inside Word. Probably the one exception is ideas, like outlining. There are some tools which have been built into word and that's maybe an example where in fact Word does help the writer a little bit, but I don't think to nearly the same extent as Photoshop seems to. DAVID: I went to an awesome exhibit for David Bowie and one of the things that David but we did when he was writing songs was he had this word manipulator which would just throw him like 20, 30 words and the point wasn't that he would use those words. The point was that by getting words, his mind would then go to different places and so often when you're in my experience and clearly his, when you're trying to create something, it helps to just be thrown raw material at you rather than the perennial, oh my goodness, I'm looking at a white screen with like this clicking thing that is just terrifying, Word doesn't help you in that way. MICHAEL: So an example of something which does operate a little bit in that way, it was a Ph.D. thesis was somebody wrote at MIT about what was called the Remembrance Agent. And what it would do, it was a plugin essentially for a text editor that it would, look at what you are currently writing and it would search through your hard disk for documents that seemed like they might actually be relevant. Just kind of prompt you with what you're writing. Seems like it might be related to this or this or this or this or this. And to be perfectly honest, it didn't actually work all that well. I think mostly because the underlying machine learning algorithms it used weren't very clever. It's defunct now as far as I know. I tried to get it to run on my machine or a year or two ago and I couldn't get it running. It was still an interesting thing to do. It had exactly this same kind of the belly sort of experience. Even if they weren't terribly relevant. You kind of couldn't understand why on earth you are being shown it. It's still jogged your mind in an interesting way. DAVID: Yeah. I get a lot of help out of that. Actually, I’ll put this example. So David Brooks, you know the columnist for the New York Times. When he writes, what he does is he gets all of his notes and he just puts his notes on the floor and he literally crawls all around and tries to piece the notes together and so he's not even writing. He's just organizing ideas and it must really help him as it helps me to just have raw material and just organize it all in the same place. MICHAEL: There's a great British humorist, PG Boathouse, he supposedly wrote on I think it was the three by five-inch cards. He'd write a paragraph on each one, but he had supposedly a very complicated system in his office, well not complicated at all, but it must have looked amazing where he would basically paste the cards to the wall and as the quality of each paragraph rose, he would move the paragraph up the wall and I think the idea was something like once it got to the end, it was a lion or something, every paragraph in the book had to get above that line and at that point it was ready to go. DAVID: So I've been thinking a lot about sort of so often in normal media we take AI sort of on one side and art on another side. But I think that so many of the really interesting things that will emerge out of this as the collaboration between the two. And you've written a bit about art and AI, so how can maybe art or artificial intelligence help people be more creative in this way? MICHAEL: I think we still don't know the answer to the question, unfortunately. The hoped-for answer the answer that might turn out to be true. Real AI systems are going to build up very good models of different parts of the world, maybe better than any human has of those parts of the world. It might be the case, I don't know. It might be the case that something like the Google translate system, maybe in some sense that system already knows some facts about translation that would be pretty difficult to track down in any individual human mind and sort of so much about translation in some significant ways. I'm just speculating here. But if you can start to interrogate that understanding, it becomes a really useful sort of a prosthetic for human beings. If you've seen any of these amazing, well I guess probably the classics, the deep dream images that came out of Google brain a couple of years ago. Basically, you take ordinary images and you're sort of running them backwards through a neural net somehow. You're sort of seeing something about how the neural net sees that image. You get these very beautiful images as a result. There's something strange going on and sort of revealing about your own way of seeing the world. And at the same time, it's based on some structure which this neural net has discovered inside these images which is not ordinarily directly accessible to you. It's showing you that structure. So sort of I think the right way to think about this is that really good AI systems are going to depend upon building and do currently depend on building very good models of different parts of the world and to the extent that we can then build tools to actually look in and see what those models are telling us about the world, we can learn interesting new things which are useful for us. I think the conventional way, certainly the science fiction way to think about AI is that we're going to give it commands and it's going to do stuff. How you shut the whatever it is, the door or so on and so forth, and there was certainly will be a certain amount of that. Or with AlphaGo what is the best move to take now, but actually in some sense, with something like AlphaGo, it's probably more interesting to be able to look into it and see what it's understanding is of the board position than it is to ask what's the best move to be taken. A colleague showed me a go program, a prototype, what it would do. It was a very simple kind of a thing, but it would help train beginners. I think it was Go, but by essentially colorizing different parts of the board according to whether they were good or bad moves to be taking in its estimation. If you're a sophisticated player, it probably wasn't terribly helpful, but if you're just a beginner, there's an interesting kind of a conditioning going on there. At least potentially a which lets you start to see. You get a feeling for immediate feedback from. And all that's happening there is that you're seeing a little bit into one of these machine learning algorithms