Podcasts about Robert Henri

HT2180 - Books on the Creative Life For decades now, I've recommended four "must read " books on creativity and being an artist. The first is Art & Fear by David Bayles and Ted Orland. The second is The Art Spirit by Robert Henri. The third is More Than a Rock by Guy Tal, The fourth (forgive me) is Letting Go of the Camera by yours truly. I'm now officially adding a fifth that all of you should read, The Creative Act: A Way of Being by Rick Rubin

A reflection on art making and spirituality, in conversation with Robert Henri. hotliterati.com this was originally paywalled but... oh well... it's the internet

Katie Dill is the Head of Design at Stripe. Previously, she was Head of Experience Design at Airbnb and Head of Design at Lyft. Katie has been named one of Business Insider's 10 People Changing the Tech Industry as well as one of Fast Company's 100 Most Creative People in Business and received the Girls in Tech “Creator of the Year” award. In today's episode, she shares:• What makes a design great• Advice on building high-performing teams in hyper-growth environments• A pivotal lesson in leadership she learned at Airbnb• Stripe's focus on quality and how it's tied to growth• A formula for removing organizational friction• How to increase productivity• What to look for when hiring a designer—Brought to you by Sidebar—Catalyze your career with a Personal Board of Directors | Jira Product Discovery—Atlassian's new prioritization and roadmapping tool built for product teams | OneSchema—Import CSV data 10x faster—Find the transcript for this episode and all past episodes at: https://www.lennyspodcast.com/building-beautiful-products-with-stripes-head-of-design-katie-dill-stripe-airbnb-lyft/—Where to find Katie Dill:• X: https://twitter.com/lil_dill• Threads: https://www.threads.net/@lil_dilly• LinkedIn: https://www.linkedin.com/in/katie-dill-79168b3/—Where to find Lenny:• Newsletter: https://www.lennysnewsletter.com• X: https://twitter.com/lennysan• LinkedIn: https://www.linkedin.com/in/lennyrachitsky/—In this episode, we cover:(00:00) Katie's background(04:47) Katie's pivotal leadership moment at Airbnb(10:55) Advocating for design ROI(16:07) Stripe's quality focus(17:50) Stripe's vast scope(18:45) How design enhances utility(21:39) Defining beauty and its role in product growth(26:19) Operationalizing quality(28:44) Katie's insights from dialogues with diverse organizations(34:47) 15 Essential Journeys: Stripe's method for holistic UX understanding and unified vision(44:35) Stripe's PQR quality review(46:25) Stripe's prioritization philosophy(48:29) Measuring impact beyond metrics(50:28) Performance = potential – interference(54:09) Building and managing large teams(1:01:46) Removing interference at Lyft: a practical example of Katie's leadership impact(1:06:10) Stripe's physical workspace design(1:07:41) Embracing bold ideas(1:11:07) Qualities of great designers(1:15:15) Stripe Press(1:19:19) Katie's parting wisdom(1:23:17) Lightning round—Referenced:• Beauty: https://www.amazon.com/Sagmeister-Walsh-Beauty-Stefan/dp/0714877271• Terry (Olivia Colman) and Richie peel mushrooms—scene from The Bear: https://www.youtube.com/watch?v=f7D8THR_osU• Building a culture of excellence | David Singleton (CTO of Stripe): https://www.lennyspodcast.com/building-a-culture-of-excellence-david-singleton-cto-of-stripe/• Figma: https://www.figma.com/• The Creative Act: A Way of Being: https://www.amazon.com/Creative-Act-Way-Being/dp/0593652886• Quote by Robert Henri: https://www.goodreads.com/quotes/43397-the-object-isn-t-to-make-art-it-s-to-be-in• Brian Chesky's 11-star experience: https://www.product-frameworks.com/11-Star-Experience.html• How to Win Friends and Influence People: https://www.amazon.com/How-Win-Friends-Influence-People/dp/0671027034• The Wright Brothers: https://www.amazon.com/Wright-Brothers-David-McCullough/dp/1476728755/• The Boy, the Mole, the Fox and the Horse: https://www.amazon.com/Boy-Mole-Fox-Horse/dp/0062976583/• Oppenheimer: https://www.oppenheimermovie.com/• Shrinking on AppleTV+: https://tv.apple.com/us/show/shrinking/umc.cmc.apzybj6eqf6pzccd97kev7bs• Toniebox: https://www.amazon.com/Toniebox-Starter-Lightning-McQueen-Playtime/dp/B09V7NJCD8• Stripe Press: https://press.stripe.com/• Poor Charlie's Almanack: The Essential Wit and Wisdom of Charles T. Munger: https://press.stripe.com/poor-charlies-almanack• Stripe's job board: https://stripe.com/jobs/search—Books on design craft:• Dieter Rams: Ten Principles for Good Design: https://www.amazon.com/Dieter-Rams-Principles-Good-Design/dp/3791387324• The Vignelli Canon: https://www.amazon.com/Vignelli-Canon-Massimo/dp/3037782250• Forget All the Rules About Graphic Design: Including the Ones in This Book, by Bob Gill: https://www.amazon.com/Forget-Rules-About-Graphic-Design/dp/0823018644• Emotional Design: Why We Love (or Hate) Everyday Things: https://www.amazon.com/Emotional-Design-Love-Everyday-Things/dp/0465051367• The Design of Everyday Things: Revised and Expanded Edition: https://www.amazon.com/Design-of-Everyday-Things-audiobook/dp/B07L5Y9HND• Build: An Unorthodox Guide to Making Things Worth Making: https://www.amazon.com/dp/0063046067• In Praise of Shadows: https://www.amazon.com/Praise-Shadows-Junichiro-Tanizaki/dp/0918172020• Interaction of Color: https://www.amazon.com/Interaction-Color-Anniversary-Josef-Albers/dp/0300179359• Content Design: https://contentdesign.london/shop/content-design-by-sarah-winters-paperback• Graphic Design Manual Principles and Practice: https://www.niggli.ch/en/produkt/graphic-design-manual/• Collaborative Product Design: https://www.oreilly.com/library/view/collaborative-product-design/9781491975022/• Principles of Form and Design: https://www.amazon.com/Principles-Form-Design-Wucius-Wong/dp/0471285528/ref=asc_df_0471285528• The Timeless Way of Building: https://www.patternlanguage.com/bookstore/timeless-way-of-building.html—Production and marketing by https://penname.co/. For inquiries about sponsoring the podcast, email podcast@lennyrachitsky.com.—Lenny may be an investor in the companies discussed. Get full access to Lenny's Newsletter at www.lennysnewsletter.com/subscribe

