Podcasts about Rembrandt

Ob im Bleistiftrock zur Arbeit oder in der Jogginghose zur Schule: Was und wie wir Kleidung tragen, hat manchmal eine tiefere Bedeutung. In dieser Folge der Kunstcouch diskutieren die Autorin Jaqueline Scheiber und die Psychotherapeutin Gloria Grabmayer darüber, welche Aussagen Mode über uns treffen kann, wie unsere Outfits auf andere wirken und wie wir uns zwischen Modetrends und eigenem Wohlbefinden bewegen. Anhand von drei Werken aus der Staatlichen Kunsthalle Karlsruhe wird gezeigt, was Mode mit Emanzipation zu tun hat, was der Male Gaze ist und wieso Mode Menschen ausschließen kann.

Sermon Summary: “Jesus the Cornerstone” (Mark 12:10–11) “‘The stone the builders rejected has become the cornerstone; the Lord has done this, and it is marvelous in our eyes.'” — Mark 12:10–11 Introduction: A Title That Tells a Story Coleton opened by recalling a childhood nickname—“The Master of Disaster”—a title that summed up his habit of breaking things and then turning to his brother's belongings for replacements. He explained how nicknames often tell us something true about who a person is. In this passage, Jesus gives Himself a title drawn from Psalm 118—the Cornerstone. This name, Coleton explained, reveals how Jesus wants to operate in our lives: as the foundation and guide upon which everything else depends. Coleton invited the church to explore two key characteristics of a cornerstone—and how they reveal what Jesus wants to be for us. 1. The Cornerstone Was the First Stone Laid A cornerstone was always the first and most important stone in ancient construction. It determined the direction, shape, and alignment of every other stone that followed. Builders would measure every subsequent piece against it. “Whatever the cornerstone looked like, the other stones would look like.” Coleton said that's what Jesus wants to be for us: the one who shapes our lives, directs our paths, and forms our character. He's not trying to control us—He's trying to lead and form us into His likeness. Coleton then painted a vivid contrast between our human tendencies and Christ's character: We Are Jesus Is Impatient Long-suffering Selfish Selfless Proud Humble Discontent Trusting Fearful Courageous Worried Peaceful Busy & stressed Unhurried Afraid of rejection Secure in the Father's love Lustful Self-controlled Unforgiving Infinitely forgiving Empty Full and overflowing “The virtues we're searching for,” Coleton said, “are not found apart from Him—they are found in Him.” Therefore, whatever or whoever is your cornerstone will shape your life into its image. Reflection Questions Coleton Posed: What is shaping your anger, your spending, your relationships? Who decides how you treat your spouse, raise your kids, or forgive others? What dictates your habits—Jesus or your desires? Coleton challenged listeners: If Jesus isn't the one shaping your decisions, then something else is. That “something else” has become your cornerstone. 2. The Cornerstone Was the Strongest Stone The cornerstone wasn't just first—it was also the strongest. It had to bear the weight of the entire structure and withstand storms. If it crumbled, the whole building collapsed. Coleton used this to illustrate why Jesus is the only foundation that won't fail: “See, I lay a stone in Zion, a tested stone, a precious cornerstone for a sure foundation; the one who relies on it will never be shaken.” — Isaiah 28:16 Everything else in life—success, relationships, money, career, beauty, reputation—is fragile. If those things fall apart, so will we. But Jesus is the only foundation that can never be shaken. Coleton shared personally about how, early in his life, his relationship with Rainey was his cornerstone. When things were good, he felt secure. When they weren't, he was crushed. Later, as a pastor, his cornerstone often shifted to his church's success or how well his sermon went. When those things faltered, his peace faltered too. He said, “I can turn even my ministry into my cornerstone instead of Jesus.” To reorient his heart, Coleton often stares at Rembrandt's painting “Christ in the Storm on the Sea of Galilee.”  He sees himself among the disciples, frantically trying to steady the ship—the church—while Jesus calmly rests amid chaos. Then he remembers Jesus' question: “Why are you so afraid?” (Mark 4:40) Coleton said, “If He's not worried, why should I be? If He's not shaken, why should I be?” That truth reshapes everything. He invited listeners to apply that same faith to their own circumstances: If your job is shaking—Jesus still promises to provide. If the government is shaking—Jesus still reigns. If your children are struggling—Jesus loves them more than you do. If your health is declining—Jesus has already conquered death. Coleton said, “Whatever shakes your life reveals your cornerstone.”  But when Jesus is your cornerstone, even the fiercest storm can't topple your soul. 3. How to Make Jesus Your Cornerstone Coleton closed by teaching from Matthew 7:24–27, where Jesus says that the wise builder is the one who hears His words and puts them into practice. “Everyone who hears these words of mine and puts them into practice is like a wise man who built his house on the rock… The rain came down, the streams rose, and the winds blew… yet it did not fall.” Simply calling Jesus “Lord” isn't enough. Obedience is what builds a life on Him. Coleton said, “There are people walking around calling Jesus their cornerstone while not doing what He says—and then wondering why their life is falling apart. It's not the cornerstone's fault.” He illustrated this with his son Teddy's LEGO set. Without following the instructions, the pieces might form something, but not what it was designed to be. Likewise, our lives can “look like something” without being what God designed. To make Jesus your cornerstone: Put His words into practice.  Don't just listen—live them. Spend more time with Him.  “You become like who you're around.” The more time you spend with Jesus—in Scripture, prayer, and reflection—the more you'll begin to resemble Him. Make alignment adjustments.  When the Spirit convicts you of areas where Jesus isn't shaping you, repent. Realignment isn't punishment—it's protection. He ended with a simple call: Make Jesus your cornerstone—because only He can carry the weight of your life. Discussion Questions What are some “cornerstones” that have shaped your decisions, emotions, or identity besides Jesus? How does Jesus being the first and strongest stone reshape your understanding of what it means to follow Him daily? When was the last time your life felt like it was “shaking”? What did that reveal about your foundation? What's one area of your life where you need to realign with Jesus' words this week? What habits or practices could help you spend more time with Jesus so that your life increasingly reflects His image? Key Takeaway: Your life will be shaped by whatever your cornerstone is. Only Jesus can bear that weight and make your life stand firm.  

This week we dive into Tsukimichi: Moonlit Fantasy Season 2 and we spent most of the time talking about the teaching arc like why that first “demo” bout with Shiki was about earning respect and not scaring off the students, whether Makoto's class were troublemakers or just talented misfits, and how that whole school stretches into bigger geopolitical plot points; we also pulled in manga-only context that patched the anime's fuzzy bits, like humans getting language as a goddess “gift” so it helped explain why he thought he couldn't speak it. From there we spiral into some of the lore, contract power-scaling, and how those Demiplane critters are basically demon-lord tier. We argued pacing vs. payoff on the academy and merchant-guild threads, questioned the handling of Hibiki's spirit-beast armor without much on-screen context, and leaned on chats live notes to connect how the classroom stuff sets up the wider moves happening off camera.About the anime:Season 2 picks up right where Season 1 left off, with Makoto heading to Rotsgard Academy and then he reluctantly takes a teaching job more so that he can open a store in the city forcing him to juggle that and the Kuzunoha Company while also quietly growing the Demiplane into a functioning society. The goddess's chosen heroes, Hibiki and Tomoki, also step into the spotlight this season, with their ideals clashing with Makoto's hands-off approach as campus lessons spill into citywide incidents and merchant/noble scheming. The plot weaves through academy lectures, the Rembrandt family, and rising human-demon tensions, and sprinkled with character growth and fights that are nudging the whole world toward a larger political and spiritual showdown that even the goddess can't ignore.Next Week's Pick: "Arcane"Have you had the chance to watch Tsukimichi: Moonlit Fantasy Season 2 or any of our previous selections? We'd love to hear your thoughts and recommendations for future picks!Deals for You:Supporting your anime binge sessions is what we do best! Here are some exclusive deals that'll make your anime-watching experience even better.Crunchyroll Affiliate Offers: Get 15% off your first anime merch order here. Stream your favorite anime with Crunchyroll. Start Your Free TrialTokyoTreat Special: Use code "FEATUREDANIME" for $5 off your first box through this TokyoTreat link.Looking for some podcast merch? We've got you covered: Main Store Alternative ShopSupport Our PodcastLove what we do? Support the podcast through Patreon! You can get access to ad-free episodes, bonus content, and more.Support us on PatreonStay Connected With UsDon't miss out on our latest episodes or discussions! Join us across our social channels and be part of the community: Contact Us Anime List: Check out our anime list on MyAnimeList. Twitch: Watch us live on twitch.tv/featuredanimepodcast Email: info@featuredanimepodcast.com X (Twitter): @ThoseAnimeGuys Facebook: Featured Anime Podcast Discord: Join our DiscordAnime Info and Our Ratings: Producers: AlphaPolis, TOKYO MX, MBS, BS NTV, AT-X, Medialink, A-Sketch Studio: J.C.STAFF Source: Light Novel Genres: Action, Adventure, Fantasy, Isekai, Comedy, Drama Aired: January 2024 - June 2024 Number of Episodes: 25Our Scores: Jack's Score: 9 / 10 Rick's Score: 10 / 10

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Nuevo accidente laboral mortal en Málaga este fin de semana, un trabajador de 34 años ha muerto electrocutado este sábado cuando trabajaba en una empresa del polígono Santa Teresa de la capital. El ayuntamiento de Málaga ha restaurado más de una treintena de esculturas y fuentes en los 2 últimos años. Hasta el 18 de enero puede visitarse en la sala Noble del Thyssen de Málaga muestra Rembrandt grabador que trae al artista holandés a Andalucía por primera vez en 26 años. En deportes la Rosaleda da un nuevo impulso al Málaga que golpeó 4 a 1 al Andorra. El festival de poesía Irreconciliables cumple 14 años con una edición homenaje a uno de sus fundadores Francisco Cumpián, hablamos en nuestra entrevista de hoy con las directoras del festival, poetas y también novelistas Violeta Niebla y Ángelo Néstore. Escuchar audio

Inspired by the true story of the friendship between Rembrandt and Rabbi Menashe Ben Israel. Painting scenes from Bible stories is Rembrandt's passion. Many of his Amsterdam neighbors are Sephardic Jews, and the children often come to play with the costumes at the renowned painter's house. Rabbi Menashe Ben Israel encourages his neighbors to pose for Rembrandt's biblical scenes. He helps the painter understand the descriptive words in the Hebrew bible. At the rabbi's home for Sabbath dinner, Rembrandt watches his friend cup his hands over his children's heads and say a blessing, which gives him an idea for a very special painting. Tami Lehman-Wilzig is the award-winning author of sixteen Jewish content picture books, including On the Wings of Eagles, SOOSIE, The Horse That Saved Shabbat; Keeping The Promise; Nathan Blows Out the Hanukkah Candles; Passover Around the World; and Hanukkah Around the World. Here, we we talk about her brand new picture book, Rembrandt's Blessing, (illustrated by Anita Barghigiani, Kar-Ben Publishing, Sept. 2025), and her writing journey. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Charles J. Stivale (Distinguished Professor Emeritus, Wayne State University) and Dan Smith (Professor of Philosophy, Purdue University) join me to discuss: Deleuze, Gilles. 2025. On Painting. Edited by David Lapoujade, translated by Charles J. Stivale. Minneapolis: University of Minnesota Press. Although Charles is the translator of this New Book, he has been working with Dan for years on The Deleuze Seminars (website here). Dan is also the translator of Deleuze's Francis Bacon: The Logic of Sensation, which Deleuze published shortly after giving this seminar. I thank Charles for bringing him in to contribute to our discussion! From the inside flap: “ ” Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Available for the first time in English: the complete and annotated transcripts of Deleuze's 1981 seminars on paintingFrom 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze's thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon.Through paintings and writing by Rembrandt, Delacroix, Turner, Cézanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off grayness and attain color? What is a line without contour? Why paint at all?Written and thought in a rhizomatic manner that is thoroughly Deleuzian—strange, powerful, and novel—On Painting traverses both the conception of art history and the possibility of color as a philosophical concept. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Charles J. Stivale (Distinguished Professor Emeritus, Wayne State University) and Dan Smith (Professor of Philosophy, Purdue University) join me to discuss: Deleuze, Gilles. 2025. On Painting. Edited by David Lapoujade, translated by Charles J. Stivale. Minneapolis: University of Minnesota Press. Although Charles is the translator of this New Book, he has been working with Dan for years on The Deleuze Seminars (website here). Dan is also the translator of Deleuze's Francis Bacon: The Logic of Sensation, which Deleuze published shortly after giving this seminar. I thank Charles for bringing him in to contribute to our discussion! From the inside flap: “ ” Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Available for the first time in English: the complete and annotated transcripts of Deleuze's 1981 seminars on paintingFrom 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze's thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon.Through paintings and writing by Rembrandt, Delacroix, Turner, Cézanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off grayness and attain color? What is a line without contour? Why paint at all?Written and thought in a rhizomatic manner that is thoroughly Deleuzian—strange, powerful, and novel—On Painting traverses both the conception of art history and the possibility of color as a philosophical concept. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

Charles J. Stivale (Distinguished Professor Emeritus, Wayne State University) and Dan Smith (Professor of Philosophy, Purdue University) join me to discuss: Deleuze, Gilles. 2025. On Painting. Edited by David Lapoujade, translated by Charles J. Stivale. Minneapolis: University of Minnesota Press. Although Charles is the translator of this New Book, he has been working with Dan for years on The Deleuze Seminars (website here). Dan is also the translator of Deleuze's Francis Bacon: The Logic of Sensation, which Deleuze published shortly after giving this seminar. I thank Charles for bringing him in to contribute to our discussion! From the inside flap: “ ” Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Available for the first time in English: the complete and annotated transcripts of Deleuze's 1981 seminars on paintingFrom 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze's thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon.Through paintings and writing by Rembrandt, Delacroix, Turner, Cézanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off grayness and attain color? What is a line without contour? Why paint at all?Written and thought in a rhizomatic manner that is thoroughly Deleuzian—strange, powerful, and novel—On Painting traverses both the conception of art history and the possibility of color as a philosophical concept. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

Tras más tiempo del que nos hubiera gustado, Domingo vuelve al podcast para seguir contando la historia de su personaje, el investigador y streamer Jackson Rembrandt, en la peligrosa Nueva York del 2080. Hoy, un viaje a lo que antes fue conocido como Central Park.