and that's maybe helping you see the world in a slightly different way. DAVID: As I was preparing for this podcast, you've liked a lot to Brian Eno and his work. So I spent as much time reading Brian Eno, which I'm super happy that I went down those rabbit holes. But one of the things that he said that was really interesting, so he's one of the fathers of ambient music and he said that a lot of art and especially music, there will sort of be algorithms where you sort of create an algorithm that to the listener might even sound better than what a human would produce. And he said two things that were interesting. The first one is that you create an algorithm and then a bunch of different musical forms could flower out of that algorithm. And then also said that often the art that algorithms create is more appealing to the viewer. But it takes some time to get there. And had the creator just followed their intuition. They probably would have never gotten there. MICHAEL: It certainly seems like it might be true. And that's the whole sort of interesting thing with that kind of computer-generated music is to, I think the creators of it often don't know where they're gonna end up. To be honest, I think my favorite music is all still by human composers. I do enjoy performances by people who live code. There's something really spectacular about that. So there are people who, they will set up the computer and hook it up to speakers and they will hook the text editor up to a projector and they'll have essentially usually a modified form of the programming language list a or people use a few different systems I guess. And they will write a program which producers music onstage and they'll just do it in real time and you know, it starts out sounding terrible of course. And that lasts for about 20 seconds and by about sort of 30 or 40 seconds in, already it's approaching the limits of complex, interesting music and I think even if you don't really have a clue what they're doing as they program, there's still something really hypnotic and interesting about watching them actually go through this process of creating music sort of both before your eyes and before your ears. It's a really interesting creative experience and sometimes quite beautiful. I think I suspect that if I just heard one of those pieces separately, I probably wouldn't do so much for me, but actually having a done in real time and sort of seeing the process of creation, it really changes the experience and makes it very, very interesting. And sometimes, I mean, sometimes it's just beautiful. That's the good moment, right? When clearly the person doing it has something beautiful happen. You feel something beautiful happen and everybody else around you feel something beautiful and spontaneous. It's just happened. That's quite a remarkable experience. Something really interesting is happening with the computer. It's not something that was anticipated by the creator. It arose out of an interaction between them and their machine. And it is actually beautiful. DAVID: Absolutely. Sort of on a similar vein, there's a song called Speed of Life by Dirty South. So I really liked electronic music, but what he does is he constructs a symphony, but he goes one layer at a time. It's about eight and a half minute song and he just goes layer after layer, after layer, after layer. And what's really cool about listening to it is you appreciate the depth of a piece of music that you would never be able to appreciate if you didn't have that. And also by being able to listen to it over and over again. Because before we had recording, you would only hear a certain piece of music live and one time. And so there are new forms that are bursting out of now because we listen to songs so often. MICHAEL: It's interesting to think, there's a sort of a history to that as well. If you go back, essentially modern systems for recording music, if you go back much more than a thousand years. And we didn't really have them. There's a multi-thousand-year history of recorded music. But a lot of the early technology was lost and it wasn't until sort of I think the eighth, ninth century that people started to do it again. But we didn't get all the way to button sheet music overnight. There was a whole lot of different inventions. For instance, the early representations didn't show absolute pitch. They didn't show the duration of the note. Those were ideas that had to be invented. So in I think it was 1026, somebody introduced the idea of actually showing a scale where you can have absolute pitch. And then a century or two after that, Franco of Cologne had the idea of representing duration. And so they said like tiny little things, but then you start to think about, well, what does that mean for the ability to compose music? It means now that actually, you can start to compose pieces, which for many, many, many different instruments. So you start to get the ability to have orchestral music. So you go from being able to basically you have to kind of instruct small groups of players that's the best you can hope to do and get them to practice together and whatever. So maybe you can do something like a piece for a relatively small number of people, but it's very hard to do something for an 80 piece orchestra. Right? So all of a sudden that kind of amazing orchestral music I think becomes possible. And then, you know, we're sort of in version 2.0 of that now where of course you can lay a thousand tracks on top of one another if you want. You get ideas like micropolyphony. And these things where you look at the score and it's just incredible, there are 10,000 notes in 10 seconds. DAVID: Well, to your point I was at a tea house in Berkeley on Monday right by UC Berkeley's campus and the people next to me, they were debating the musical notes that they were looking at but not listening to the music and it was evident that they both had such a clear ability to listen to music without even listening to it, that they could write the notes together and have this discussion and it was somebody who doesn't know so much about music. It was really impressive. MICHAEL: That sounds like a very interesting conversation. DAVID: I think it was. So one thing that I'm interested in and that sort of have this dream of, is I have a lot of friends in New York who do data visualization and sort of two things parallel. I have this vision of like remember the Harry Potter book where the