C'EST L'HEURE DE PRIÈRE AVEC FRÈRE ROBERT HENRI NOTY DU  COTÉ DU CANADA Haitian Helping Hands is a nonprofit organization that is committed to providing access to education, planting churches, and empowering entrepreneurs in Haiti. We believe that by investing in the education and empowerment of the Haitian people, we can help to break the cycle of poverty and build a brighter future for all. Through our programs, we work to provide access to education for children and adults, building schools and providing scholarships to those in need. We also plant churches in communities across Haiti, helping to provide spiritual support and guidance to the people. Furthermore, we empower entrepreneurs by providing training and resources to help them start and grow their own businesses. We believe that by working together, we can make a real difference in the lives of the Haitian people. Join us in our mission and support Haitian Helping Hands today. ZELLE #434-421-5201 PAYPAL  E-mail haitianhelpinghands1@gmail.com HAITIAN HELPING HANDS, INC. ADDRESS P.O.BOX 4564 LYNCHBURG VIRGINIA 24502 --- Support this podcast: https://podcasters.spotify.com/pod/show/haitianhelpinghands/support

After a two year break from podcasting, we're back! The first book study was Women Who Run with the Wolves by Clarissa Pinkola Estés, next is The Art Spirit by Robert Henri. Here's an update of the podcasts direction and vision with Ben and Rachel. Insta: @cultivationofthewildwoman

C'EST L'HEURE DE PRIÈRE AVEC FRÈRE ROBERT HENRI NOTY DU  COTÉ DU CANADA Haitian Helping Hands is a nonprofit organization that is committed to providing access to education, planting churches, and empowering entrepreneurs in Haiti. We believe that by investing in the education and empowerment of the Haitian people, we can help to break the cycle of poverty and build a brighter future for all. Through our programs, we work to provide access to education for children and adults, building schools and providing scholarships to those in need. We also plant churches in communities across Haiti, helping to provide spiritual support and guidance to the people. Furthermore, we empower entrepreneurs by providing training and resources to help them start and grow their own businesses. We believe that by working together, we can make a real difference in the lives of the Haitian people. Join us in our mission and support Haitian Helping Hands today.  E-mail haitianhelpinghands1@gmail.com HAITIAN HELPING HANDS, INC. ADDRESS P.O.BOX 4564 LYNCHBURG VIRGINIA 24502 --- Support this podcast: https://podcasters.spotify.com/pod/show/haitianhelpinghands/support

C'EST L'HEURE DE PRIÈRE AVEC FRÈRE ROBERT HENRI NOTY DU  COTÉ DU CANADA Haitian Helping Hands is a nonprofit organization that is committed to providing access to education, planting churches, and empowering entrepreneurs in Haiti. We believe that by investing in the education and empowerment of the Haitian people, we can help to break the cycle of poverty and build a brighter future for all. Through our programs, we work to provide access to education for children and adults, building schools and providing scholarships to those in need. We also plant churches in communities across Haiti, helping to provide spiritual support and guidance to the people. Furthermore, we empower entrepreneurs by providing training and resources to help them start and grow their own businesses. We believe that by working together, we can make a real difference in the lives of the Haitian people. Join us in our mission and support Haitian Helping Hands today.  E-mail haitianhelpinghands1@gmail.com HAITIAN HELPING HANDS, INC. ADDRESS P.O.BOX 4564 LYNCHBURG VIRGINIA 24502 --- Support this podcast: https://podcasters.spotify.com/pod/show/haitianhelpinghands/support

When are your favorite times to listen to a Podcast KI KOTÉ WAP KOUTÉ NOU? C'EST L'HEURE DE PRIÈRE AVEC FRÈRE ROBERT HENRI NOTY DU  COTÉ DU CANADA Haitian Helping Hands is a nonprofit organization that is committed to providing access to education, planting churches, and empowering entrepreneurs in Haiti. We believe that by investing in the education and empowerment of the Haitian people, we can help to break the cycle of poverty and build a brighter future for all. Through our programs, we work to provide access to education for children and adults, building schools and providing scholarships to those in need. We also plant churches in communities across Haiti, helping to provide spiritual support and guidance to the people. Furthermore, we empower entrepreneurs by providing training and resources to help them start and grow their own businesses. We believe that by working together, we can make a real difference in the lives of the Haitian people. Join us in our mission and support Haitian Helping Hands today. When are your favorite times to listen to a Podcast KI KOTÉ WAP KOUTÉ NOU? --- Support this podcast: https://podcasters.spotify.com/pod/show/haitianhelpinghands/support