Inspired by the true story of the friendship between Rembrandt and Rabbi Menashe Ben Israel. Painting scenes from Bible stories is Rembrandt's passion. Many of his Amsterdam neighbors are Sephardic Jews, and the children often come to play with the costumes at the renowned painter's house. Rabbi Menashe Ben Israel encourages his neighbors to pose for Rembrandt's biblical scenes. He helps the painter understand the descriptive words in the Hebrew bible. At the rabbi's home for Sabbath dinner, Rembrandt watches his friend cup his hands over his children's heads and say a blessing, which gives him an idea for a very special painting. Tami Lehman-Wilzig is the award-winning author of sixteen Jewish content picture books, including On the Wings of Eagles, SOOSIE, The Horse That Saved Shabbat; Keeping The Promise; Nathan Blows Out the Hanukkah Candles; Passover Around the World; and Hanukkah Around the World. Here, we we talk about her brand new picture book, Rembrandt's Blessing, (illustrated by Anita Barghigiani, Kar-Ben Publishing, Sept. 2025), and her writing journey. Learn more about your ad choices. Visit megaphone.fm/adchoices

Charles J. Stivale (Distinguished Professor Emeritus, Wayne State University) and Dan Smith (Professor of Philosophy, Purdue University) join me to discuss: Deleuze, Gilles. 2025. On Painting. Edited by David Lapoujade, translated by Charles J. Stivale. Minneapolis: University of Minnesota Press. Although Charles is the translator of this New Book, he has been working with Dan for years on The Deleuze Seminars (website here). Dan is also the translator of Deleuze's Francis Bacon: The Logic of Sensation, which Deleuze published shortly after giving this seminar. I thank Charles for bringing him in to contribute to our discussion! From the inside flap: “ ” Nathan Smith is a PhD candidate in Music Theory at Yale University nathan.smith@yale.edu Available for the first time in English: the complete and annotated transcripts of Deleuze's 1981 seminars on paintingFrom 1970 until 1987, Gilles Deleuze held a weekly seminar at the Experimental University of Vincennes and, starting in 1980, at Saint-Denis. In the spring of 1981, he began a series of eight seminars on painting and its intersections with philosophy. The recorded sessions, newly transcribed and translated into English, are now available in their entirety for the first time. Extensively annotated by philosopher David Lapoujade, On Painting illuminates Deleuze's thinking on artistic creation, significantly extending the lines of thought in his book Francis Bacon.Through paintings and writing by Rembrandt, Delacroix, Turner, Cézanne, Van Gogh, Klee, Pollock, and Bacon, Deleuze explores the creative process, from chaos to the pictorial fact. The introduction and use of color feature prominently as Deleuze elaborates on artistic and philosophical concepts such as the diagram, modulation, code, and the digital and the analogical. Through this scrutiny, he raises a series of profound and stimulating questions for his students: How does a painter ward off grayness and attain color? What is a line without contour? Why paint at all?Written and thought in a rhizomatic manner that is thoroughly Deleuzian—strange, powerful, and novel—On Painting traverses both the conception of art history and the possibility of color as a philosophical concept. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

A former asylum seeker who sexually assaulted a 14-year-old girl was released from prison by mistake. Ethiopian national Hadush Gerberslasie Kebatu, who arrived in the UK on a small boat, was jailed for 12 months over the attack in Epping, Essex, last month.Also on the programme: The director of public prosecutions has said the China spy case collapsed because a top national security official could not say the country had been classed as an "enemy" when the Conservatives were in power. We speak to former Tory Defence Secretary Sir Grant Shapps.And art expert and host of the television series ‘Fake or Fortune?' Philip Mould on the discovery of millions of euros' worth of forged art claiming to be by Picasso, Rembrandt and Frida Kahlo.

Pfeifer, Henning www.deutschlandfunkkultur.de, Fazit

Pfeifer, Henning www.deutschlandfunk.de, Kultur heute

Das Staatliche Museum Schwerin war vier Jahre lang geschlossen - für Modernisierungsarbeiten. Mit mehr Ausstellungsffläche, bekannten Kunstwerken und großartigen Leihgabe präsentiert sich das Haus neu. Ein Museumsrundgang von NDR-Kulturedakteur Axel Seitz

Bayerische Fahnder haben in Deutschland und Nachbarstaaten mutmaßlich gefälschte Kunstwerke im Millionenwert sichergestellt. Nach Angaben des bayerischen LKA handelt es sich um Fälschungen weltberühmter Künstler wie Picasso, Rubens oder Rembrandt. Mehrere Verdächtige seien vorläufig festgenommen worden, aber mittlerweile wieder auf freiem Fuß. Von der LKA-Pressekonferenz berichtet BR-Polizeireporter Henning Pfeifer. / 20 Jahre MEWO Kunsthalle Memmingen: Anlässlich dieses Jubiläums soll gefeiert und nach vorn geschaut werden mit einer Ausstellung, die es in sich hat! Heute Abend ist Eröffnung, Doris Bimmer war vorab dort. / "Love Chant": Neues Album der "Lemonheads". Neben Bands wie Nirvana oder Soundgarden waren sie einer der wichtigsten Vertreter des Neunziger-Jahre-Gitarrensounds. Wie sie heute klingen? Malte Borgmann weiß mehr. / Moderation: Julian Ignatowitsch

2025 ősz-tél legjobban várt filmjei – Miért érdemes sorba állni a jegypénztáraknál? A Monstersen túl – a 6 legjobb Charlie Hunnam-film, amit látni kell Besúgók és téglák, avagy megfigyelések, lehallgatások a magyar popban Már szerdán a Netflixen: Valós eseményeket dolgoz fel az új sorozatgyilkosos széria Kristen Bell elárulta, hogyan áll a Disney a Jégvarázs harmadik részének munkálataival Különleges személy játszott a Tizenkét okos emberben Sosem látott, különleges produkciókkal november 9-én indul a Csillag Születik Magyarországon koncertezik a Squid Game zeneszerzője A párizsi Pókember, az elviteles Rembrandt, és amikor kisétáltak a Mona Lisával – 8 emlékezetes műkincsrablás Vércukormérővel törtek kódokat a Kaptár-filmben Árulkodó bejegyzés: összejött Miló Viki és a Házasság első látásra Sanyája? A további adásainkat keresd a podcast.hirstart.hu oldalunkon. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

2025 ősz-tél legjobban várt filmjei – Miért érdemes sorba állni a jegypénztáraknál? A Monstersen túl – a 6 legjobb Charlie Hunnam-film, amit látni kell Besúgók és téglák, avagy megfigyelések, lehallgatások a magyar popban Már szerdán a Netflixen: Valós eseményeket dolgoz fel az új sorozatgyilkosos széria Kristen Bell elárulta, hogyan áll a Disney a Jégvarázs harmadik részének munkálataival Különleges személy játszott a Tizenkét okos emberben Sosem látott, különleges produkciókkal november 9-én indul a Csillag Születik Magyarországon koncertezik a Squid Game zeneszerzője A párizsi Pókember, az elviteles Rembrandt, és amikor kisétáltak a Mona Lisával – 8 emlékezetes műkincsrablás Vércukormérővel törtek kódokat a Kaptár-filmben Árulkodó bejegyzés: összejött Miló Viki és a Házasság első látásra Sanyája? A további adásainkat keresd a podcast.hirstart.hu oldalunkon. Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

Přední český fotograf a portrétista Jadran Šetlík se do Hradce Králové rád vrací i proto, že tu má v hotelu U Královny Elišky svoji stálou expozici, kterou neustále dotváří a obměňuje.Všechny díly podcastu Host ve studiu můžete pohodlně poslouchat v mobilní aplikaci mujRozhlas pro Android a iOS nebo na webu mujRozhlas.cz.

Our friends John and Marie have a lovely family area in their home that they call the Great Room. And it really is a great room - big fireplace, lots of comfortable couch and chairs, tastefully decorated. It's just one of those rooms that people are drawn into like a magnet, and you don't want to leave. And on the wall near the fireplace, a beautiful painting. That's new. See, it hasn't always been there...until the wall cracked. Now, they tell me it was some kind of water damage, but it has left a really ugly hole in the wall. But who would know? It's covered up with this lovely painting! I'm Ron Hutchcraft and I want to have A Word With You today about "The Ugly Beneath the Beautiful." Now, it's true that no one can see the ugly spot. It's successfully covered up by something beautiful. It keeps anyone from knowing about the ugly, but not even a Rembrandt can repair that damage! Most of us have something ugly that we would just as soon not have anyone see. There's ugly stuff in our past, in our heart, in the closets of our life. The secrets we don't want anyone to know about - the dark side we try to conceal: those weaknesses, those failures, the mistakes that betray the wonderful view that we portray to the world. See, we cover the ugly with a great personality, or with religious activity, or spirituality, with our image, with good things we do. But no matter how impressive what we hang on the wall is, the damage - the holes inside - they're still there. God says that one day, all the cover-ups are going to come off the wall, and we will be judged on the basis of the ugly on the inside, not the beauty on the outside. That's our word for today from the Word of God in Romans 2:16. It talks about "the day when God will judge men's secrets through Jesus Christ." That's the junk we've successfully concealed from others, maybe even those closest to us. But it's totally known to God. And until the sin inside is removed - not just covered up - we are in the danger zone with the One who will judge us based on His knowledge of every secret. In the next chapter in the Bible, God tells us that no one is exempt from the reality of a sinful heart or of the consequences of a self-run life. He says, "All have sinned," even the most religious person among us. It says, "and they fall short of the glory of God." There is no way we can make it into God's heaven with this sin we all carry inside, no matter how much religion we cover it with. It sounds pretty hopeless until you read on. Yes, we've all missed it with God, but it goes on to say, "we are justified" (that means made right with God) "justified freely by His grace through the redemption" (or the rescue) "that came by Christ Jesus." God presented Him as a sacrifice of atonement through faith in His blood. Now, we couldn't do anything to fix our sin problem, but God, who is the One we've sinned against, reached out in love by sending His Son to die our death penalty - to remove the stain of the sin that has haunted us and condemned us for so long. And today, God's waiting to go deep inside you where all that sin is, and all the guilt and the shame, the secrets, and clean it all up. He wants to forgive it all. He wants to repair what you could never repair. He wants to change what you could never change and cleanse what you could never cleanse. And it happens when you tell Jesus that you are trusting Him to be your rescuer from your sin, because only the One who died for your sin can forgive your sin. This could be your day to be something better than religious. You could be forgiven. You could be clean. If you want that, go to the One that can do it. Tell Him, "Jesus, you're my only hope of my sin being erased and being in heaven some day. I am yours beginning today." Our website will help you, so much, to know that you belong to Him and get you started with Him. Please go there today. It's ANewStory.com. There's nothing like the freedom, the relief, of knowing that the sin of a lifetime is gone - not concealed, but gone.

Apotheose is een razend spannende thriller waarin een verborgen perkament in een Rembrandt-schilderij leidt tot moord, symboliek en een dodelijke zoektocht. Voor fans van Dan Brown. Uitgegeven door Xander Uitgevers B.V. Spreker: Louis van Beek

Holandský obchodník a podnikatel Cornelius van Groeneveld, bývalý voják, v polovině 30. let 17. století koupil za 20 tisíc zlatých slonici, původem z Cejlonu. Naučil ji různým kouskům; v armádě získal zkušenosti s výcvikem koní, což se mu při cvičení s Hansken asi hodilo. A přestože zuřila třicetiletá válka, na cvičeném slonu se jal procestovat většinu starého kontinentu.