newspaper comes alive and it becomes like a rich dynamic medium. So I have that compared with some immersive world that you can walk through and be able to like touch and move around data and I actually think there's some cool opportunities there and whatnot. But in terms of thinking about the future of being able to visualize numbers and the way that things change and whatnot. MICHAEL: I think it's a really complicated question like it actually needs to be broken down. So one thing, for example, I think it's one of the most interesting things you can do with computers. Lots of people never really get much experience playing with models and yet it's possible to do this. Now, basically, you can start to build very simple models. The example that a lot of people do get that they didn't use to get, is spreadsheets. So, you can sort of create a spreadsheet that is a simple model of your company or some organization or a country or of whatever. And the interesting thing about the spreadsheet is really that you can play with it. And it sort of, it's reactive in this interesting way. Anybody who spends as much time with spreadsheets is they start to build up hypotheses, oh, what would happen if I changed this number over here? How would it affect my bottom line? How would it affect the GDP of the country? How would it affect this? How would it affect that? And you know, as you kind of use it, you start to introduce, you start to make your model more complicated. If you're modeling some kind of a factory yet maybe you start to say, well, what would be the effect if a carbon tax was introduced? So you introduce some new column into the spreadsheet or maybe several extra columns into the spreadsheet and you start to ask questions, well, what would the structure of the carbon tax be? What would help you know, all these sorts of what if questions. And you start very incrementally to build up models. So this experience, of course, so many people take for granted. It was not an experience that almost anybody in the world had say 20 or 30 years ago. Well, spreadsheets data about 1980 or so, but this is certainly an experience that was extremely rare prior to 1980 and it's become a relatively common, but it hasn't made its way out into mass media. We don't as part of our everyday lives or the great majority of people don't have this experience of just exploring models. And I think it's one of the most interesting things which particularly the New York Times and to some extent some of the other newsrooms have done is they've started in a small way to build these models into the news reading experience. So, in particular, the data visualization team at the New York Times, people like Amanda Cox and others have done this really interesting thing where you start to get some of these models. You might have seen, for example, in the last few elections. They've built this very interesting model showing basically if you can sort of make choices about how different states will vote. So if such and such votes for Trump, what are Hillary's chances of winning the election. And you may have seen they have this sort of amazing interactive visualization of it where you can just go through and you can sort of look at the key swing states, what happens if Pennsylvania votes for so and so what happens if Florida does? And that's an example where they've built an enormous amount of sort of pulling information into this model and then you can play with it to build up some sort of understanding. And I mean, it's a very simple example. I certainly think that you know, normatively, we're not there yet. We don't actually have a shared understanding. There's very little shared language even around these models. You think about something like a map. A map is an incredibly sophisticated object, which however we will start learning from a very young age. And so we're actually really good at parsing them. We know if somebody shows us a map, how to engage, how to interpret it, how to use it. And if somebody just came from another planet, actually they need to learn all those things. How do you represent a road? How do you represent a shop on a map? How do you represent this or that, why do we know that up is north like that's a convention. All those kinds of things actually need to be learned and we learned them when we were small. With these kinds of things which the Times and other media outlets are trying to do, we lack all of that collective knowledge and so they're having to start from scratch and I think that over a couple of generations actually, they'll start to evolve a lot of conventions and people will start to take it for granted. But in a lot of contexts actually you're not just going to be given a narrative, you know, just going to be told sort of how some columnist thinks the world is. Instead, you'll actually expect to be given some kind of a model which you can play with. You can start to ask questions and sort of run your own hypotheses in much the same way as somebody who runs a business might actually set up a spreadsheet to model their business and ask interesting questions. It's not perfect. The model is certainly that the map is not the territory as they say, but it is nonetheless a different way of engaging rather than just having some expert tell you, oh, the world is this way. DAVID: I'm interested in sort of the shift from having media be predominantly static to dynamic, which the New York Times is a perfect example. They can tell stories on Newyorktimes.com that they can't tell in the newspaper that gets delivered to your doorstep. But what's really cool about spreadsheets that you're talking about is like when I use Excel, being able to go from numbers, so then different graphs and have the exact same data set, but some ways of visualizing that data totally clicked for me and sometimes nothing happens. MICHAEL: Sure. Yeah. And we're still in the early days of that too. There's so much sort of about literacy there. And I think so much about literacy is really about opportunity. People have been complaining essentially forever that the kids of today are not literate enough. But of course, once you actually provide people with the opportunity and a good reason to want to do something, then they can become very literate very quickly. I think basically going back to the rise of social media sort of 10 or 15 years ago, so Facebook around whatever, 2006, 2007 twitter a little bit later, and then all the