C'EST L'HEURE DE PRIÈRE AVEC FRÈRE ROBERT HENRI NOTY DU  COTÉ DU CANADA .Haitian Helping Hands is a nonprofit organization that is committed to providing access to education, planting churches, and empowering entrepreneurs in Haiti. We believe that by investing in the education and empowerment of the Haitian people, we can help to break the cycle of poverty and build a brighter future for all. Through our programs, we work to provide access to education for children and adults, building schools and providing scholarships to those in need. We also plant churches in communities across Haiti, helping to provide spiritual support and guidance to the people. Furthermore, we empower entrepreneurs by providing training and resources to help them start and grow their own businesses. We believe that by working together, we can make a real difference in the lives of the Haitian people. Join us in our mission and support Haitian Helping Hands today. When are your favorite times to listen to a Podcast?  Morning or noon?  would like to sponsor our Pastor's ministry? THANK YOU TO ALL OUR HAITIAN HELPING HANDS AND FAITHFUL PARTNERS. BECAUSE OF YOUR GENEROSITY, THESE KIDS ARE SAFE AND RECEIVE FREE EDUCATION. MERCI POUR VOTRE SUPPORT. HAITIAN HELPING HANDS P.O.BOX 4564 LYNCHBURG VIRGINIA 24502 --- Support this podcast: https://podcasters.spotify.com/pod/show/haitianhelpinghands/support

This week on the "Friday LIVE Extra" podcast, conversations about the re-opening of the Robert Henri Museum and the last Lincoln Friends of Chamber Music concert of the season.

This week on the "Friday LIVE Extra" podcast, conversations about the re-opening of the Robert Henri Museum and the last Lincoln Friends of Chamber Music concert of the season.

Haitian Helping Hands is a nonprofit organization that is committed to providing access to education, planting churches, and empowering entrepreneurs in Haiti. We believe that by investing in the education and empowerment of the Haitian people, we can help to break the cycle of poverty and build a brighter future for all. Through our programs, we work to provide access to education for children and adults, building schools and providing scholarships to those in need. We also plant churches in communities across Haiti, helping to provide spiritual support and guidance to the people. Furthermore, we empower entrepreneurs by providing training and resources to help them start and grow their own businesses. We believe that by working together, we can make a real difference in the lives of the Haitian people. Join us in our mission and support Haitian Helping Hands today. When are your favorite times to listen to a Podcast?  Morning or noon?  would like to sponsor our Pastor's ministry? THANK YOU TO ALL OUR HAITIAN HELPING HANDS AND FAITHFUL PARTNERS. BECAUSE OF YOUR GENEROSITY, THESE KIDS ARE SAFE AND RECEIVE FREE EDUCATION. MERCI POUR VOTRE SUPPORT. HAITIAN HELPING HANDS P.O.BOX 4564 LYNCHBURG VIRGINIA 24502 --- Support this podcast: https://podcasters.spotify.com/pod/show/haitianhelpinghands/support

.Haitian Helping Hands is a nonprofit organization that is committed to providing access to education, planting churches, and empowering entrepreneurs in Haiti. We believe that by investing in the education and empowerment of the Haitian people, we can help to break the cycle of poverty and build a brighter future for all. Through our programs, we work to provide access to education for children and adults, building schools and providing scholarships to those in need. We also plant churches in communities across Haiti, helping to provide spiritual support and guidance to the people. Furthermore, we empower entrepreneurs by providing training and resources to help them start and grow their own businesses. We believe that by working together, we can make a real difference in the lives of the Haitian people. Join us in our mission and support Haitian Helping Hands today. When are your favorite times to listen to a Podcast?  Morning or noon?  would like to sponsor our Pastor's ministry? THANK YOU TO ALL OUR HAITIAN HELPING HANDS AND FAITHFUL PARTNERS. BECAUSE OF YOUR GENEROSITY, THESE KIDS ARE SAFE AND RECEIVE FREE EDUCATION. MERCI POUR VOTRE SUPPORT. HAITIAN HELPING HANDS P.O.BOX 4564 LYNCHBURG VIRGINIA 24502 --- Support this podcast: https://podcasters.spotify.com/pod/show/haitianhelpinghands/support

Haitian Helping Hands is a nonprofit organization that is committed to providing access to education, planting churches, and empowering entrepreneurs in Haiti. We believe that by investing in the education and empowerment of the Haitian people, we can help to break the cycle of poverty and build a brighter future for all. Through our programs, we work to provide access to education for children and adults, building schools and providing scholarships to those in need. We also plant churches in communities across Haiti, helping to provide spiritual support and guidance to the people. Furthermore, we empower entrepreneurs by providing training and resources to help them start and grow their own businesses. We believe that by working together, we can make a real difference in the lives of the Haitian people. Join us in our mission and support Haitian Helping Hands today. When areC'EST L'HEUR DE PRIÈRE AVEC your favorite times to listen to a Podcast? Morning or noon? would like to sponsor our Pastor's ministry? MERCI POUR VOTRE SUPPORT. HAITIAN HELPING HANDS P.O.BOX 4564 LYNCHBURG VIRGINIA 24502 When are your favorite times to listen to a Podcast? Morning or noon? would like to sponsor our Pastor's ministry? --- Support this podcast: https://podcasters.spotify.com/pod/show/haitianhelpinghands/support