Étienne, c'est juste un prénom rétro ou une figure-clé de la foi chrétienne ? Pourquoi finit-il lapidé ? Comment un type caillassé à mort peut-il devenir le premier « héros » du christianisme ?Dans ce podcast, on explore le destin fulgurant d'Étienne — entre procès truqué, vision céleste et couronne éternelle. Et pour éclairer tout ça, on convoque Kendrick Lamar, les Grateful Dead, Guesh Patti, Rembrandt, Saint Augustin, et même l'équipe des Verts de Saint-Étienne.Bonne écoute (et vive le foot) !Hébergé par Ausha. Visitez ausha.co/politique-de-confidentialite pour plus d'informations.

In der Schweiz wohnen junge Erwachsene heute länger bei ihren Eltern als noch vor 20 Jahren. Das zeigt eine neue Erhebung des Bundesamtes für Statistik. Im Alter von 22 Jahren lebt die Hälfte der jungen Erwachsenen nicht mehr im Elternhaus – Frauen ziehen dabei im Schnitt früher aus als Männer. Weitere Themen: Die Schweizer Autorin Dorothee Elmiger gewinnt den diesjährigen Deutschen Buchpreis für ihren Roman "Die Holländerinnen". Der Preis gilt als einer der wichtigsten Literaturpreise im deutschsprachigen Raum und ist mit 25'000 Franken dotiert. Das Interview mit der Gewinnerin. Junge Männer in gelben Westen patrouillieren als selbst ernannte Sittenwächter auf Polens Strassen und suchen nach Frauen und Mädchen, die sie als «provokativ» empfinden, filmen sie und stellen sie auf Social Media an den Pranger. Frauenfeindliche Narrative würden in Polen auch von mächtigen Organisationen vorangetrieben, sagt der Investigativjournalist Tobias Ginsburg. Der US-amerikanische Kunstsammler Thomas Kaplan will seine Gemälde "fragmentieren", wie er es nennt. Mit Anteilsscheinen sollen so Werke von Rembrandt und co. auch für Normalverdienende erschwinglich werden. Dirk Boll, Kunsthändler und Vorstandsmitglied beim Auktionshaus Christie's, erklärt, warum das Angebot für Interessierte spannend ist - obwohl sie das Bild ja nie bei sich zu Hause aufhängen können.

Artist Olivia van Kuiken discusses intentional misdirection, how she is thinking about language through painting, engaging with the architectural element of her work, and more. This conversation is concerned primarily with the work in her recent show “Bastard Rhyme” at Matthew Brown Gallery in New York.Olivia van Kuiken (b. 1997 in Chicago, Illinois) is a New York based artist. She received a BFA in Studio Art at Cooper Union, New York, 2019.Solo Exhibitions include Losing looking leaving, Caprii, Düsseldorf (2024); Beil Lieb, Château Shatto, Los Angeles (2024); Make me Mulch!, Chapter NY, New York (2023);  She clock, me clock, we clock, King's Leap, New York (2022).Select group exhibitions include the Lord will spit out the lukewarm, Bortolami, New York (2025); What are you looking for?, curated by Brandy Carstens, Société, Berlin (2025); Meet me by the lake, CLEARING, New York (2024); Mad Monk, Micki Meng, New York (2024); A Modern Disease, curated by Cooper Brovenick, New York (2024); Manic Pixie Nightmare Drawings, Adler Beatty, New York (2024); Anything can pass before the eyes of a person, Derosia, New York (2023); Works on Paper: 100 Years, Amanita, New York (2023); Supper Club, As it Stands, Los Angeles (2023); Oceans of Time, Château Shatto, Los Angeles (2022); Elective Affinities, Chapter NY, New York (2022); Bright lights, big city, no fun, Shoot the Lobster, New York  (2022); La Saison Creuse, Hoffman Maler Wallenburg, Nice (2022).Olivia's Instagram: @livankuikenReference links:Bernini, Chair of St. Peter (1657–1666)Barnett Newman, Vir Heroicus Sublimis (1950-51)Percy Bysshe Shelley, Ozymandias (1818)Tove Jansson, The Summer Book (1972)Rembrandt, Self-Portrait with Two Circles (1665-1669)Taryn Simon, Image Atlas (2012) Beyoncé, AMERICA HAS A PROBLEM (2022)Cap'n Jazz, Scary Kids Scaring Kids (1998)my bloody valentine, mbv (2013)

A exposição "O mestre da luz e da sombra" é gratuita e está em cartaz até o dia oito de novembro, com 69 produções do holandês que transformou o universo da gravura. Nossa reportagem visitou o espaço, ouvindo o artista plástico Amador Peres, a educadora museal Luana Mota e os estudantes da UFRJ Guilherme Henrique Dias e Sandra Oliveira.Reportagem: Isabella FerreiraEdição: Thiago Kropf