other platforms which have come along since. They reward being a good writer. So all of a sudden a whole lot of people who normally wouldn't have necessarily been good writers are significantly more likely to become good writers. It depends on the platform. Certainly, Facebook is a relatively visual medium. Twitter probably helps. I think twitter and text messaging probably are actually good. Certainly, you're rewarded for being able to condense an awful lot into a small period. People complain that it's not good English, whatever that is. But I think I'm more interested in whether something is a virtuosic English than I am and whether or not it's grammatically correct. People are astonishingly good at that, but the same thing needs to start to happen with these kinds of models and with data visualizations and things like that. At the moment, you know, you have this priestly caste that makes a few of them and that's an interesting thing to be able to do, but it's not really part of the everyday experience of most people. It's an interesting question whether or not that's gonna change as it going to in the province of some small group of people, or will it actually become something that people just expect to be able to do? Spreadsheets are super interesting in that regard. They actually did. I think if you've talked to somebody in 1960 and said that by 2018, tens of millions of people around the world would be building sophisticated mathematical models as just part of their everyday life. It would've seemed absolutely ludicrous. But actually, that kind of model of literacy has become relatively common. I don't know whether we'll get to 8 billion people though. I think we probably will. DAVID: So when I was in high school I went to, what I like to say is the weirdest school in the weirdest city in America. I went to the weirdest high school in San Francisco and rather than teaching us math, they had us get in groups of three and four and they had us discover everything on our own. So we would have these things called problem sets and we would do about one a week and the teacher would come around and sort of help us every now and then. But the goal was really to get three or four people to think through every single problem. And they called it discovery-based learning, which you've also talked about too. So my question to you is we're really used to learning when the map is clear and it's clear what to do and you can sort of follow a set path, but you actually do the opposite. The map is unclear and you're actually trailblazing and charting new territory. What strategies do you have to sort of sense where to move? MICHAEL: There's sort of a precursor question which is how do you maintain your morale and the Robert Pirsig book, Zen and the Art of Motorcycle Maintenance. He proposes a university subject, gumptionology 101. Gumption is almost the most important quality that we have. The ability to keep going when things don't seem very good. And mostly that's about having ways of being playful and ways of essentially not running out of ideas. Some of that is about a very interesting tension between having, being ambitious in what you'd like to achieve, but also being very willing to sort of celebrate the tiniest, tiniest, tiniest successes. Suddenly a lot of creative people I know I think really struggle with that. They might be very good at celebrating tiny successes but not have that significant ambitions, but they might be extremely ambitious, but because they're so ambitious, if an idea doesn't look Nobel prize worthy, they're not particularly interested in it. You know, they struggle with just kind of the goofing around and they often feel pretty bad because of course most days you're not at your best, you don't actually have the greatest idea. So there's some interesting tension to manage there. There's really two different types of work. One is where you have a pretty good goal, you know what success looks like, right? But you may also be doing something that's more like problem discovery where you don't even know where you're going. Typically if you're going to compose a piece of music. Well, I'm not a composer, but certainly, my understanding from, from friends who are, is that they don't necessarily start out with a very clear idea of where they're going. Some composers do, but a lot, it's a process of discovery. Actually, a publisher once told me somebody who has published a lot of well-known books that she described one of her authors as a writing for discovery. Like he didn't know what his book was going to be about, he had a bunch of kind of vague ideas and the whole point of writing the book was to actually figure out what it was that he wanted to say, what problem was he really interested in. So we'd start with some very, very good ideas and they kind of get gradually refined. And it was very interesting. I really liked his books and it was interesting to see that. They looked like they'd been very carefully planned and he really knew what he was doing and she told me that no, he'd sort of come in and chat with her and be like, well, I'm sort of interested over here. And he'd have phrases and sort of ideas. But he didn't actually have a clear plan and then he'd get through this process of several years of gradually figuring out what it was that he wanted to say. And often the most significant themes wouldn't actually emerge until relatively late in that whole process. I asked another actually quite a well-known writer, I just bumped into when he was, he was reporting a story for a major magazine and I think he'd been working, he'd been reporting for two weeks, I think at that point. So just out interviewing people and whatever. And I said, how's it going? And he said, Oh yeah, pretty good. I said, what's your story about? He said, I don't know yet, which I thought was very interesting. He had a subject, he was following a person around. But he didn't actually know what his story was. DAVID: So the analogy that I have in my head as you're talking about this, it's like sculpture, right? Where you start maybe with a big thing of granite or whatnot, and slowly but surely you're carving the stone or whatnot and you're trying to come up with a form. But so often maybe it's the little details at the end that are so far removed from that piece of stone at the very beginning that make a sculpture exceptional. MICHAEL: Indeed. And you wonder what's going on. I haven't done