Our beloved guest host and artist, Elisabeth Condon, and her series "Elisabeth Condon Describes a Painting!" are back for a new installment! This time Elisabeth chose to describe Joseph Stella's oil on canvas painting "Tree of My Life" from 1919 that she saw at The Norton Museum in "Joseph Stella: Visionary Nature." The show is traveling next to the High Museum and to the Brandywine Museum. It was an honor to have Elisabeth's wild and wonderful way of looking at painting again on the pod. See "Joseph Stella: Visionary Nature" in person/online: Norton Museum (since closed): https://tinyurl.com/yhv3paaw High Museum (Feb-May 2023): https://tinyurl.com/szewk7f8 Brandywine Museum of Art (June-Sept 2023): https://tinyurl.com/yry6cry4 Barbara Rose's 1997 Essay "Flora" on Joseph Stella: https://www.tfaoi.org/aa/7aa/7aa792.htm Joseph Stella works mentioned: "Tree of My Life," "The Voice of the City of New York Interpreted," "Brooklyn Bridge," "Battle of Lights, Coney Island" More About Elisabeth Condon: Web: https://www.elisabethcondon.com/ | IG: @elisabethcondon Solo at Emerson Dorsch Gallery late 2023: https://emersondorsch.com/artist/elisabeth-condon/ Florida Art in State Buildings/Univ of South Fla, May 2023: https://tinyurl.com/5n8ycr8m Painting at Freight & Volume Gallery: http://www.freightandvolume.com/ Artists Mentioned: Philip Guston, 4 Gentlemen of the Orchid, Bamboo, Chrysanthemum & Plum, Chinese Scroll Painting, Charles Burchfield, Odilon Redon, Paul Gauguin's "Vision and the Sermon," Hieronymus Bosch, Dziga Vertov's "Man with a Movie Camera," Marcel Duchamp's "Fountain," Agnes Pelton, Henri Rousseau's Paris paintings, Umberto Boccioni & the Italian Futurists, Precisionists: Sheeler, Demuth & Schamberg, Patrick Henry Bruce, Diego Velázquez, Rembrandt, William Merritt Chase, Robert Henri, Alfred Stieglitz, Georgia O'Keeffe, Marsden Hartley Writers mentioned: Barbara Rose, Immanuel Kant, Gaston Bachelard's "Poetics of Space," Henri-Louis Bergson, Lewis Mumford, Walter Conrad Arensberg, Gertrude Stein, Maurice Tuchman Eps mentioned: #38 (Elisabeth Condon Describes a Painting #1) and #15 (Review of "Spiritual in Art: Abstract Painting 1890-1985") ---------------------------- Pep Talks on IG: @peptalksforartists Pep Talks on Art Spiel as written essays: https://tinyurl.com/7k82vd8s Amy's Interview on Two Coats of Paint: https://tinyurl.com/2v2ywnb3 Amy's website: https://www.amytalluto.com/ Amy on IG: @talluts Buy Me a Coffee Donations appreciated! --- Send in a voice message: https://anchor.fm/peptalksforartistspod/message Support this podcast: https://anchor.fm/peptalksforartistspod/support

In this episode, Stephanie is fresh off a relaxing vacation and excited to share reflections on a profound book she was given. The Art Spirit, written by Robert Henri in 1923, describes his philosophy on life and art. He beautifully articulates many of the same principles that resonate both personally and professionally with Stephanie and Spark. Among these, is that master works of art are created when we glimpse beyond the surface level of life and are able to put into form what we have seen. Like Spark, Robert Henri believed that every single person had the capacity to be in touch with the deeper part of themselves and thus everyone can be an artist. According to Henri, the most critical part of being an artist is this connectedness to your true self. Tune in and perhaps be inspired to bring out the artist in yourself this summer! 

Maria Schneider composed “Bulería, Soleá y Rumba” in the wake of a cancer diagnosis. Inspired by American artists such as Robert Henri and George Bellows, Schneider discusses “art for life's sake” that tells a story of people—like the evocative figures in Bellows's The Lone Tenement. Find full transcripts and more information about this episode at https://www.nga.gov/music-programs/podcasts/maria-schneider-george-bellows-lone-tenement.html Subscribe directly to Sound Thoughts on Art from the National Gallery of Art on Apple Podcasts, Google Podcasts, Spotify, Stitcher, or your favorite podcast app https://feeds.megaphone.fm/NGAT6207729686.  Image credit: George Bellows, "The Lone Tenement," (detail) 1909, oil on canvas, National Gallery of Art, Washington, Chester Dale Collection, 1963.10.83   Still haven't subscribed to our YouTube channels? National Gallery of Art ►►https://www.youtube.com/NationalGalleryofArtUS  National Gallery of Art | Talks ►►https://www.youtube.com/NationalGalleryofArtTalks      ABOUT THE NATIONAL GALLERY OF ART  The National Gallery of Art serves the nation by welcoming all people to explore and experience art, creativity, and our shared humanity.  More National Gallery of Art Content:  Facebook: https://www.facebook.com/nationalgalleryofart   Twitter: https://twitter.com/ngadc  Instagram: https://www.instagram.com/ngadc/  Pinterest: https://www.pinterest.com/ngadc/_created/