EP166 Interview With Mark & Simon From Elinchrom UK I sit down with Mark Cheatham and Simon Burfoot from Elinchrom UK to talk about the two words that matter most when you work with light: accuracy and consistency. We dig into flash vs. continuous, shaping light (not just adding it), why reliable gear shortens your workflow, and Elinchrom's new LED 100 C—including evenly filling big softboxes and that handy internal battery. We also wander into AI: threats, tools, and why authenticity still carries the highest value.   Links: Elinchrom UK store/info: https://elinchrom.co.uk/ LED 100 C product page: https://elinchrom.co.uk/elinchrom-led-100-c Rotalux Deep Octa / strips: https://elinchrom.co.uk/elinchrom-rotalux-deep-octabox-100cm-softbox/ My workshop dates: https://masteringportraitphotography.com/workshops-and-mentoring/ Transcript: Paul: as quite a lot of, you know, I've had a love affair with Elinchrom Lighting for the past 20 something years. In fact, I'm sitting with one of the original secondhand lights I bought from the Flash Center 21 years ago in London. And on top of that, you couldn't ask for a nicer set of guys in the UK to deal with. So I'm sitting here about to talk to Simon and Mark from Elinchrom uk. I'm Paul and this is the Mastering Portrait Photography podcast. Paul: So before we get any further, tell me a little bit about who you are, each of you and the team from Elinchrom UK Mark: After you, Simon. Simon: Thank you very much, mark. Mark: That's fine. Simon: I'm, Simon Burfoot. I have, been in the industry now for longer than I care to think. 35 years almost to the, to the day. Always been in the industry even before I left school because my father was a photographer and a lighting tutor, working for various manufacturers I was always into photography, and when he started the whole lighting journey. I got on it with him, and was learning from a very young age. Did my first wedding at 16 years old. Had a Saturday job which turned into a full-time job in a retail camera shop. By the time I was 18, I was managing my own camera shop, in a little town in the Cotswolds called Cirencester. My dad always told me that to be a photographic rep in the industry, you needed to see it from all angles, to get the experience. So I ended up, working in retail, moving over to a framing company. Finishing off in a prolab, hand printing, wedding photographers pictures, processing E6 and C41, hand correcting big prints for framing for, for customers, which was really interesting and I really enjoyed it. And then ended up working for a company called Leeds Photo Visual, I was a Southwest sales guy for them. Then I moved to KJP before it became, what we know now as Wex, and got all of the customers back that I'd stolen for them for Leeds. And then really sort of started my career progressing through, and then started to work with Elinchrom, on the lighting side. Used Elinchrom way before I started working with them. I like you a bit of a love affair. I'd used lots of different lights and, just loved the quality of the light that the Elinchrom system produced. And that's down to a number of factors that I could bore you with, but it's the quality of the gear, the consistency in terms of color, and exposure. Shooting film was very important to have that consistency because we didn't have Photoshop to help us out afterwards. It was a learning journey, but I, I hit my goal after being a wedding photographer and a portrait photographer in my spare time, working towards getting out on the road, meeting people and being involved in the industry, which I love. And I think it's something that I'm scared of leaving 'cause I dunno anything else. It's a wonderful industry. It has its quirks, its, downfalls at points, but actually it's a really good group of people and everyone kind of, gets on and we all love working with each other. So we're friends rather than colleagues. Paul: I hesitate to ask, given the length of that answer, to cut Simon: You did ask. Mark: I know. Paul: a short story Mark: was wondering if I was gonna get a go. Paul: I was waiting to get to end into the podcast and I was about to sign off. Mark: So, hi Mark Cheatham, sales director for Elinchrom uk this is where it gets a little bit scary because me and Simon have probably known each other for 10 years, yet our journeys in the industry are remarkably similar. I went to college, did photography, left college, went to work at commercial photographers and hand printers. I was a hand printer, mainly black and white, anything from six by four to eight foot by four foot panels, which are horrible when you're deving in a dish. But we did it. Paul: To the generation now, deving in a dish doesn't mean anything. Simon: No, it doesn't. Mark: And, and when you're doing a eight foot by four foot print and you've got it, you're wearing most of the chemistry. You went home stinking every night. I was working in retail. As a Saturday lad and then got promoted from the Saturday lad to the manager and went to run a camera shop in a little town in the Lake District called Kendall. I stayed there for nine years. I left there, went on the road working for a brand called Olympus, where I did 10 years, I moved to Pentax, which became Rico Pentax. I did 10 years there. I've been in the industry all my life. Like Simon, I love the industry. I did go out the industry for 18 months where I went into the wonderful world of high end commercial vr, selling to blue light military, that sort of thing. And then came back. One of the, original members of Elinchrom uk. I don't do as much photography as Simon I take photos every day, probably too many looking at my Apple storage. I do shoot and I like shooting now and again, but I'm not a constant shooter like you guys i'm not a professional shooter, but when you spent 30 odd years in the industry, and part of that, I basically run the, the medium format business for Pentax. So 645D, 645Z. Yeah, it was a great time. I love the industry and, everything about it. So, yeah, that's it Paul: Obviously both of you at some point put your heads together and decided Elinchrom UK was the future. What triggered that and why do you think gimme your sales pitch for Elinchrom for a moment and then we can discuss the various merits. Simon: The sales pitch for Elinchrom is fairly straightforward. It's a nice, affordable system that does exactly what most photographers would like. We sell a lot of our modifiers, so soft boxes and things like that to other users, of Prophoto, Broncolor. Anybody else? Because actually the quality of the light that comes out the front of our diffusion material and our specular surfaces on the soft boxes is, is a lot, lot more superior than, than most. A lot more superior. A lot more Mark: A lot more superior. Paul: more superior. Simon: I'm trying to Paul: Superior. Simon: It's superior. And I think Paul, you'll agree, Paul: it's a lot more, Simon: You've used different manufacturers over the years and, I think the quality of light speaks for itself. As a photographer I want consistency. Beautiful light and the effects that the Elinchrom system gives me, I've tried other soft boxes. If you want a big contrasty, not so kind light, then use a cheaper soft box. If I've got a big tattoo guy full of piercings you're gonna put some contrasty light to create some ambience. Maybe the system for that isn't good enough, but for your standard portrait photographer in a studio, I don't think you can beat the light. Mark: I think the two key words for Elinchrom products are accuracy and consistency. And that's what, as a portrait photographer, you should be striving for, you don't want your equipment to lengthen your workflow or make your job harder in post-production. If you're using Elinchrom lights with Elinchrom soft boxes or Elinchrom modifiers, you know that you're gonna get accuracy and consistency. Which generally makes your job easier. Paul: I think there's a bit that neither of you, I don't think you've quite covered, and it's the bit of the puzzle that makes you want to use whatever is the tool of your trade. I mean, I worked with musicians, I grew up around orchestras. Watching people who utterly adore the instrument that's in their hand. It makes 'em wanna play it. If you own the instrument that you love to play, whether it's a drum kit a trumpet a violin or a piano, you will play it and get the very best out of your talent with it. It's just a joy to pick it up and use it for all the little tiny things I think it's the bit you've missed in your descriptions of it is the utter passion that people that use it have for it. Mark: I think one of the things I learned from my time in retail, which was obviously going back, a long way, even before digital cameras One of the things I learned from retail, I was in retail long before digital cameras, retail was a busier time. People would come and genuinely ask for advice. So yes, someone would come in and what's the best camera for this? Or what's the best camera for that? Honestly there is still no answer to that. All the kit was good then all the kit is good now. You might get four or five different SLRs out. And the one they'd pick at the end was the one that they felt most comfortable with and had the best connection with. When you are using something every day, every other day, however it might be, it becomes part of you. I'm a F1 fan, if you love the world of F1, you know that an F1 car, the driver doesn't sit in an F1 car, they become part of the F1 car. When you are using the same equipment day in, day out, you don't have to think about what button to press, what dial to to turn. You do it. And that, I think that's the difference between using something you genuinely love and get on with and using something because that's what you've got. And maybe that's a difference you genuinely love and get on with Elinchrom lights. So yes, they're given amazing output and I know there's, little things that you'd love to see improved on them, but that's not the light output. Paul: But the thing is, I mean, I've never, I've never heard the F1 analogy, but it's not a bad one. When you talk about these drivers and their cars and you are right, they're sort of symbiotic, so let's talk a little bit about why we use flash. So from the photographers listening who are just setting out, and that's an awful lot of our audience. I think broadly speaking, there are two roads or three roads, if you include available light if you're a portrait photographer. So there's available light. There's continuous light, and then there's strobes flash or whatever you wanna call it. Of course, there's, hybrid modeling and all sorts of things, but those are broadly the three ways that you're gonna light your scene or your subject. Why flash? What is it about that instantaneous pulse of light from a xenon tube that so appealing to photographers? Simon: I think there's a few reasons. The available light is lovely if you can control it, and by that I mean knowing how to use your camera, and control the ambient light. My experience of using available light, if you do it wrong, it can be quite flat and uninteresting. If you've got a bright, hot, sunny day, it can be harder to control than if it's a nice overcast day. But then the overcast day will provide you with some nice soft, flat lighting. Continuous light is obviously got its uses and there's a lot of people out there using it because what they see is what they get. The way I look at continuous light is you are adding to the ambient light, adding more daylight to the daylight you've already got, which isn't a problem, but you need to control that light onto the subject to make the subject look more interesting. So a no shadow, a chin shadow to show that that subject is three dimensional. There are very big limitations with LED because generally it's very unshapable. By that I mean the light is a very linear light. Light travels in straight lines anyway, but with a flash, we can shape the light, and that's why there's different shapes and sizes of modifiers, but it's very difficult to shape correctly -an LED array, the flash for me, gives me creativity. So with my flash, I get a sharper image to start with. I can put the shadows and the light exactly where I want and use the edge of a massive soft box, rather than the center if I'm using a flash gun or a constant light. It allows me to choose how much or how little contrast I put through that light, to create different dynamics in the image. It allows me to be more creative. I can kill the ambient light with flash rather than adding to it. I can change how much ambient I bring into my flash exposure. I've got a lot more control, and I'm not talking about TTL, I'm talking about full manual control of using the modifier, the flash, and me telling the camera what I want it to do, rather than the camera telling me what it thinks is right. Which generally 99% of the time is wrong. It's given me a beautiful, average exposure, but if I wanted to kill the sun behind the subject, well it's not gonna do that. It's gonna give me an average of everything. Whereas Flash will just give me that extra opportunity to be a lot more creative and have a lot more control over my picture. I've got quite a big saying in my workshops. I think a decent flash image is an image where it looks like flash wasn't used. As a flash photographer, Paul, I expect you probably agree with me, anyone can take a flash image. The control of light is important because anybody can light an image, but to light the subject within the image and control the environmental constraints, is the key to it and the most technical part of it. Mark: You've got to take your camera off P for professional to do that. You've got to turn it off p for professional and get it in manual mode. And that gives you the control Paul: Well, you say that, We have to at some point. Address the fact that AI is not just coming, it's sitting here in our studios all the time, and we are only a heartbeat away from P for professional, meaning AI analyzed and creating magic. I don't doubt for a minute. I mean, right now you're right, but not Mark: Well, at some point it will be integrated into the camera Paul: Of course it will. Mark: If you use an iPhone or any other phone, you know, we are using AI as phone photographers, your snapshots. You take your kids, your dogs, whatever they are highly modified images. Paul: Yeah. But in a lot of the modern cameras, there's AI behind the scenes, for instance, on the focusing Mark: Yeah. Paul: While we've, we are on that, we were on that thread. Let's put us back on that thread for a second. What's coming down the line with, all lighting and camera craft with ai. What are you guys seeing that maybe we're not Simon: in terms of flash technology or light technology? Paul: Alright. I mean, so I mean there's, I guess there's two angles, isn't there? What are the lights gonna do that use ai? What are the controllers gonna do, that uses ai, but more importantly, how will it hold its own in a world where I can hit a button and say, I want rebrand lighting on that face. I can do that today. Mark: Yeah. Simon: I'm not sure the lighting industry is anywhere near producing anything that is gonna give what a piece of software can give, because there's a lot more factors involved. There's what size light it is, what position that light is in, how high that light is, how low that light is. And I think the software we've all heard and played with Evoto we were talking about earlier, I was very skeptical and dubious about it to start with as everybody would be. I'm a Photoshop Lightroom user, have been for, many years. And I did some editing, in EEvoto with my five free credits to start with, three edits in, I bought some credits because I thought, actually this is very, very good. I'll never use it for lighting i'd like to think I can get that right myself. However, if somebody gives you a, a very flat image of a family outside and say, well, could you make this better for me? Well, guess what? I can do whatever you like to it. Is it gonna attack the photographer that's trying to earn a living? I think there's always a need for people to take real photographs and family photographs. I think as photographers, we need to embrace it as an aid to speed up our workflow. I don't think it will fully take over the art of photography because it's a different thing. It's not your work. It's a computer generated AI piece of work in my head. Therefore, who's responsible for that image? Who owns the copyright to that image? We deal with photographers all the time who literally point a camera, take a picture and spend three hours editing it and tell everyone that, look at this. The software's really good and it's made you look good. I think AI is capable of doing that to an extent. In five years time, we'll look back at Evoto today and what it's producing and we'll think cracky. That was awful. It's like when you watch a high definition movie from the late 1990s, you look at it and it was amazing at the time, but you look at it now and you think, crikey, look at the quality of it. I dunno if we're that far ahead where we won't get to that point. The quality is there. I mean, how much better can you go than 4K, eight K minus, all that kind of stuff. I'm unsure, but I don't think the AI side of it. Is applicable to flash at this moment in time? I don't know. Mark: I think you're right. To look at the whole, photography in general. If you are a social photographer, family photographer, whatever it might be, you are genuinely capturing that moment in time that can't be replaced. If you are a product photographer, that's a different matter. I think there's more of a threat. I think I might be right in saying. I was looking, I think I saw it on, LinkedIn. There is a fashion brand in the UK at the moment that their entire catalog of clothing has been shot without models. When you look at it on the website, there's models in it. They shoot the clothing on mannequins and then everything else is AI generated they've been developing their own AI platform now for a number of years. Does the person care Who's buying a dress for 30 quid? Probably not, but if you are photographing somebody's wedding, graduation, some, you know, a genuine moment in someone's life, I think it'd be really wrong to use any sort of AI other than a little bit of post-production, which we know is now quite standard for many people in the industry. Paul: Yeah, the curiosity for me is I suspect as an industry, Guess just released a full AI model advert in, Vogue. Declared as AI generated an ai agency created it. Everything about it is ai. There's no real photography involved except in the learning side of it. And that's a logical extension of the fact we've been Photoshopping to such a degree that the end product no longer related to the input. And we've been doing that 25 years. I started on Photoshop version one, whatever that was, 30 years More than 33. So we've kind of worked our way into a corner where the only way out of it is to continue. There's no backtracking now. Mark: Yeah. Paul: I think the damage to the industry though, or the worry for the industry, I think you're both right. I think if you can feel it, touch it, be there, there will always be that importance. In fact, the provenance of authenticity. Is the high value ticket item now, Simon: Mm-hmm. Paul: because you, everything else is synthetic, you can trust nothing. We are literally probably months away from 90% of social media being generated by ai. AI is both the consumer and the generator of almost everything online Mark: Absolutely. Paul: Goodness knows where we go. You certainly can't trust anything you read. You can't trust anything you see, so authenticity, face-to-face will become, I think a high value item. Yeah. Mark: Yeah. Paul: I think one problem for us as an industry in terms of what the damage might be is that all those people that photograph nameless products or create books, you know, use photography and then compositing for, let's say a novel that's gone, stock libraries that's gone because they're faceless. Simon: Mm-hmm. Paul: there doesn't have to be authentic. A designer can type in half a dozen keywords. Into an AI engine and get what he needs. If he doesn't get what he needs, he does it again. All of those photographers who currently own Kit are gonna look around with what do we do now? And so for those of us who specialize in weddings and portraits and family events, our market stands every chance of being diluted, which has the knock on effect of all of us having to keep an eye on AI to stay ahead of all competitors, which has the next knock on effect, that we're all gonna lean into ai, which begs the question, what happens after Because that's what happened in the Photoshop world. You know, I'm kind of, I mean, genuinely cur, and this will be a running theme on the podcast forever, is kind of prodding it and taking barometer readings as to where are we going? Mark: Yeah. I mean, who's more at threat at the moment from this technology? Is it the photographer or is it the retouch? You know, we do forget that there are retouchers That is their, they're not photographers. Paul: I don't forget. They email me 3, 4, 5 times a day. Mark: a Simon: day, Mark: You know, a highly skilled retouch isn't cheap. They've honed their craft for many years using whatever software product they prefer to use. I think they're the ones at risk now more so than the photographer. And I think we sort of lose sight of that. Looking at it from a photographer's point of view, there is a whole industry behind photography that actually is being affected more so than you guys at the moment. Simon: Mm-hmm. Paul: Yeah, I think there's truth in that, but. It's not really important. Of course, it's really important to all of those people, but this is the digital revolution that we went through as film photographers, and probably what the Daguerreotype generators went through when Fox Tolbert invented the first transfer. Negative. You know, they are, there are always these epochs in our industry and it wipes out entire skillset. You know, I mean, when we went to digital before then, like you, I could dev in a tank. Yeah. You know, and really liked it. I like I see, I suspect I just like the solitude, Mark: the dark, Paul: red light in the dark Mark: yeah. Paul: Nobody will come in. Not now. Go away. Yeah. All that kind of stuff. But of course those skills have gone, has as, have access to the equipment. I think we're there again, this feels like to me a huge transition in the industry and for those who want to keep up, AI is the keeping up whether you like it or not. Mark: Yeah. And if you don't like it, we've seen it, we're in the middle of a massive resurgence in film photography, which is great for the industry, great for the retail industry, great for the film manufacturers, chemical manufacturers, everything. You know, simon, myself, you, you, we, we, our earliest photography, whether we were shooting with flash, natural light, we were film shooters and that planes back. And what digital did, from a camera point of view, is make it easier and more accessible for less skilled people. But it's true. You know, if you shot with a digital camera now that's got a dynamic range of 15 stops, you actually don't even need to have your exposure, that accurate Go and shoot with a slide film that's got dynamic range of less than one stop and see how good you are. It has made it easier. The technology, it will always make it. Easier, but it opens up new doors, it opens up new avenues to skilled people as well as unskilled people. If you want, I'm using the word unskilled again, I'm not being, a blanket phrase, but it's true. You can pick up a digital camera now and get results that same person shooting with a slide film 20 years ago would not get add software to that post-production, everything else. It's an industry that we've seen so many changes in over the 30 odd years that we've been in it, Simon: been Mark: continue Simon: at times. It exciting Mark: The dawn of digital photography to the masses. was amazing. I was working for Olympus at the time when digital really took off and for Olympus it was amazing. They made some amazing products. We did quite well out of it and people started enjoying photography that maybe hadn't enjoyed photography before. You know, people might laugh at, you know, you, you, you're at a wedding, you're shooting a really nice wedding pool and there's always a couple of guests there which have got equipment as good as yours. Better, better than yours. Yeah. Got Simon: jobs and they can afford it. Mark: They've got proper jobs. Their pitches aren't going to be as good as yours. They're the ones laughing at everyone shooting