sculpture. I've done a lot of writing and writing often feels so sometimes I know what I want to say. Those are the easy pieces to write, but more often it's writing for discovery and there you need to be very happy celebrating tiny improvements. I mean just fixing a word needs to be an event you actually enjoy, if not, the process will be an absolute nightmare. But then there's this sort of instinct where you realize, oh, that's a phrase that A: I should really refine and B: it might actually be the key to making this whole thing work and that seems to be a very instinctive kind of a process. Something that you, if you write enough, you start to get some sense of what actually works for you in those ways. The recognition is really hard. It's very tempting to just discount yourself. Like to not notice when you have a good phrase or something like that and sort of contrary wise sometimes to hang onto your darlings too long. You have the idea that you think it's about and it's actually wrong. DAVID: Why do you write and why do you choose the medium of writing to think through things sometimes? I know that you choose other ones as well. MICHAEL: Writing has this beautiful quality that you can improve your thoughts. That's really helpful. A friend of mine who makes very popular YouTube videos about mathematics has said to me that he doesn't really feel like people are learning much mathematics from them. Instead, it's almost a form of advertising like they get some sense of what it is. They know that it's very beautiful. They get excited. All those things are very important and matter a lot to him, but he believes that only a tiny, tiny number of people are actually really understanding much detail at all. There's actually a small group who have apparently do kind of. They have a way of processing video that lets them understand. DAVID: Also, I think you probably have to, with something like math, I've been trying to learn economics online and with something like math or economics that's a bit complex and difficult, you have to go back and re-watch and re-watch, but I think that there's a human tendency to want to watch more and more and more and it's hard to learn that way. You actually have to watch things again. MICHAEL: Absolutely. Totally. And you know, I have a friend who when he listens to podcasts, if he doesn't understand something, he, he rewinds it 30 seconds. But most people just don't have that discipline. Of course, you want to keep going. So I think the written word for most people is a little bit easier if they want to do that kind of detailed understanding. It's more random access to start with. It's easier to kind of skip around and to concentrate and say, well, I didn't really get that sentence. I'm going to think about it a little bit more, or yeah, I can see what's going to happen in those two or three paragraphs. I'll just very quickly skip through them. It's more built for that kind of detailed understanding, so you're getting really two very different experiences. In the case of the video, very often really what you're getting is principally an emotional experience with some bits and pieces of understanding tacked on with the written word. Often a lot of that emotion is stripped out, which makes can make it much harder to motivate yourself. You need that sort of emotional connection to the material, but it is actually, I think a great deal easier to understand sort of the details of it. There's a real kind of choice to be to be made. There's also the fact that people just seem to respond better to videos. If you want a large audience, you're probably better off making YouTube videos than you are publishing essays. DAVID: My last question to you, as somebody who admires your pace and speed of learning and what's been really fun about preparing for this podcast and come across your work is I really do feel like I've accessed a new perspective on the world which is really cool and I get excited probably most excited when I come across thinkers who don't think like anyone who I've come across before, so I'm asking to you first of all, how do you think about your learning process and what you consume and second of all, who have been the people and the ideas that have really formed the foundation of your thought? MICHAEL: A Kurt Vonnegut quote from his book, I think it's Cat's Cradle. He says, we become what we pretend to be, so you must be careful what we pretend to be and I think there's something closely analogously true, which is that we become what we pay attention to, so we should be careful what we pay attention to and that means being fairly careful how you curate your information diet. There's a lot of things. There's a lot of mistakes I've made. Paying attention to angry people is not very good. I think ideas like the filter bubble, for example, are actually bad ideas. And for the most part, it sounds virtuous to say, oh, I'm going to pay attention to people who disagree with me politically and whatever. Well, okay, there's a certain amount of truth to that. It's a good idea probably to pay attention to the very best arguments from the very best exponents of the other different political views. So sure, seek those people out, but you don't need to seek out the random person who has a different political view from you. And that's how most people actually interpret that kind of injunction. They, they're not looking for the very best alternate points of view. So that's something you need to be careful about. There's a whole lot of things like that I enjoy. So for example, I think one person, it's interesting on twitter to look, he's, he's no longer active but he's still following people is Marc Andreessen and I think he follows, it's like 18,000 people or something and it's really interesting just to look through the list of followers because it's all over the map and much of it I wouldn't find interesting at all, but you'll find the strangest corners people in sort of remote villages in India and people doing really interesting things in South Africa. Okay. So he's a venture capitalist but they're not connected to venture capital at all. So many of them, they're just doing interesting things all over the world and I wouldn't advocate doing the same thing. You kind of need to cultivate your own tastes and your own interests. But there's something very interesting about that sort of capitalist city of interests and curiosity about the world, which I think is