Maria Schneider composed “Bulería, Soleá y Rumba” in the wake of a cancer diagnosis. Inspired by American artists such as Robert Henri and George Bellows, Schneider discusses “art for life's sake” that tells a story of people—like the evocative figures in Bellows's The Lone Tenement. Still haven't subscribed to our YouTube channels? National Gallery of Art ►►https://www.youtube.com/NationalGalleryofArtUS National Gallery of Art | Talks ►►https://www.youtube.com/NationalGalleryofArtTalks

Maria Schneider composed “Bulería, Soleá y Rumba” in the wake of a cancer diagnosis. Inspired by American artists such as Robert Henri and George Bellows, Schneider discusses “art for life's sake” that tells a story of people—like the evocative figures in Bellows's The Lone Tenement. Still haven't subscribed to our YouTube channels? National Gallery of Art ►►https://www.youtube.com/NationalGalleryofArtUS National Gallery of Art | Talks ►►https://www.youtube.com/NationalGalleryofArtTalks

WATCH THIS INTERVIEW: https://youtu.be/Q8cn4vEfidw Who are the Archangels? Why are we here? How can I live my best life? What is my Souls Path? How can I create my dream life? What happens when we die? How can I be happy? Robert Henri channels the Archangels Robert is a channeler in the Angelic realms and he is assisted by Rienie a hypnotherapist. Robert and Rienie's passion is to bring knowledge to humanity and to assist Gaia in other ways to ascend to the 5th dimension. This is their story, and this is their Passion. Insert Interview Guest Bio Paragraph here If you liked this episode, please do subscribe to our channel and let us inspire you to live a life you love. ❤️ https://www.youtube.com/c/PassionHarvest/ Thank you for watching! ➡️SHOP Passion Harvest: Intuited Reading: https://passionharvest.com/intuited-reading/ ➡️SHOP Passion Harvest: Passion Mentoring: https://passionharvest.com/passion-mentoring-courses/ Passion Harvest Website: https://passionharvest.com/ Passion Harvest on Social You Tube: https://www.youtube.com/c/PassionHarvest/ Instagram: https://www.instagram.com/PassionHarvest/ Facebook: https://www.facebook.com/Passionharvest Spotify: https://open.spotify.com/show/3BogbavOan3FP1r1JXLxmV Soundcloud: https://soundcloud.com/user-796690230 iTunes: https://podcasts.apple.com/au/podcast/passion-harvest/id1451566598 Leave a Podcast Review in iTunes http://getpodcast.reviews/id/1451566598 Connect with Robert Henri and Rienie Website: https://askangelics.com/ #Passionharvest #Passionharvestinterivew #Archangels

Podcast guests 329 are Rienie and Robert Henri from AskAngelics.com. Rienie is an author and hypnotherapist and Robert henri is a channeler of archangels. In this video Robert Henri was channeling Archangel Azrael with me live during the recording. We talk about why do humans have NDEs and more. --- Support this podcast: https://anchor.fm/jeffrey-s-reynolds/support

Robert Henri's book The Art Spirit inevitably makes it in any artist's top ten artbook recommendations. As passionate students of Art, we know Robert Henri. His paintings make up an extraordinary body of work. He is considered the "father" of the Ashcan School - a loose alliance of artists whose approach to painting had more in common with journalism than stuffy, academic Traditionalism. Henri taught in many art schools. By some estimates, he taught more than a thousand students – including Edward Hopper and George Bellows. He was universally beloved as a teacher by his students. Today we continue to benefit from his teaching preserved in the pages of The Art Spirit. We have one of Henri's students to thank for preserving Henri's teaching: Margery Ryerson. She compiled a collection of his lecture notes, letters, and commentary together into the inspirational book The Art Spirit. It continues to be a valuable source of instruction and inspiration nearly 100 years after it was first published in 1923. The original text entered the public domain in 2019. What a remarkable gift! We all certainly know Robert Henri. Or, do we? Links: Robert Henri Museum and Art Gallery https://www.roberthenrimuseum.org/ Robert Henri Museum YouTube Channel https://www.youtube.com/channel/UCcjVC7KzIBQWa4jeMHTaPpA Nebraska Committee for the Humanities Betty McKeone | May 2, 1985 – The Rebirth of the Cozad Revelation and The History of the Hendee Hotel in Cozad, Nebraska https://2ba173f2-e500-4d32-bb26-643eaf56c0f3.filesusr.com/ugd/289a72_b5a0bd664c13485e911b93b93dfcedd8.pdf Mari Sandoz Book: Son of the Gamblin' Man: The Youth of an Artisthttps://amzn.to/3cu9PBX (paid link) The Story Catcher (PDF download): https://2ba173f2-e500-4d32-bb26-643eaf56c0f3.filesusr.com/ugd/289a72_b5a0bd664c13485e911b93b93dfcedd8.pdf The Lexington Clipper-Herald Print Olive: A man who lived by the gun, died by the gun, by Danny Gruber https://lexch.com/news/local/print-olive-a-man-who-lived-by-the-gun-died-by-the-gun/article_1250904d-d8ca-5720-86d3-53ab80d74908.html About the Artful Painter: Website: https://theartfulpainter.com/ YouTube: https://www.youtube.com/c/CarlOlsonArt This page may contain affiliate links from which I earn a small commission. When you click on links to various merchants on this site and make a purchase, this can result in this site earning a commission. As an Amazon Associate, I earn from qualifying purchases.