on their phone because they've spent six grand on their new. Camera. But if shooting on a phone gets people into photography and then next year they buy a camera and two years later they upgrade their camera and it gets them into the hobby of photography? That's great for everyone. Hobbyists are as essential, as professional photographers to the industry. In fact, to keep the manufacturers going, probably more so Simon: the hobbyists are a massive part. Even if they go out and spend six or seven or 8,000 pounds on a camera because they think it's gonna make them a better photographer. Who knows in two years time with the AI side, maybe it will. That old saying, Hey Mr, that's a nice camera. I bet it takes great pictures, may become true. We have people on the lighting courses, the workshops we run, the people I train and they're asking me, okay, what sessions are we gonna use? And I'm saying, okay, well we're gonna be a hundred ISO at 125th, F 5.6. Okay, well if I point my camera at the subject, it's telling me, yeah, but you need to put it onto manual. And you see the color drain out their faces. You've got a 6,000 pound camera and you've never taken it off 'P'. Mark: True story. Simon: And we see this all the time. It's like the whole TTL strobe manual flash system. The camera's telling you what it wants to show you, but that maybe is not what you want. There are people out there that will spend a fortune on equipment but actually you could take just as good a picture with a much smaller, cheaper device with an nice bit of glass on the front if you know what you're doing. And that goes back to what Mark was saying about shooting film and slide film and digital today. Paul: I, mean, you know, I don't want this to be an echo chamber, and so what I am really interested in though, is the way that AI will change what flash photography does. I'm curious as to where we are headed in that, specific vertical. How is AI going to help and influence our ability to create great lip photography using flash? Mark: I think, Paul: I love the fact the two guys side and looked at each other. Mark: I, Simon: it's a difficult question to answer. Mark: physical light, Simon: is a difficult question to answer because if you're Mark: talking about the physical delivery of light. Simon: Not gonna change. Mark: Now, The only thing I can even compare it to, if you think about how the light is delivered, is what's the nearest thing? What's gotta change? Modern headlamps on cars, going back to cars again, you know, a modern car are using these LED arrays and they will switch on and switch off different LEDs depending on the conditions in front of them. Anti dazzle, all this sort of stuff. You know, the modern expensive headlamp is an amazing technical piece of kit. It's not just one ball, but it's hundreds in some cases of little arrays. Will that come into flash? I don't know. Will you just be able to put a soft box in front of someone and it will shape the light in the future using a massive array. Right? I dunno it, Simon: there's been many companies tested these arrays, in terms of LED Flash, And I think to be honest, that's probably the nearest it's gonna get to an AI point of view is this LED Flash. Now there's an argument to say, what is flash if I walk into a living room and flick the light on, on off really quickly, is that a flash? Mark: No, that's a folock in Paul: me Mark: turn, big lights off. Paul: Yeah. Mark: So Simon: it, you, you might be able to get these arrays to flush on and off. But LED technology, in terms of how it works, it's quite slow. It's a diode, it takes a while for it to get to its correct brightness and it takes a while for it to turn off. To try and get an LED. To work as a flash. It, it's not an explosion in a gas field tube. It's a a, a lighter emitting diode that is, is coming on and turning off again. Will AI help that? Due to the nature of its design, I don't think it can. Mark: Me and s aren't invented an AI flash anytime soon by the looks of, we're Simon: it's very secret. Mark: We're just putting everyone off Paul, Simon: It's alright. Mark: just so they don't think Simon: Yeah, Mark: Oh, it's gonna be too much hard work and we'll sort it. Paul: It's definitely coming. I don't doubt for a minute that this is all coming because there's no one not looking at anything Simon: that makes perfect sense. Paul: Right now there's an explosion of invention because everybody's trying to find an angle on everything. Simon: Mm-hmm. Paul: The guys I feel the most for are the guys who spent millions, , on these big LED film backdrop walls. Simon: Yep. Mark: So you can Paul: a car onto a flight sim, rack, and then film the whole lot in front of an LED wall. Well, it was great. And there was a market for people filming those backdrops, and now of course that's all AI generated in the LED, but that's only today's technology. Tomorrow's is, you don't need the LED wall. That's here today. VEO3 and Flow already, I mean, I had to play with one the other day for one of our lighting diagrams and it animated the whole thing. Absolute genius. Simon: Mm-hmm. Paul: I still generated the original diagram. Mark: Yeah, Paul: Yeah, that's useful. There's some skill in there still for now, but, you gotta face the music that anything that isn't, I can touch it and prod it. AI's gonna do it. Mark: Absolutely. If you've ever seen the series Mandalorian go and watch the making of the Mandalorian and they are using those big LED walls, that is their backdrop. Yeah. And it's amazing how fast they shift from, you know, they can, they don't need to build a set. Yeah. They shift from scene to scene. Paul: Well, aI is now building the scenes. But tomorrow they won't need the LED wall. 'cause AI will put it in behind the actors. Mark: Yeah. Say after Paul: that you won't need the actors because they're being forced to sign away the rights so that AI can be used. And even those that are standing their ground and saying no, well, the actors saying Yes. Are the ones being hired. You know, in the end, AI is gonna touch all of it. And so I mean, it's things like, imagine walking into a studio. Let's ignore the LED thing for a minute, by the way, that's a temporary argument, Simon: I know you're talking about. Paul: about today's, Simon: You're about the. Mark: days Paul: LEDs, Simon: we're in, We're in very, very interesting times and. I'm excited for the future. I'm excited for the new generation of photographers that are coming in to see how they work with what happens. We've gone from fully analog to me selling IMACON drum scanners that were digitizing negatives and all the five four sheet almost a shoot of properties for an estate agent were all digitized on an hassle blood scanner. And then the digital camera comes out and you start using it. It was a Kodak camera, I think the first SLRI used, Paul: Yeah. Simon: and you get the results back and you think, oh my God, it looks like it's come out of a practica MTL five B. Mark: But Simon: then suddenly the technology just changes and changes and changes and suddenly it's running away with itself and where we are today. I mean, I, I didn't like digital to start with. It was too. It was too digital. It was too sharp. It didn't have the feel of film, but do you know what? We get used to it and the files that my digital mirrorless camera provide now and my Fuji GFX medium format are absolutely stunning. But the first thing I do is turn the sharpness down because they are generally over sharp. For a lovely, beautifully lit portrait or whatever that anybody takes, it just needs knocking back a bit. We were speaking about this earlier, I did some comparison edits from what I'd done manually in Photoshop to the Evoto. Do you know what the pre-selected edits are? Great. If you not the slider back from 10 to about six, you're there or thereabouts? More is not always good. Mark: I think when it comes to imagery in our daily lives, the one thing that drives what we expect to see is TV and most people's TVs, everything's turned up to a hundred. The color, the contrast, that was a bit of a shock originally from the film to digital, crossover. Everything went from being relatively natural to way over the top Just getting back to AI and how it's gonna affect people like you and people that we work with day to day. I don't think we should be worried about that. We should be worried about the images we see on the news, not what we're seeing, hanging on people's walls and how they're gonna be affected by ai. That generally does affect everyone's daily life. Paul: Yeah, Mark: Yeah. But what Paul: people now ask me, for instance, I've photographed a couple head shots yesterday, and the one person had not ironed her blouse. And her first question was, can we sort that out in post? So this is the knock on effect people are becoming aware of what's possible. What's that? Nothing. Know, and the, the smooth clothing button in Evoto will get me quite a long way down that road and saves somebody picking up an eye and randomly, it's not me, it's now actually more work for me 'cause I shouldn't have to do it. But, you know, this is my point about the knock on effect. Our worlds are different. So I didn't really intend this to be just a great sort of circular conversation about AI cars and, future technology. It was more, I dunno, we ended up down there anyway. Simon: We went down a rabbit hole. Mark: A Paul: rabbit hole. Yeah Mark: was quite an interesting one. Simon: And I'm sorry if you've wasted your entire journey to work and we Paul: Yeah. Simon: Alright. It wasn't intended to be like that. Paul: I think it's a debate that we need to be having and there needs to be more discussion about it. Certainly for anybody that has a voice in the industry and people are listening to it because right now it might be a toddler of a technology, but it's growing faster than people realize. There is now a point in the written word online where AI is generating more than real people are generating, and AI is learning that. So AI is reading its own output. That's now beginning to happen in imagery and film and music. Simon: Well, even in Google results, you type in anything to a Google search bar. When it comes back to the results, the first section at the top is the AI generated version. And you know what, it's generally Paul: Yep. Simon: good and Paul: turn off all the rest of it now. So it's only ai. Simon: Not quite brave enough for that yet. No, not me. Mark: In terms Paul: of SEO for instance, you now need to tune it for large language models. You need to be giving. Google the LLM information you want it to learn so that you become part of that section on a website. And it, you know, this is where we are and it's happening at such a speed, every day I am learning something new about something else that's arriving. And I think TV and film is probably slightly ahead of the photography industry Mark: Yeah. Paul: The pressures on the costs are so big, Simon: Yes. Paul: Whereas the cost differential, I'm predicting our costs will actually go up, not down. Whereas in TV and film, the cost will come down dramatically. Mark: Absolutely. Simon: They are a horrifically high level anyway. That's Paul: I'm not disputing that, but I watched a demo of some new stuff online recently and they had a talking head and they literally typed in relight that with a kiss light here, hairlight there, Rembrandt variation on the front. And they did it off a flat picture and they can move the lights around as if you are moving lights. Yes. And that's there today. So that's coming our way too. And I still think the people who understand how to see light will have an advantage because you'll know when you've typed these words in that you've got it about right. It doesn't change the fact that it's going to be increasingly synthetic. The moment in the middle of it is real. We may well be asked to relight things, re clothe things that's already happening. Simon: Yeah. Paul: We get, can you just fill in my hairline? That's a fairly common one. Just removing a mole. Or removing two inches round a waist. This, we've been doing that forever. Simon: Mm-hmm. Paul: And so now it'll be done with keyword generation rather than, photoshop necessarily. Simon: I think you'll always have the people that embrace this, we can't ignore it as you rightly say. It's not going away. It's gonna get bigger, it's gonna feature more in our lives. I think there's gonna be three sets of people. It's gonna be the people like us generally on a daily basis. We're photographers or we're artists. We enjoy what we do. I enjoy correctly lighting somebody with the correct modifier properties to match light quality to get the best look and feel and the ambience of that image. And I enjoy the process of putting that together and then seeing the end result afterwards. I suppose that makes me an artist in, in, in loose terms. I think, you know, as, as, as a photographer, we are artists. You've then got another generation that are finding shortcuts. They're doing some of the job with their camera. They're making their image from an AI point of view. Does that make up an artist? I suppose it still does because they're creating their own art, but they have no interest 'cause they have no enjoyment in making that picture as good as it can be before you even hit the shutter. And then I think you've got other people, and us to an extent where you do what you need to do, you enjoy the process, you look at the images, and then you just finely tune it with a bit of AI or Photoshop retouching so I think there are different sets of people that will use AI to their advantage or completely ignore it. Mark: Yeah. I think you're right. And I think it comes down, I'm going to use another analogy here, you, you know, let's say you enjoy cooking. If you enjoy cooking, you're creating something. What's the alternative? You get a microwave meal. Well, Paul Simon: and Sarah do. Mark: No. Paul: Sarah does. Simon: We can't afford waitress. Mark: You might spend months creating your perfect risotto. You've got it right. You love it. Everyone else loves it. You share it around all your friends. Brilliant. Or you go to Waitrose, you buy one, put it three minutes in the microwave and it's done. That's yer AI I Imagery, isn't it? It's a microwave meal. Paul: There's a lot of microwave meals out there. And not that many people cook their own stuff and certainly not as many as used to. And there's a lesson. Simon: Is, Mark: but also, Simon: things have become easier Mark: there Simon: you go. Mark: I think what we also forget in the photographic industry and take the industry as a whole, and this is something I've experienced in the, in the working for manufacturers in that photography itself is, is a, is a huge hobby. There's lots of hobbyist photographers, but there's actually more people that do photography as part of another hobby, birdwatching, aviation, all that sort of thing. Anything, you know, the photography isn't the hobby, it's the birds that are the hobby, but they take photographs of, it's the planes that are the hobby, but they take photographs. They're the ones that actually keep the industry going and then they expand into other industries. They come on one of our workshops. You know, that's something that we're still and Simon still Absolutely. And yourself, educating photographers to do it right, to practice using the gear the right way, but the theory of it and getting it right. If anything that brings more people into wanting to learn to cook better, Paul: you Mark: have more chefs rather than people using microwave meals. Education's just so important. And when it comes to lighting, I wasn't competent in using flash. I'm still not, but having sat through Simon's course and other people's courses now for hundreds of times, I can light a scene sometimes, people are still gonna be hungry for education. I think some wills, some won't. If you wanna go and get that microwave risotto go and microwave u risotto. But there's always gonna be people that wanna learn how to do it properly, wanna learn from scratch, wanna learn the art of it. Creators and in a creative industry, we've got to embrace those people and bring more people into it and ensure there's more people on that journey of learning and upskilling and trying to do it properly. Um, and yes, if they use whatever technology at whatever stage in their journey, if they're getting enjoyment from it, what's it matter? Paul: Excellent. Mark: What a fine Paul: concluding statement. If they got enjoyment outta it. Yeah. Whatever. Excellent. Thank you, Mark, for your summing up. Simon: In conclusion, Paul: did that just come out your nose? What on earth. Mark: What Paul: what you can't see, dear Listener is the fact that Mark just spat his water everywhere, laughing at Si. It's been an interesting podcast. Anyway, I'm gonna drag this back onto topic for fear of it dissolving into three blokes having a pint. Mark: I think we should go for one. Simon: I think, Paul: I think we should know as well. Having said that with this conversation, maybe not. I was gonna ask you a little bit about, 'cause we've talked about strobes and the beauty of strobes, but of course Elinchrom still is more than that, and you've just launched a new LED light, so I know you like Strobe Simon. Now talk about the continuous light that also Elinchrom is producing. Simon: We have launched the Elinchrom LED 100 C. Those familiar with our Elinchrom One and Three OCF camera Flash system. It's basically a smaller unit, but still uses the OCF adapter. Elinchrom have put a lot of time into this. They've been looking at LED technology for many years, and I've been to the factory in Switzerland and seen different LED arrays being tested. The problem we had with LEDs is every single LED was different and put out a different color temperature. We're now manufacturing LEDs in batches, where they can all be matched. They all come from the same serial number batch. And the different colors of LED as well, 15 years ago, blue LEDs weren't even possible. You couldn't make a blue LED every other color, but not blue for some unknown reason. They've got the colors right now, they've got full RGB spectrum, which is perfectly accurate a 95 or 97 CRI index light. It's a true hundred watts, of light as well. From tosin through to past daylight and fully controllable like the CRO flash system in very accurate nth degrees. The LED array in the front of the, the LEDA hundred is one of the first shapeable, fully shapeable, LED arrays that I've come across and I've looked at lots. By shapeable, I mean you put it into a soft box, of any size and it's not gonna give you a hotspot in the middle, or it's not gonna light the first 12 inches of the middle of the soft box and leave the rest dark. I remember when we got the first LD and Mark got it before me And he said, I've put it onto a 70 centimeter soft box. And he said, I've taken a picture to the front. Look at this. And it was perfectly even from edge to edge. When I got it, I stuck it onto a 1 3 5 centimeter soft box and did the same and was absolutely blown away by how even it was from edge to edge. When I got my light meter out, if you remember what one of those is, uh, it, uh, it gave me a third of a stop different from the center to the outside edge. Now for an LED, that's brilliant. I mean, that's decent for a flash, but for an LED it's generally unheard of. So you can make the LED as big as you like. It's got all the special effects that some of the cheaper Chinese ones have got because people use that kind of thing. Apparently I have no idea what for. But it sits on its own in a market where there are very cheap and cheerful LEDs, that kind of do a job. And very expensive high-end LEDs that do a completely different job for the photographer that's gone hybrid and does a bit of shooting, but does a bit of video work. So, going into a solicitor's or an accountant's office where they want head shots, but also want a bit of talking head video for the MD or the CEO explaining about his company on the website. It's perfect. You can up the ISO and use the modeling lamp in generally the threes, the fives, the ones that we've got, the LEDs are brilliant. But actually the LED 100 will give you all your modifier that you've taken with you, you can use those. It's very small and light, with its own built-in battery and it will give you a very nice low iso. Talking head interview with a lovely big light source. And I've proved the point of how well it works and how nice it is at the price point it sits in. But it is our first journey into it. There will be others come in and there'll be an app control for it. And I think from an LED point of view, you're gonna say, I would say this, but actually it's one of the nicer ones I've used. And when you get yours, you can tell people exactly the same. Paul: Trust me, I will. Simon: Yes. Mark: I think Paul: very excited about it. Mark: I think the beauty of it as well is it's got an inbuilt battery. It'll give you up to 45 minutes on a full charge. You can plug it in and run it off the mains directly through the USB socket as well. But it means it's a truly portable light source. 45 minutes at a hundred watt and it's rated at a hundred watt actual light output. It's seems far in excess of that. When you actually, Simon: we had a photographer the other day who used it and he's used to using sort of 3, 2 50, 300 watt LEDs and he said put them side by side at full power. They were virtually comparable. Paul: That is certainly true, or in my case by lots. Simon: I seem to be surrounded Paul: by Elinchrom kit, Which is all good. So for anybody who's interested in buying one of these things, where'd you get them? How much are they? Simon: The LED itself, the singlehead unit is 499 inc VAT. If you want one with a charger, which sounds ridiculous, but there's always people who say, well, I don't want the charger. You can have one with a charger for 50 quid extra. So 549. The twin kit is just less than a thousand quid with chargers. And it comes in a very nice portable carry bag to, to carry them around in. Um, and, uh, yeah, available from all good photographic retailers, and, Ellen crom.co uk. Paul: Very good. So just to remind you beautiful people listening to this podcast, we only ever feature people and products, at least like this one where I've said, put a sales pitch in because I use it. It's only ever been about what we use here at the studio. I hate the idea of just being a renta-voice. You it. Mark: bought it. Paul: Yeah. That's true. You guys sold it to me. Mark: Yeah, Simon: if I gave you anything you'd tell everyone it was great. So if you buy it, no, I've bought Paul: Yeah. And then became an ambassador for you. As with everything here, I put my money where my mouth is, we will use it. We do use it. I'm really interested in the little LED light because I could have done with that the other night. It would've been perfect for a very particular need. So yes, I can highly recommend Elinchrom Fives and Threes if you're on a different system. The Rotalux, system of modifier is the best on the planet. Quick to set up, quick to take down. More importantly, the light that comes off them is just beautiful, whether it's a Godox, whether it's on a ProPhoto, which it was for me, or whether if you've really got your common sense about you on the front of an Elinchrom. And on that happy note and back to where we started, which is about lighting, I'm gonna say thanks to the guys. They came to the studio to fix a problem but it's always lovely to have them as guests here. Thank you, mark. Thank you Simon. Most importantly, you Elinchrom for creating Kit is just an absolute joy to use. If you've enjoyed the podcast, please head over to all your other episodes. Please subscribe and whatever is your podcast, play of choice, whether it's iTunes, Spotify, YouTube, or a other. After you head, if you head across to masteringportraitphotography.com the spiritual home of this, particular, podcast, I will put in the show notes all the little bits of detail and where to get these things. I'll get some links off the guys as to where to look for the kit. Thank you both. I dunno when I'll be seeing you again. I suspect it will be the Convention in January if I know the way these things go. Simon: We're not gonna get invited back, are we? Mark: Probably not. Enough. Paul: And I'm gonna get a mop and clean up that water. You've just sprayed all over the floor. What is going on? Simon: wish we'd video. That was a funny sun Mark: I just didn't expect it and never usually that sort of funny and quick, Simon: It's the funniest thing I've ever seen. Paul: On that happy note, whatever else is going on in your lives, be kind to yourself. Take care.