probably very good for almost anybody to cultivate. I haven't really answered your question. DAVID: I do want to ask who were the people or the ideas or the areas of the world that have really shaped and inspired your thinking because I'm asking selfishly because I want to go down those rabbit holes. MICHAEL: Alright. A couple of people, Alan Kay and Doug Engelbart, who are two of the people who really developed the idea of what a computer might be. In the 1950's and 60's, people mostly thought computers were machines for solving mathematical problems, predicting the weather next week, computing artillery tables, doing these kinds of things. And they understood that actually there could be devices which humans would use for themselves to solve their own problems. That would be sort of almost personal prosthetics for the mind. They'd be new media. We could use to think with and a lot of their best ideas I think out there, there's still this kind of vision for the future. And if you look particularly at some of Alan Kay's talks, there's still a lot of interesting ideas there. DAVID: That the perspective is worth 80 IQ points. That's still true. MICHAEL: For example, the best way to predict the future is to invent it, right? He's actually, he's got a real gift for coming up with piddly little things, but there's also quite deep ideas. They're not two-year projects or five-year projects, they're thousand year projects or an entire civilization. And we're just getting started on them. I think that's true. Actually. It's in general, maybe that's an interesting variation question, which is, you know, what are the thousand year projects? A friend of mine, Cal Schroeder, who's a science fiction writer, has this term, The Project, which he uses to organize some of his thinking about science fictional civilizations. So The Project is whatever a civilization is currently doing, which possibly no member of the civilization is even aware of. So you might ask the question, what was the project for our planet in the 20th century? I think one plausible answer might be, for example, it was actually eliminating infectious diseases. You think about things like polio and smallpox and so many of these diseases were huge things at the start of the 20th century and they become much, much smaller by the end of the 20th century. Obviously AIDS is this terrible disease, but in fact, by historical comparison, even something like the Spanish flu, it's actually relatively small. I think it's several hundred million people it may have killed. Maybe that was actually the project for human civilization in the 20th century. I think it's interesting to think about those kinds of questions and sort of the, you know, where are the people who are sort of most connected to those? So I certainly think Doug Engelbart and Alan Kay. DAVID: Talk about Doug Engelbart, I know nothing about him. MICHAEL: So Engelbart is the person who I think more than anybody invented modern computing. He did this famous demo in 1968, 1969. It's often called the mother of all demos, in front of an audience of a thousand people I believe. Quite a while since I've watched it and it demonstrates a windowing system and what looks like a modern word processor, but it's not just a word processor. They're actually hooked up remotely to a person in another location and they're actually collaborating in real time. And it's the first public showing I believe of the mouse and of all these different sorts of ideas. And you look at other images of computers at the time and they're these giant machines with tapes and whatever. And here's this vision that looks a lot more like sort of Microsoft Windows and a than anything else. And it's got all these things like real-time collaboration between people in different locations that we really didn't have at scale until relatively recently. And he lays out a huge fraction of these ideas in 1962 in a paper he wrote then. But that paper is another one of these huge things. He's asking questions that you don't answer over two years or five years. You answer over a thousand years. I think it's Augmenting Human Intellect is the title of that paper. So he's certainly somebody else that I think is a very interesting thinker. There's something really interesting about the ability to ask an enormous question, but then actually to have other questions at every scale. So you know what to do in the next 10 minutes that will move you a little bit towar

Adam & British comedian/poet/actor Tim Key enjoy a rambly conversation as they look at some art in London's Courtauld Gallery.This episode was sponsored by ART FUND, the national fundraising charity for art. Find out more by visiting Artfund.org/BUXTONTIM KEY TOUR DATES: https://www.timkey.co.uk/Thanks to Séamus Murphy-Mitchell for production support. Music and jingles by Adam BuxtonThe Supermarket Confrontation jingle features bass from Dan Hawkins: https://www.onlinebassplayer.com/ and instruments from the Soniccouture plug in: http://www.soniccouture.com/en/RELATED LINKS‘DON QUIXOTE AND SANCHO PANZA' by HONORÉ DAUMIER (1869 - 1872)https://www.bbc.co.uk/programmes/p02tvn6d/p02tvm60‘LA LOGE' by PIERRE AUGUSTE RENOIR (1874)https://www.telegraph.co.uk/culture/art/3671758/Renoir-A-glorious-night-of-intrigue.html‘A BAR AT THE FOLIES-BERGÈRE' by ÉDOUARD MANET (1882)https://courtauld.ac.uk/gallery/collection/impressionism-post-impressionism/edouard-manet-a-bar-at-the-folies-bergereANDY WARHOL ‘YES' 'NO' INTERVIEW (1964)https://www.youtube.com/watch?v=jr8NE7r1szU‘QUEUE' by ALEKSEI SUNDUKOV (1986)http://en.rusmuseum.ru/collections/painting-of-the-second-half-of-the-xix-century-beginning-of-xxi-century/artworks/ochered/WILLIAM WEGMAN - STOMACH SONG (1970)https://www.youtube.com/watch?v=7bOym_kkvaEWILLIAM WEGMAN - DEODORANT (1972)https://www.youtube.com/watch?v=lrdnlPK9sUQ‘YOUNG WOMAN POWDERING HERSELF' by GEORGES SEURAT (1888 - 1890)http://www.artandarchitecture.org.uk/images/gallery/6007ba8c.html‘ESCAPING CRITICISM' by PERE BORRELL DEL CASO (1874)http://rijksmuseumamsterdam.blogspot.co.uk/2012/01/pere-borrell-del-caso-escaping.htmlTIM KEY DELVES INTO DANIIL KHARMS AND THAT'S ALL (2016)https://www.bbc.co.uk/programmes/b072n5xcTHE INCOMPLETE TIM KEY (AUDIOBOOK)https://www.audible.co.uk/pd/Arts-Entertainment/The-Incomplete-Tim-Key-Audiobook/B005FYK89EAnd finally, here's ‘CHARLYWOOD'http://www.intro.charlywood.com/index.html See acast.com/privacy for privacy and opt-out information.