Mary Veiga won 2nd place in this year's competition. Tim and Marie talk about her win as a relative newcomer to the Plein Air competition circuit. She discusses her process of developing her style and the challenges of tuning out the destructive thoughts that undermine our ambitions.   Growing up in beautiful Maryland farmland, Mary naturally drew inspiration from her surroundings. Spending time riding her horse through the striking abundance of the landscape instilled in her a strong sense of attachment and belonging. This inspired her to share her experience through artistic expression. Demonstrating a natural ability and interest from an early age her work began drawing awards and recognition. Mary went onto formal training at The Maryland Institute and College of Art in Baltimore, Maryland. Her fine arts education continued with acclaimed landscape artists David Buckley Good, John Brandon Sills, and colorist Camille Przwodek. Her early influencers include Edward Hopper, Robert Henri, and William Merrit Chase, and remain evident in her work today.   In 1995, Mary began her art business as a professional artist and master craftsman painting murals, Trompe l'oeil, and faux finishes for residential and commercial clients throughout the Baltimore Washington area. Her extensive practice and training with both dimensionality of color and texture enriches the experience of her landscape paintings. Her work has won many awards and been featured in ​Good Housekeeping Magazine,​ ​Chesapeake Home and Living,​ ​The Tidewater Times​, HGTV, WJZ–Channel 13, the ​Baltimore Sun​ newspaper, ​Baltimore's Child,​ and more.   Follow Mary Veiga: Official Site Facebook Instagram   Follow Plein Air Easton: Official Site Facebook Instagram YouTube   To inquire about being a guest or sponsoring the Plein Air Easton Podcast, send us an email at info@pleinaireaston.com.   This episode is sponsored by JFM Enterprises, providing distinctive ready-made and custom frames & mouldings to the trade since 1974.   Music in this episode was generously provided by Blue Dot Sessions.

On Oct. 8, join Genevieve Randall and guests for lively conversations about: the first Robert Henri conference in Cozad; a new storytelling series at the Bluebarn Theatre; a choir and band concert at Nebraska Wesleyan; OmniArts Nebraska season opening production; and what art conservator Kenneth Be has been up to. Also, poetry by Traci Schacht and a look at the latest production by the Omaha Playhouse.

On Oct. 8, join Genevieve Randall and guests for lively conversations about: the first Robert Henri conference in Cozad; a new storytelling series at the Bluebarn Theatre; a choir and band concert at Nebraska Wesleyan; OmniArts Nebraska season opening production; and what art conservator Kenneth Be has been up to. Also, poetry by Traci Schacht and a look at the latest production by the Omaha Playhouse.

“A curve does not exist in its full power until contrasted with a straight line.” -Robert Henri. What does it mean to find power in life's curves? My definition and parallels to current events. Join the author conversation: https://www.facebook.com/groups/inkauthors/ Learn more about YDWH and catch up on old episodes: www.yourdailywritinghabit.com

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists' playing with ideas of Blackness and Indigeneity; childhood's incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts' emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman's writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts’ emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman’s writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.

Professor Emily C. Burns, Terra Foundation Visiting Professor in American Art, gives the first in the series of The Terra Lectures in American Art: Performing Innocence: US Artists in Paris, 1865-1914. Between the end of the US Civil War and the start of World War I, thousands of American artists studied and worked in Paris. While popular thought holds that they went to imbibe culture and attain artistic maturity, in this four-part lecture series, Professor Emily Burns explores the various ways that Americans in Paris performed instead a cultural immaturity that pandered to European expectations that the United States lacked history, tradition, and culture. The lectures chart knowing constructions of innocence that US artists and writers projected abroad in both art practice and social performance, linking them to ongoing conversations about race, gender, art making, modernity, physio-psychological experience, evolutionary theory, and national identity in France and in the United States. Interwoven myths in art and social practice that framed Puritanism; an ironically long-standing penchant for anything new and original; primitivism designed by white artists’ playing with ideas of Blackness and Indigeneity; childhood’s incisive perception; and originary sight operated in tandem to turn a liability of lacking culture into an asset. In analyzing the mechanisms of these constructions, the lectures return to the question about the cultural work these ideas enacted when performed abroad. What is obscured and repressed by mythical innocence and feigned forgetting? Performing Innocence: Belated Abstract: Why did terms like innocence, naïveté, and artlessness have currency for US artists working in fin-de-siècle Paris? This lecture examines the language employed by artists and critics that applied these terms to Franco-American art exchange. Professor Burns traces the concepts’ emergence and expansion at the end of the US Civil War. Linking the mass exodus to France for study to attempts at cultural rejuvenation, innocence reveals a culture triggered by the realities of war, failed Reconstruction, divisive financial interests, and imperial ambition. The impossibility of innocence gave the myth its urgency and paradox. Engaging with artists from Thomas Eakins and Robert Henri to writers Mark Twain, Henry James and Edith Wharton, as well as journalists, the lecture frames the definitions and stakes of claiming to be innocent and naïve in Paris. In performing these characteristics, these artists and writers built an idea that American culture was belated compared with Europe; the lecture contextualizes this idea of strategic belatedness alongside similar projections in other emergent national contexts. Biographies: Emily C. Burns is an Associate Professor of Art History at Auburn University where she teaches courses on eighteenth- and nineteenth-century American, Native American, and European art history. Her publications include a book, Transnational Frontiers: the American West in France (University of Oklahoma Press, 2018), which analyzes appropriations of the American West in France in performance and visual and material culture in the tripartite international relationships between the United States, France, and the Lakota nation between 1867 and 1914, as well as journal articles, exhibition catalogue essays, and book chapters related to art and circulation, US artists in France, and American impressionism. She is currently completing a co-edited volume with Alice Price on global impressionisms entitled Mapping Impressionist Painting in Transnational Contexts (forthcoming from Routledge). During her tenure as the Terra Foundation for American Art Visiting Professor in the Department of History of Art at the University of Oxford and a Visiting Fellow at Worcester College, Professor Burns will complete her second book, Performing Innocence: Cultural Belatedness and U.S. Art in fin-de-siècle Paris. Peter Gibian teaches American literature and culture in the English Department at McGill University (Montréal, Canada), where he has won four teaching awards. His publications include Mass Culture and Everyday Life (editor and contributor, Routledge 1997) and Oliver Wendell Holmes and the Culture of Conversation (Cambridge UP 2001; awarded the Best Book Prize in 2001-02 by NEASA, the New England branch of the American Studies Association) as well as essays on Whitman, Poe, Melville, Hawthorne, Twain, Dr. Holmes, Justice Holmes, Bayard Taylor, Washington Irving, G. W. Cable, Edward Everett Hale, Wharton and James, John Singer Sargent, Michael Snow and shopping mall spectacle, the experience of flânerie in 19th-century shopping arcades, and cosmopolitanism in nineteenth-century American literature. He is currently at work on two book projects: one exploring the influence of two competing speech models—oratory and conversation—on Whitman’s writing and his notions of public life; the other tracing the emergence of a “cosmopolitan tradition” in American culture over the course of the long nineteenth century.