In Part 2 of The Night Watch Mystery, we step deeper into the shadows of Rembrandt's masterpiece. This chapter traces the strange and violent history of the painting's attacks, explores the accusations that swirled around the militia it depicts, and considers what these stories reveal about Amsterdam in the 1600s. Alongside the canvas, we follow Rembrandt himself—his battles with loss, financial ruin, and the weight of -possible- depression. We also look at the theory that an eye condition may have shaped the way he saw the world, and the way he painted it.

durée : 00:03:31 - Le Regard culturel - par : Lucile Commeaux - Petite réflexion sur deux objets du moment qui mettent en scène l'angoisse de la catastrophe climatique à venir : "Les dernières écritures" d'Hélène Zimmer paru chez POL, et "Rembrandt", le dernier film de Pierre Schoeller.

In this episode, the "Dutch Wood Artist" Jakko Woudenberg describes how, as a typical wood floor pro, he felt compelled to create something more. That journey has led him to creating some of the most incredibly wood floors in the world, including the phenomenal massive tree-ring floor and, most recently, a 195,000‑piece wooden mosaic re-creation of Rembrandt's "The Night Watch". In his conversation with host Stephen Diggins, he shares his philosophy on creativity, craftsmanship and mentorship. Jakob also discusses collaboration, teaching the next generation and his vision for creating a global, pay‑it‑forward flooring artwork that connects elite wood floor pros around the world. See the article about Jakko Wounderberg's “The Night Watch in Wood” from the October/November 2025 issue of Wood Floor Business here.  See his phenomenal tree ring floor in this article. Find all the industry news, a massive archive of wood flooring articles, the latest blogs and more at woodfloorbusiness.com.  Follow Wood Floor Business on social media: Facebook Instagram LinkedIn TikTok YouTube Pinterest X Join the Wood Floor Business Community + USED Buy/Sell/Trade Facebook Group.

In this sermon, Pastor Thomas stands in for Pastor Gary to discuss the profound parable of the Prodigal Son, using insights from Henri Nouwen's book, "The Return of the Prodigal Son," and Rembrandt's painting of the same name. Pastor Thomas encourages the congregation to see themselves in the parable, which features a loving father and his two distinct sons, the younger being wayward and the older being self-righteous. The sermon challenges listeners to reevaluate how they might identify with the younger son's waywardness or the older son's self-righteousness, emphasizing that these are not defining identities, but rather conditions that we all may experience at times.

Charla pronunciada por Mons. Munilla a los alumnos de la ESO para explicar los cuadros: la Vocación de San Mateo (Caravaggio) y El Retorno del Hijo Pródigo (Rembrandt) en la Sala Idatz de San Sebastian 13.06.2018

No podcast ‘Notícia No Seu Tempo’, confira em áudio as principais notícias da edição impressa do jornal ‘O Estado de S.Paulo’ desta quarta-feira (24/09/2025): Em uma reviravolta inesperada, a Assembleia-Geral da ONU foi palco da possível aproximação entre Luiz Inácio Lula da Silva e Donald Trump, informa o enviado especial Felipe Frazão. Embora os presidentes tenham trocado acusações nos discursos, Trump aproveitou sua fala para anunciar a oportunidade de diálogo entre ambos. Lula abriu a sessão de debates. O americano falou na sequência. Nesse intervalo, os dois se encontraram e combinaram um diálogo. A data e o local serão acertados entre os governos. “Ele (Lula) me parece um homem muito bom. Ele gostou de mim, eu gostei dele”, disse Trump. “E eu só faço negócios com quem eu gosto. Eu não faço quando não gosto da pessoa. Quando não gosto, eu não gosto”, afirmou Trump, que disse ter abraçado Lula. E mais: Internacional: Americano critica a ONU, aliados, inimigos e reserva elogios para si Política: Motta veta Eduardo em posto de líder; Conselho de Ética abre processo Economia: Ata do Copom reforça tom duro e mercado vê corte da Selic só em 2026 Metrópole: Presidente da Império de Casa Verde é preso pela PF por ligação com o PCC Cultura: No Rio, mostra Rembrandt – O Mestre da Luz e da Sombra reúne 69 gravuras originais do mestre holandês marcadas pelo dramaSee omnystudio.com/listener for privacy information.

In this episode of the Ad Tech Godpod, host AdTechGod speaks with Hillary Slattery, Senior Director of Product Management at IAB Tech Lab. They discuss Hillary's career journey, the differences between IAB and IAB Tech Lab, the rise of programmatic advertising in CTV, challenges in transparency and data sharing, innovations in live event advertising, the role of curation, and the impact of AI on the advertising industry. Hillary emphasizes the importance of transparency, the need for standards in advertising, and her motivation as a female leader in a technical role. Takeaways Hillary Slattery has a diverse background in ad tech. IAB and IAB Tech Lab serve different but complementary roles. Programmatic advertising in CTV is a growing trend. Transparency in data sharing is a significant challenge. Curation is becoming increasingly important in advertising. AI is reshaping the advertising landscape. Hillary values her role as a female technical lead. The conversations in ad tech are always evolving and interesting. There are legitimate reasons for the lack of transparency from sellers. Hillary is motivated by the impact of her work and the people she collaborates with. Chapters 00:00 Introduction to Hillary Slattery and Her Journey 02:36 Understanding IAB and IAB Tech Lab 05:21 Programmatic Advertising and CTV Trends 07:57 Challenges in Transparency and Data Sharing 10:58 Innovations in Live Event Advertising 13:41 The Role of Curation in Advertising 16:38 AI's Impact on the Advertising Industry 19:18 Motivation and Leadership in Ad Tech TikTok's Fate, Rembrandt's Big Bet, and CTV's Transparency Leap This week's episode of The Refresh covers three major developments shaping advertising and adtech: the long-awaited resolution of the TikTok U.S. drama, a notable merger between Rembrandt and Spaceback, and Index Exchange's groundbreaking integration with Grace Note. Host Kate unpacks the details, implications, and what these shifts mean for advertisers, creators, and platforms heading into 2025. 5 Key Highlights: TikTok's U.S. operations are set to spin into a new company with majority American ownership (80%), including Oracle, Andreessen Horowitz, and Silver Lake, while ByteDance retains 20%. A new TikTok U.S. app is reportedly in testing, requiring users to migrate accounts, raising concerns about logins, content transfers, and algorithm performance. Rembrandt acquired Spaceback, adding scale with 3,000+ advertisers and expanding its AI-driven creative offerings to blend product placements with organic content. The merger reflects broader industry trends: AI-driven “intelligent creative,” creative functions shifting into buying platforms, and the blending of context with content. Index Exchange and Grace Note launched the first integration enabling show-level targeting and reporting in CTV, addressing long-standing transparency challenges for advertisers. Learn more about your ad choices. Visit megaphone.fm/adchoices

Krekeler, anna www.deutschlandfunkkultur.de, Fazit

Elle est à l'affiche du film "Rembrandt", qui sort mercredi, avec également Romain Duris et Céleste Brunnquell au casting : Camille Cottin s'est confiée au micro RTL de Stéphane Boudsocq. De son côté, Isabelle Morini-Bosc a croisé Michel Drucker, 63 ans de carrière et qui démarre la 26e saison de "Vivement Dimanche". Nos idées de lectures : le roman "L'angle mort du destin" d'Antoine Rault paru chez Fayard, choix de Sophie Aurenche. Et Arnaud Mulpas nous présente la BD RTL de la rentrée, "Les cheveux d'Edith", de Fabienne Blanchu, Catherine Locandro et Dawid, parue chez Dargaud. Ecoutez Laissez-vous tenter avec Anthony Martin du 21 septembre 2025.Hébergé par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