I veckans Stil ska vi vända blicken mot en man som med ljusa färger medvetet valde att skildra skönhet, glädje och samtidens mode den franske konstnären Pierre-Auguste Renoir. I likhet med många andra av de så kallade impressionisterna som bland annat Monet, Manet och Degas har Renoir aldrig gått ur tiden. Just nu har han fått lite extra uppmärksamhet. Inte minst genom att den amerikanske presidenten Donald Trump har sagt sig äga en äkta tavla av Renoir, även om originalet hänger någon helt annanstans. Alldeles nyligen gavs även en ny, och omfattande, biografi om Renoir ut Renoir, an intimate biography, skriven av Barbara Ehrlich White. Det är en av världens främsta kännare av konstnären. I boken har hon inte bara samlat sextio års research om honom och hans verk, hon har också tröskat igenom mer än 3 000 brev som han skrivit och fått. Och i boken träder en snäll, men lite lätt nojig man fram. Renoir var tunn och senig med spretigt skägg och raspig röst, och hade för vana att vanka av och an och nervöst gnugga pekfingret under näsan medan han tänkte. Han kedjerökte livet igenom. Men han var också extremt produktiv, ända tills dagen han dog svårt sjuk av ledgångsreumatism 77 år gammal, 1919. Då hade han målat mer än 4000 tavlor, plus flera hundra teckningar. I veckans program tittar vi närmare på fallet med Donald Trumps Renoirmålning. Är den äkta eller inte? Det är en fråga som diskuterats flitigt den senaste tiden. Vi undersöker också om konstmuseer är en bra plats för att flirta och ragga. Och så träffar vi den amerikanska floristen Lewis Miller som har uppmärksammats för sina blomsterarrangemang som i hemlighet placeras ut i New Yorks papperskorgar. Veckans gäst är Veronica Hejdelind, konsthistoriker.

Anne Distel, Conservateur général honoraire du patrimoine, Musée d´Orsay

Pierre-Auguste Renoir fue el protagonista de la presente edición, para ello contamos con Manuel de Los Laberintos del Arte. A través del los minutos nos deslizamos por la vida y obra de uno de los referentes del Impresionismo. Un Impresionismo del que renegará más tarde para abrazar a Ingres y a los clásicos Italianos. El legado de Renoir puede definirse de muchas maneras y para ello debemos de comprender el contexto que le tocó vivir y cómo afrontó los avatares de su trayectoria vital. Esta cuestión ha sido una de las claves que nos ha mostrado Manuel a lo largo de su intervención. Al final de la misma nos ilustró sobre las dos exposiciones que tenemos actualmente en España: la de Barcelona por la Fundación Mafre y la de Madrid por el Museo Thyssen-Bornemisza.