See more here https://wp.me/p58EtD-4sF​ The Archangels channel through Robert Henri, imparting knowledge needed to ascend to the New Earth. Robert Henri and Rienie Van Anraad create an environment for those who struggle on this earth plane, to assist in the awakening and ascension of humanity. Appreciate KAren's work on ATP Media Awakening Consciousness? Please support us, you can share your love on this link https://www.paypal.me/KArenASwain​. THANK YOU GET THE Awakened By Death BOOK on Amazon HERE https://www.amazon.com/Awakened-Death...​ SHINE YOUR LIGHT Brightly JOIN US IN THE INNER SANCTUM Calling all Difference Makers and New World Teachers... Join The Inner Sanctum monthly Online Gatherings for Deliberate Creation teachings, Spiritual Awakening and more. Meet some of the wonderful guests KAren has had on ATP Media and be supported by a tribe of like minded spiritual teachers and seekers. http://karenswain.com/inner-sanctum/

Thriving Artists Studios book study podcast of The Art Spirit by Robert Henri. --- Support this podcast: https://anchor.fm/WildWomanPodcast/support

Stephen C. Datz paints the American Western landscape in his own clear voice. Strong, angular design, rich harmonious colors, and a striking interpretation of the landscape are hallmarks of Stephen’s style. It took hard work and determination on his part to get here. In this episode, Stephen talks about how his unique voice developed. He was frustrated by how unprepared he was to make a living in fine art after earning a BFA from Colorado State University. He flailed for a few difficult years as he tried to figure out how to thrive as a fine art painter. Stephen’s father encouraged him to take a workshop from artist Skip Whitcomb. It was just what he needed. That workshop opened his eyes to the value of painting outdoors and gave him access to real-world, practical business advice. But there was a problem. In seeking gallery representation, one gallery owner made a frank observation about Stephen’s work: his work was derivative, looking much like the paintings of his workshop instructors. Rather than be dismayed by the criticism, Stephen viewed it as an encouragement to allow his artistic voice to emerge with confidence. He made the determination to be true to himself and his vision. The result? A stunning body of work that is truly unique. And, galleries – including Mark Sublette’s Medicine Man Gallery – took note. Stephen’s love of the landscape remains strong. He frequently explores the western landscape near his home in Grand Junction, Colorado, with his plein air gear. If you are hiking deep in the high desert and red rock country of Colorado and Utah, it's possible you might just get a dazzling glimpse of Stephen C. Datz painting the rhythm and geometry of nature. Mentioned in this episode: Stephen C. Datz http://www.stephencdatz.com Pastel Artists Featured on the Artful Painter Victoria Taylor-Gore https://carlolson.tv/artful-painter/victoria-taylor-gore-quiet-surrealism-22 https://youtu.be/R0Yg4Jx02K8 Skip Whitcomb https://carlolson.tv/artful-painter/skip-whitcomb-purity-of-vision-21 https://youtu.be/7gRitYn0xL8 Lorenzo Chavez https://carlolson.tv/artful-painter/lorenzo-chavez-47 https://youtu.be/iXUtWElgZfU Other Artful Painter Episode Mentions John Pototschnik https://carlolson.tv/artful-painter/john-pototschnik-40 https://youtu.be/dD6Kuvy9rmg Dan McCaw https://carlolson.tv/artful-painter/dan-mccaw-45 https://youtu.be/yQvRqGz8ie0 Books The Art Spirit (by Robert Henri) https://amzn.to/377Hn5F (affiliate link) The Elements of Color (by Johannes Itten) https://amzn.to/2J5rncC (affiliate link) Unknown Terrain: The Landscapes of Andrew Wyeth (by Beth Venn, Adam D. Weinberg, Michael G. Kammen, Whitney Museum of Art) https://amzn.to/3kZewWd (affiliate link) Andrew Wyeth: Memory & Magic (by John Wilmerding, Anne Knutson, Kathleen Foster, Michael Taylor, and Christopher Crosman) https://amzn.to/3nQKdTy (affiliate link) Akademichka: The academic dacha through the eyes of Nikolai Timkov (by Alexander Borovsky) https://amzn.to/3l3XNRw (affiliate link) Everett Ruess: A Vagabond for Beauty (by W. L. Rusho) https://amzn.to/3pRy3LU (affiliate link) Desert Dreams: The Art of Maynard Dixon https://amzn.to/3q0PtWm (affiliate link) About the Artful Painter Website: https://carlolson.tv/artful-painter Instagram: https://www.instagram.com/artful.creative/ Facebook: https://www.facebook.com/carl.olson.9847/ YouTube: https://www.youtube.com/c/CarlOlsonArt Send an email: https://carlolson.tv/contact Make a donation: https://carlolson.tv/donate Book recommendations: https://carlolson.tv/reading-essentials Artists Sketchbooks: https://carlolson.tv/artful-painter-sketchbooks This page may contain affiliate links from which I earn a small commission. When you click on links to various merchants on this site and make a purchase, this can result in this site earning a commission. As an Amazon Associate, I earn from qualifying purchases.