This week, we discuss a series of "intellectual crimes" in which the stolen objects were more valuable for their history and status than for their resale price.  And stick around for an artsy "Last Thing Before We Go". Thank you to this week's sponsors! Help your liver and save 25% on your first month of subscription by going to dosedaily.co/MOMS or entering MOMS at checkout. Get organized now, with Skylight! Right now, Skylight is offering our listeners $30 off their 15-inch Calendars by going to SkylightCal.com/MOMS. Download the free Rakuten App or go to Rakuten.com to start saving today.  And right now, IQBAR is offering our special podcast listeners twenty percent off all IQBAR products—including the sampler pack—plus FREE shipping. To get your 20% text MOMS to 64000.  Message and data rates may apply. See terms for details. The Boston Public Library's "Lost" Art: We dive into the bizarre case of two priceless artworks—an Albrecht Dürer engraving and a Rembrandt van Rijn etching—that went missing from one of the country's most prestigious libraries. The disappearance caused a media uproar and led to the resignation of the library's president . But in a twist, the art was never stolen; it was just in the wrong spot for an entire year.  The Man Who Loved Books Too Much: We explore the story of John Charles Gilkey, a man driven by intellectual vanity who used stolen credit card numbers to amass a collection of rare books worth over $200,000. Gilkey wasn't in it for the money; he simply wanted to appear to be a sophisticated intellectual . His obsessive "bibliokleptomania" forced the rare book community to tighten security and share information on thefts.  The Notorious Map Thief: Next, we cover Edward Forbes Smiley III, a charming and respected rare map dealer whose financial troubles led him to a life of crime. Using an X-Acto blade, he would carefully slice rare maps out of centuries-old atlases from institutions like Yale and Harvard. We reveal how a single misplaced blade led to his downfall, exposing his theft of nearly 100 maps . The Notorious Map Thief: Next, we cover Edward Forbes Smiley III, a charming and respected rare map dealer whose financial troubles led him to a life of crime. Using an X-Acto blade, he would carefully slice rare maps out of centuries-old atlases from institutions like Yale and Harvard. We reveal how a single misplaced blade led to his downfall, exposing his theft of nearly 100 maps. Check-out bonus episodes up on Spotify and Apple podcast now! Get new episodes a day early and ad free, plus chat episodes, at Patreon.com/momsandmysteriespodcast .    To advertise on the show, contact sales@advertisecast.com or visit https://www.advertisecast.com/MomsandMysteriesATrueCrimePodcast.    Listen and subscribe to Melissa's other podcast, Criminality!! It's the podcast for those who love reality TV, true crime, and want to hear all the juicy stories where the two genres intersect. Subscribe and listen here: www.pod.link/criminality    Check-out Moms and Mysteries to find links to our tiktok, youtube, twitter, instagram and more.     

French pop star Mylène Farmer makes a rare appearance as the voice of an AI-powered virtual assistant in "Dalloway", which deals with some of the darker sides of creativity in Yann Gozlan's latest film. Manon Kerjean, the founder of Lost in Translation, a film club screening French features in Paris for non-French speakers, joins us to discuss the merits of this "Black Mirror"-adjacent movie. We also discuss Pierre Schoeller's psychological thriller "Rembrandt" and reflect on the complexities at the centre of the troubled relationship between Yves Montand and Simone Signoret, as the actress and singer's lives are examined by Diane Kurys in "C'est Si Bon". And Manon flags up a Maurice Pialat retrospective at the Cinémathèque Française that provides an insight into the iconoclastic French filmmaker.

This is the second part of our conversation about Mieke Bal's Moments of Meaning-Making: On Anachonism, Becoming, and Conceptualizing, published by Valiz. Mieke Bal (1946) is a Dutch theorist, video artist, and a well-known writer and feminist. She has been a Professor in Literary Theory (University of Amsterdam). In 1994 she was a co-founder of the Amsterdam School for Cultural Analysis (ASCA). Bal has been teaching at many institutes and universities in Europe, US, and beyond. She is known for her specific ways of ‘deep-reading' artworks (e.g. Caravaggio, Rembrandt, Louise Bourgeois, Nalini Malani), and intertwining her research with various disciplines, such as contemporary and nineteenth-century literature, psycho-analysis, gender studies, philosophy, bible studies. Bal also works as a video artist, which she approaches as a specific form of cultural analysis.  Now that Mieke Bal is getting older —being very active and involved in many art and research projects—she has been ruminating on how to reflect on a full life with different roles and experiences. She did not want to write a navel-staring autobiography and came up with an ABC of Memories, and the concepts these have generated: key terms that have a specific value to her, that interlink as a mesh of meaning, weaving together daily experiences and teaching, her know-how to art making, to the core concepts of her analytical work.  This is my substack: https://marioveen.substack.com/  You can now order my Dutch language book about Plato's allegory of the cave: https://noordboek.nl/boek/hoe-plato-je-uit-je-grot-sleurt/ (also available as e-book) My previous interview with Mieke Bal is Episode 21: https://open.spotify.com/episode/2nJr0OdC11WiZVcvAcVCOR?si=LSKWhfz5Sq-fuBLtK_KfDw 

Send us a textUnlock Proven Strategies for a Lucrative Business Exit—Subscribe to The Deep Wealth Podcast TodayHave Questions About Growing Profits And Maximizing Your Business Exit? Submit Them Here, and We'll Answer Them on the Podcast!“ Numbers get buyers in the door. Culture seals the deal.” - Jeffrey FeldbergExclusive Insights from This Week's EpisodesCulture isn't a “soft issue.” It's the silent deal killer that buyers spot before you ever see it coming. You can have rock-solid financials, strong margins, and growth curves that look unstoppable—but if your culture is toxic, your deal is dead. Jeffrey Feldberg reveals why culture can slash millions off your valuation and how to turn it into a hidden Rembrandt that makes buyers line up. 00:01 Why toxic culture is the silent deal killer that buyers fear00:05 A true story of how one casual employee comment collapsed a deal00:17 Profitability vs. growth—why culture determines if revenue is real or vanity00:21 The hidden red flags buyers always spot before entrepreneurs do00:26 How operational chaos signals toxic culture to buyers00:29 Three proven cultural multipliers to transform culture into cash00:36 Future pacing—what happens when buyers see a thriving culture00:43 The three-step action plan to protect your legacy and valuationClick here for full show notes, transcript, and resources:https://podcast.deepwealth.com/472Essential Resources to Maximize Your Business ExitLearn More About Deep Wealth MasteryFREE Deep Wealth eBook on Why You Suck At Selling Your Business And What You CaUnlock Your Lucrative Exit and Secure Your Legacy

Boston is one of those cities that just gets under your skin in the best way possible. Equal parts old-school history and modern-day hustle, it's where cobblestone streets meet glass skyscrapers, where the story of America was born, and where you can eat your body weight in lobster rolls without a shred of regret.Founded in 1630 by English Puritans, Boston has played host to some of the most pivotal events in U.S. history—the Boston Tea Party, the Battle of Bunker Hill, and even the first public park in America. Today, it's a vibrant mix of college-town energy, cutting-edge innovation, and diehard sports fandom (you'll never hear a “Go Sox!” shouted with more passion than here).I recently spent five days exploring Boston like a local, armed with a loose plan, comfy walking shoes, and an appetite big enough to conquer the city's legendary food scene. Here's how it all went down—my perfect Boston adventure. Day 1: Arrival & First Taste of the CityFlying into Logan International Airport is a breeze—it's practically right in the city. But here's your first Boston pro-tip: skip renting a car if you can. Boston traffic is next-level chaotic, parking is expensive, and the city is surprisingly walkable. Between the subway (locals call it “the T”) and Uber, you'll get around just fine.Of course, I had to test the rental car waters—$368 for two days of a Nissan Rogue—and let me tell you, the line alone made me question my life choices. If you do rent, book with a company that lets you walk straight to the garage and grab your car. Otherwise, hop in an Uber and save yourself the headache.Where to StayI split my stay between two totally different vibes:Hampton Inn & Suites Watertown – Budget-friendly ($100 a night) and great if you don't mind being just outside the city. Parking in Boston can run you $30 a day, so staying here helped balance the budget.Copley Square Hotel (FOUND Hotels) – Right in the heart of Back Bay, this historic gem ranges from $300–$600 a night. My corner-view studio overlooked the breathtaking Trinity Church at sunset, and it felt like waking up inside a postcard. Designed in 1877 by architect H.H. Richardson, this place is dripping with Richardsonian Romanesque charm—arched windows, rough stone, and colorful details. Around Copley, you'll also find:Fairmont Copley Plaza (1912) – A Gilded Age beauty and part of the Historic Hotels of America.Boston Public Library McKim Building (1895) – A Renaissance Revival masterpiece with white marble halls and free daily tours at 2 pm. Don't skip it; the architecture is jaw-dropping.Old South Church (1873) – A National Historic Landmark in Northern Italian Gothic style, complete with multicolored stone and a towering bell.John Hancock Tower (1976) – Boston's tallest skyscraper at 790 feet, shimmering in blue glass.After a long travel day, we celebrated our first night with dinner at Lolita Cocina & Tequila Bar. Order the lobster guacamole and grilled elote—and when in Boston, remember the golden rule: always order seafood. Steaks are for later. Oh, and if you see Scrod on the menu? Don't panic. It's not a weird mythical fish; it's just the white catch of the day—usually cod or haddock. Day 2: Walking Through HistoryIf Boston had a greatest hits album, it would be the Freedom Trail—a 2.5-mile path that connects 16 historic sites and tells the story of America's revolution. You can do it self-guided, join a regular tour, or go all out with an actor-led adventure (think Paul Revere cosplay).Morning Coffee & Boston CommonStart with caffeine at Thinking Cup Coffee Bar, then wander into Boston Common, the oldest public park in America (1634). It's massive, filled with monuments, and now home to the striking Embrace Memorial, honoring Martin Luther King Jr.From there, the trail unfolds like a time machine:Massachusetts State House (1798) – Charles Bulfinch's golden-domed wonder, still home to the state government.Park Street Church (1809) – Once Boston's tallest landmark, it sits on the site of the city's old grain storage.Granary Burying Ground (1660) – Final resting place of heavyweights like John Hancock, Sam Adams, and Paul Revere.King's Chapel & Burying Ground (1686) – Boston's first Anglican church, with over 330 years of history.Boston Latin School Site (1635) – The oldest public school in America; today it's marked by a Benjamin Franklin statue.Old Corner Bookstore (1718) – Once the publishing hub of legends like Hawthorne, Longfellow, and Thoreau. Now… a Chipotle (I wish I were kidding).Lunch at Union Oyster HouseBy now, you'll be starving. Enter Union Oyster House, America's oldest continuously operating restaurant (since 1826). The JFK booth is a must-sit, and yes—you're ordering a lobster roll.Afternoon: Monuments & Baseball MagicDon't miss the New England Holocaust Memorial—six glass towers etched with survivor stories, both sobering and moving.Then, if you're lucky enough to visit in season, cap off your night at Fenway Park. Whether it's catching a Red Sox game, snagging early batting practice passes, or just soaking up the energy at Cask 'n Flagon across the street (hot tip: persistence pays when getting a table here), Fenway is pure Boston. Day 3: More Freedom Trail & North End TreatsStart with breakfast at Quincy Market, the ultimate food hall. Then dive back into history:Old South Meeting House (1729) – Where colonists debated tea taxes and kicked off the Boston Tea Party.Old State House (1713) – Boston's oldest public building, central to colonial politics.Boston Massacre Site (1770) – A simple cobblestone marker for one of America's darkest sparks of revolution.From here, pop back into Quincy Market for another lobster roll (yes, it's worth a second one).Keep following the trail:Faneuil Hall (1742) – “Cradle of Liberty” where fiery speeches once filled the air. Today, it's mostly a giant souvenir shop, but the echoes of history remain.Paul Revere House (1680) – The patriot's humble home. Tours are intimate but no photos allowed inside.Old North Church (1723) – Where lanterns signaled “One if by land, two if by sea.” Take the tour to see the crypt and bell chamber.Cannoli TimeBoston's North End is an Italian dreamland, so refuel at Mike's Pastry with a giant cannoli. (Pro tip: get a few extra to-go. You'll thank me later.)End the night at Bell in Hand Tavern (1795), America's oldest continuously operating tavern. It's rowdy, it's historic, and it's the perfect spot for your nightcap. Day 4: Big Battles & Big ShipsIf your legs aren't jelly yet, tackle the Bunker Hill Monument. Climb the 294 steps for killer views of the city.From there, wander over to the USS Constitution, aka “Old Ironsides,” the oldest commissioned warship afloat. The ship and museum are free and make for an epic history-meets-maritime adventure.For a modern twist, hop in an Uber to the JFK Presidential Library & Museum—a sleek, inspiring deep dive into the Camelot era. Afterward, head to Sam Adams Brewery in Jamaica Plain. Tours start at $10, include tastings, and give you all the Boston beer vibes. Day 5: Art, Rainy-Day Magic & Sunset on the HarborBoston weather can turn on a dime, so I saved indoor treasures for day five.Morning: Museum of Fine ArtsThe MFA is massive, so choose wisely:Jewelry lovers: Beyond Brilliance exhibit (ancient to modern sparkle, with Chanel and Bulgari highlights).Classicists: Greek, Roman, and Byzantine collections.Painters-at-heart: Dutch & Flemish gallery with works by Rembrandt and Rubens.Quirky souls: Dollhouses and temporary Van Gogh exhibits.Fuel up at the museum café before heading out.Evening: Sunset Harbor CruiseOur trip ended on the water, with a Boston Harbor sunset cruise. Even in the rain, the top deck views were worth it. There's a buffet dinner, DJ, and plenty of space to dance—because no Boston trip is complete without one last celebration. Other Boston Must-Dos (If You Have Time)Duck Boat Tour – Amphibious buses that roam the streets then splash into the Charles River. Cheesy? Yes. Fun? Also yes.Cheers Pub – Grab a drink where everybody used to know your name.Green Dragon Tavern – A revolutionary haunt turned modern-day pub.Boston Burger Co. or Wahlburgers – Because you need at least one outrageous burger on this trip. Final ThoughtsBoston is the kind of city that can be done in a weekend but deserves a week. It's history you can touch, seafood you'll crave long after, and neighborhoods that feel like they've been waiting just for you.If you only had one day, I'd say walk the Freedom Trail—it's Boston in a nutshell. But if you want to experience the city like a local? Take your time, eat the lobster rolls, get lost in the cobblestone streets, and maybe—just maybe—let Fenway turn you into a Red Sox fan for life.Boston, you're wicked awesome.