A rich knowledge of history is better than creativity. Let me qualify that. A rich knowledge of history is better than creativity if your goal is to make money. The most profitable form of creativity is to repurpose the proven. Do you want to put together a group of colors that create a powerful effect? Maybe for a website or a sign or a brochure or a living room? Common sense will tell you to hire an expert. That expert will ask you to describe the feelings you want the color scheme to conjure and then he or she will aim all their education, talent and experience toward doing what has already been done by minds far greater than their own. Yes, common sense would tell you to hire a talented expert. But common sense is merely the name we give the collection of prejudices we acquire before the age of eighteen. (If you feel you've heard that statement before, it's because Albert Einstein famously said it in the 1952 book, Mathematics, Queen and Servant of the Sciences.) Common sense is overrated. An enlightened soul who has escaped the boundaries of common sense will quietly inquire of the giants whose footprints went deep into the earth, those giants whose fingerprints can be found on the hearts of billions of people they have touched. Why pay a lightweight for advice when you can consult Gustav Klimt, Pierre-Auguste Renoir and Vincent van Gogh for free? (1.) Go online and select a series of world-famous paintings whose color palettes have the mojo you seek. (Mojo, by the way, is just the name we give to high-voltage emotional juju. Einstein didn't say this, but I'm pretty sure it's true, anyway.) (2.) Download only the paintings of artists who rocked the world. (3.) Import those paintings into Photoshop and sample each of the four or five principal colors. Click a couple of buttons to reveal the precise CMYK formulation of each. BAM!  Trust me, those colors will work fabulously well together. No, don't trust me. Trust the giants. Lee Iacocca was chosen as one of Ford Motor Company's ten “Whiz Kids” in 1946. But every time young Lee would go to his boss with a suggestion, his boss would say, “Show me where it has worked.” Your first impression of this man is that he was a follower, a lemming, a conformist with no courage or imagination, right? But Iacocca credits that boss as being the man responsible for all his later successes. Iacocca learned from him a pivotal lesson: if an idea is truly brilliant, you'll find examples of its successful implementation scattered throughout history. The road to bankruptcy court is flanked on both sides by bright-eyed “creative people” dripping with enthusiasm. Ask any one of them for directions. They'll make sure you get there. The secret of guaranteed success is to import a tested and reliable methodology into a business category where it has never been used. Repurpose the proven. They'll call you a brilliant creative innovator. You might even be able to patent your breakthrough. But you and I know the truth. You're merely an insightful historian. Roy H. Williams

French master Pierre-Auguste Renoir (1841 - 1919)

L’Estaque, a fishing village on the French coast of the Mediterranean, was a place that Cézanne visited often in the 1870s and 1880s. Why, amongst more picturesque features such as blue sea and a pretty village of ochre stone and red tiles, did the artist address such a difficult and unappealing prospect as this? A viaduct is only an overland passage between more dramatic features – under mountains or cliffs, through a valley or over a river far below – and this bridge for the railway track has none of the elegantly classical appeal of Corot’s Roman arches. Indeed, the viaduct is barely noticeable: it sits in the lowest band of the painting, the main horizontal of the composition. Perhaps it was, as always, simply because he could. The nature of beauty itself was changing as the century continued, from gentle to hard, from simple, lush and historic to complex, spare and modern. For Cézanne, eternal verities became mutable, and reality was filled with infinite possibilities. During February and March 1882 Pierre-Auguste Renoir, a much more luscious painter than the austere Cézanne, paid a visit to his contemporary at l’Estaque while en route from Italy to Paris. They painted the same scene, but the two resulting landscapes could not differ more, considering they were executed side by side.1 Johnson describes Cézanne’s strategies on the canvas: The flatness of the effect, accentuated by repetition of the receding and advancing color and tone values may, on first impression, bear some resemblance to tapestry design; but this quality is denied by the special depth and volume and solidity of the forms which Cézanne achieves … He has piled the planes up vertically and has silhouetted distant hills instead of allowing them to dissolve in air and space.2 The contest between fact and fiction, which underlies landscape painting in the nineteenth century, is seen plainly here, in the choices that Cézanne makes. He understands that the horizontal railway lines below the cliffs undermine the vertical and diagonal slopes of the mountains. The dizzying stacks of rock, made of parallel hatched strokes of paint, communicate insecurity rather than the permanence of stone and mountains. The close-up, frontal encounter reinforces the dominance of the artist’s view. It is the implied struggle between doubt and certainty that makes Cézanne so modern. Christine Dixon 1 John Rewald, The paintings of Paul Cézanne: a catalogue raisonné, vol. 1, New York: Harry N. Abrams, 1996, cat. 441, p. 297; the other canvas is Renoir’s Crags at l’Estaque, in the Museum of Fine Arts, Boston. 2 Ellen H. Johnson, ‘Cézanne and a pine tree: Viaduct at l’Estaque, a footnote’, Allen Memorial Art Museum Bulletin, vol. 21, no. 1, Fall, 1963, pp. 24–8, quoted in Rewald, p. 297.

Baptiste vous présente la solution de l’énigme de Las’Arts 1. Le tableau était de Pierre-Auguste Renoir. Le récit de sa vie est intéressant pour comprendre l’importance du bonheur chez ce peintre. Bra