durée : 00:23:52 - Les Nuits de France Culture - par : Mathilde Wagman - L'autoportrait occupe une place majeure dans l'œuvre de Rembrandt. Que tente d'exprimer le peintre à travers ses tableaux, ses représentations de lui-même ? En 1979, l'émission "Œuvres et chefs-d'œuvre en France" propose une analyse comparative de trois autoportraits conservés au musée du Louvre. - réalisation : Virginie Mourthé

Discover how one of the most famous artists lived, loved, created, and failed. Visit his House-Museum in Amsterdam to trace Rembrandt's career, art, and success. Video on YouTube: https://youtu.be/-WpakXGmLjA Article with images: https://veronicasart.com/revealing-rembrandts-artistic-career-inside-the-amsterdams-house-museum/ If you'd like to support my work, subscribe & rate this podcast on Spotify and Apple | Show your support for the podcast: here | Host: Veronica Winters, MFA | veronicasart.com The post Rembrandt's Rise & Fall: inside Amsterdam's House-Museum appeared first on Veronica Winters Painting.

En la segunda mitad del siglo XVI las provincias septentrionales de los Países Bajos controlados por los Habsburgo se rebelaron contra el monarca, que en aquel momento era Felipe II de España. Esta rebelión, cuya motivación fue religiosa, tuvo importantes consecuencias en la historia de Europa ya que, tras varias décadas de guerra, estas provincias consolidaron su independencia creando un Estado de nuevo cuño: la república de las Siete Provincias Unidas. Se trataba de una entidad política con un sistema de gobierno muy particular, una confederación que combinaba un Gobierno republicano encarnado en los Estados Generales, y una suerte de monarca elegible, el estatúder, que se encargaba de los asuntos militares. Tan pronto como consiguió la independencia, la recién nacida república comenzó a enriquecerse y expandirse por el mundo. La base de su prosperidad fue la apertura y el pragmatismo. Los Países Bajos se convirtieron en un gigantesco emporio comercial gracias a su estratégica ubicación geográfica y a una serie de innovaciones financieras como el Banco y la Bolsa de Ámsterdam, pioneras del capitalismo. Las Compañías de las Indias Orientales y Occidentales, corporaciones con tanto poder comercial como militar, permitieron a la República romper los monopolios de España y Portugal en el Atlántico y el Índico y forjar un gran imperio colonial. La sociedad neerlandesa, entretanto, asistió al ascenso de una burguesía urbana que adoptó valores calvinistas como el trabajo, el ahorro y la austeridad que se reflejaban en su cultura y estilo de vida. Pero, aunque el calvinismo era la religión oficial, la república practicó cierta tolerancia religiosa que atrajo a comerciantes y pensadores de toda Europa y contribuyó a su prosperidad al evitar conflictos internos y fomentar el comercio. Este ambiente de relativa libertad intelectual dio lugar a un florecimiento cultural y científico. El arte, impulsado por la burguesía como nueva mecenas, se alejó de los temas religiosos y aristocráticos para centrarse en la vida cotidiana y los paisajes. Maestros como Rembrandt, Vermeer o Frans Hals revolucionaron la pintura con su realismo y dominio de la luz. En el ámbito científico, figuras como Christiaan Huygens y Anton van Leeuwenhoek hicieron descubrimientos fundamentales. La cartografía neerlandesa, impulsada por las necesidades de los navegantes y el comercio, se convirtió en el referente mundial gracias a la precisión y la belleza de los mapas que realizaban geógrafos como Gerardus Mercator, Abraham Ortellius o Willem Blaeu. Los años de esplendor neerlandés comenzaron a declinar a finales del siglo XVII. En 1672, que ha pasado a la historia como el "año del desastre”, la República fue atacada simultáneamente por Francia e Inglaterra y consiguieron resistir de milagro. A lo largo del siglo XVIII, fueron perdiendo su preeminencia ultramarina ante el auge de potencias como Gran Bretaña. Las guerras en el continente, entretanto, eran continuas y muy costosas. El fin de la república llegó en 1795 con la invasión francesa. A pesar de su ocaso, el legado que dejaron aquellos neerlandeses de los siglos XVI y XVII llega hasta nuestros días. Sentaron las bases del capitalismo moderno e hicieron grandes contribuciones a la ciencia y a la historia del arte. En El ContraSello: 0:00 Introducción 3:45 El esplendor de Holanda 1:10:57 La guerra de sucesión austriaca 1:21:00 Josefina Bonaparte Bibliografía: - "The dutch golden age" de Helmer J. Helmers - https://amzn.to/46S1LZf - "Dutch Golden Age" de Jan Blanc - https://amzn.to/46S1QMx - "History of the Dutch Golden Age" de Junior Scofield - https://amzn.to/3HAr2wG - "The Frigid Golden Age" de Dagomar Degroot - https://amzn.to/45QwWTF · Canal de Telegram: https://t.me/lacontracronica · “Contra la Revolución Francesa”… https://amzn.to/4aF0LpZ · “Hispanos. Breve historia de los pueblos de habla hispana”… https://amzn.to/428js1G · “La ContraHistoria de España. Auge, caída y vuelta a empezar de un país en 28 episodios”… https://amzn.to/3kXcZ6i · “Lutero, Calvino y Trento, la Reforma que no fue”… https://amzn.to/3shKOlK · “La ContraHistoria del comunismo”… https://amzn.to/39QP2KE Apoya La Contra en: · Patreon... https://www.patreon.com/diazvillanueva · iVoox... https://www.ivoox.com/podcast-contracronica_sq_f1267769_1.html · Paypal... https://www.paypal.me/diazvillanueva Sígueme en: · Web... https://diazvillanueva.com · Twitter... https://twitter.com/diazvillanueva · Facebook... https://www.facebook.com/fernandodiazvillanueva1/ · Instagram... https://www.instagram.com/diazvillanueva · Linkedin… https://www.linkedin.com/in/fernando-d%C3%ADaz-villanueva-7303865/ · Flickr... https://www.flickr.com/photos/147276463@N05/?/ · Pinterest... https://www.pinterest.com/fernandodiazvillanueva Encuentra mis libros en: · Amazon... https://www.amazon.es/Fernando-Diaz-Villanueva/e/B00J2ASBXM #FernandoDiazVillanueva #holanda #paisesbajos Escucha el episodio completo en la app de iVoox, o descubre todo el catálogo de iVoox Originals

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In the 1970s and 1980s, Boston and the greater New England region seem plagued by art thieves. Myles Connor becomes the most notorious thief of the era, and he and others notice that the eclectic Isabella Stewart Gardner Museum is a vulnerable target. The FBI likely thwarts an attempted robbery, and, as the 1980s progress, events start to align for the biggest art heist in history. Join Black Barrel+ for ad-free episodes and bingeable seasons: blackbarrel.supportingcast.fm/join   Apple users join Black Barrel+ for ad-free episodes, bingeable seasons and bonus episodes. Click the Black Barrel+ banner on Apple to get started with a 3-day free trial.   On YouTube, subscribe to INFAMOUS+ for ad-free episodes and bingeable seasons: hit “Join” on the Legends YouTube homepage.   For more details, please visit www.blackbarrelmedia.com. Our social media pages are: @blackbarrelmedia on Facebook and Instagram, and @bbarrelmedia on Twitter. Learn more about your ad choices. Visit megaphone.fm/adchoices

THIS EPISODE BROUGHT TO YOU BY: You'll notice that there's no sponsor in this episode.  We'd love it if you'd consider supporting on Patreon.   PATREON - patreon.com/nodumbquestions  NDQ EMAIL LIST - https://www.nodumbquestions.fm/email-list  STUFF IN THIS EPISODE: Sony Mavica Frontline - The Merchants of Cool Robert D. Putnam - Bowling Alone Viacom Mastering Rembrandt Lighting CONNECT WITH NO DUMB QUESTIONS: Support No Dumb Questions on Patreon if that sounds good to you Discuss this episode here NDQ Subreddit Our podcast YouTube channel Our website is nodumbquestions.fm No Dumb Questions Twitter Matt's Twitter Destin's Twitter SUBSCRIBE LINKS: Subscribe on iTunes Subscribe on Android OUR YOUTUBE CHANNELS ARE ALSO FUN: Matt's YouTube Channel (The Ten Minute Bible Hour) Destin's YouTube Channel (Smarter Every Day)

Stan and Marshall talk about the frustrating "intermediate plateau" a stage where artists feel stuck. They explore causes like boredom, complacency, and unclear goals, and give advice on how to push through using feedback, mentorship, passion projects, and risk-taking. SHOW LINKS (some contain affiliate links): Animal Anatomy For Artists by Joe Weatherly (Foreword by Marshall Vandruff) - https://amzn.to/4f1Fquk George Woodbridge (Mad Magazine Artist) - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-mad-magazine-george-woodbridge-catch-22-issue.jpg Jack Davis (Mad Magazine Artist) - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-mad-magazine-jack-davis-catch-22-issue.jpg 23 Habits for Artists - Draftsmen S1E14 - https://youtu.be/WrKyzUMERKc?si=xAt2uqF3JawxIYAm Mastery by George Leonard - https://amzn.to/4o1zxBc Marshall's small artwork from his 30's - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-marshall-vandruff-drawing-small-caterpillar-framed-with-size-text.jpg https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-marshall-vandruff-drawing-small-caterpillar-full-size.jpg Rembrandt (photo by Olivier Middendorp) - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-stan-prokopenko-pikachu-wolverine.jpg Leonardo da Vinci - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-leonardo-da-vinci-bear-sketch-framed.jpg https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-leonardo-da-vinci-bear-sketch-full.jpg When by Daniel Pink - https://amzn.to/44HYjir Masterclass (Ron Howard) - https://www.masterclass.com/classes/ron-howard-teaches-directing Masterclass (Mira Nair) - https://www.masterclass.com/classes/mira-nair-teaches-independent-filmmaking Masterclass (Martin Scorsese) - https://www.masterclass.com/classes/martin-scorsese-teaches-filmmaking Masterclass (Margaret Atwood) - https://www.masterclass.com/classes/margaret-atwood-teaches-creative-writing Creativity by Mihaly Csikszentmihaly - https://amzn.to/45elml4 Think Like a Freak by Steven D. Levitt - https://amzn.to/3IDvElY Freakonomics by Steven D. Levitt - https://amzn.to/3Uq4YHS Kristian Nee's youtube channel - https://www.youtube.com/@KristianNeeTV Kristians Podcast with Marshall - “What Every Artist Needs to Hear (But Nobody Says)” - https://youtu.be/ptXnRU-HGxQ?si=qSKU8po6gqpU1MgJ Stan's Anatomy Course - https://proko.com/anatomy Anatomy Course Drawings (only on screen briefly for how much work went into them) - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-stan-prokopenko-popeye-stan.jpg Pinocchio (1940) - https://amzn.to/44RzdO0 Frankenstein by Bernie Wrightson - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-frankenstein-by-bernie-wrightson-illustration-1.jpg https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-frankenstein-by-bernie-wrightson-illustration-2.jpg The Upside of Quitting - Freakonomics Radio - https://freakonomics.com/podcast/the-upside-of-quitting-3/ Cops TV Show (1989-present) - https://amzn.to/4mqyb1F Sexy Beast (2000) - https://amzn.to/3UtbugY Kimon Nicolaïdes - https://img-resizer.proko.com/o/media/images/stan/dm-s4e8-lesson-notes-kimon-nicolaides-gesture-sketches.jpeg Learn to Draw - www.proko.com Marshall Vandruff - www.marshallart.com Stan Prokopenko - instagram.com/stanprokopenko Kristian Nee - https://www.kristiannee.com/  Learn more about your ad choices. Visit megaphone.fm/adchoices