The paintings of Terry Trambauer Norris are executed in oils using the traditional techniques of the old masters, infusing them with a modern sensibility and vision. She has been studying art since childhood, receiving recognition in high school and junior college before entering the Atlanta College of Art, where she studied design, painting, printmaking, and photography, emerging with a Bachelor of Fine Art Degree in 1985. After college, Terry began a dedicated search for a personal language that would express her developing vision. This led her to traditional realism with an emphasis on light and composition. Major influences are Chardin, Rembrandt,Vermeer, Whistler, Robert Henri, and Charles Hawthorne. This was supplemented with a home study course from a book by Arthur Stern, study at The Art Students’ League of New York, workshops with Gregg Kreutz and David Leffel, as well as critiques and classes with Ralph Bagley. The still life compositions are painted exclusively from life in order to capture mood and light. The atmosphere and physical presence of the subject are essential to the inspiration. Sketches and photography are sometimes used when painting landscape, animals, or portrait. Terry’s artwork has been shown in festivals, galleries, and national juried exhibitions, and has earned numerous awards. She has taught high school and college classes in painting and drawing, and conducted painting workshops and demonstrations. From 2001 to 2010, she taught at Crealdé School of Art in Winter Park, Florida, where she served as Director of Painting and Drawing from 2001 to 2004. Terry now resides in Upstate South Carolina. She has been a Signature member of The Oil Painters of America since 2009. In Terry's own words,"Artist Statement The spirit that is present in the beings and objects that inhabit our lives is perceived by the heart, or the spirit within. It speaks to the soul through memory and imagination, as well as awareness in the moment. The painting is begun by rendering the light falling on an ordinary and familiar object or scene. The composition is refined by selective layering of paint until balance, harmony, and a subtle glow of light is realized. My goal is to reveal the quiet peace beneath the surface of everyday experience. Anything is worthy to be painted, and beauty may be contemplated everywhere."LINKS MENTIONED IN THE SHOWInformation on VarnishesArt supplies at Wind River ArtsOil Painters of AmericaCONTACT TERRYEmail: norristt@yahoo.comPhysical Studio: 438 MUD RUN RDEASLEY, SC29640-9278United StatesWebsite: terrytnorris.com

Marshall and Stan have another book club episode, this time discussing “Art and Fear” by David Bayles and Ted Orland. The book explores how fear inhibits an artist’s work and the way in which an artist can confront their fears to help them create. Some of the topics covered include the difference between stopping and quitting, how you can be the best version of yourself, the way we are similar to geniuses like Mozart, and more. Build confidence within your team and reach every goal with ease- visit monday.com to start your free two-week trial. Go to thegreatcoursesplus.com/DRAFTSMEN to get access to any and all courses for the next month completely FREE! As a listener, you’ll get 10% off your first month by visiting betterhelp.com/draftsmen  Call and Ask Your Art Questions: 1-858-609-9453 Show Links (some contain affiliate links): Art & Fear by David Bayles and Ted Orland - https://amzn.to/30iv984 Cooper’s Haircut - https://proko.com/draftsmen-media/cooper-prokopenko-haircut-s2e24.jpg War of Art by Steven Pressfield - https://amzn.to/3hZ28EL Picture This by Molly Bang - https://amzn.to/3ifq7Pr The Art Spirit by Robert Henri - https://amzn.to/3jbJevj Stephen De Staebler - https://proko.com/draftsmen-media/stephen-de-sculptures-s2e24.jpg The Psychology of Performance by Eddie O’Connor - https://amzn.to/3cEgMj6 Ira Glass speech - https://vimeo.com/24715531 War and Peace by Leo Tolstoy - https://amzn.to/2S8oo48 Legs by William Kennedy - https://amzn.to/30fBZec Jeff Watts - https://proko.com/draftsmen-media/jeff-watts-paintings-s2e24.jpg Kim Jung Gi - https://proko.com/draftsmen-media/kim-jung-gi-marvel-ink-artwork-s2e24.jpg Norman Rockwell - https://proko.com/draftsmen-media/norman-rockwell-artwork-s2e24.jpg Photography of David Bayles and Ted Orland - https://proko.com/draftsmen-media/david-bayles-and-ted-orland-photography-s2e24.jpg Kirsten Zirngibl - https://proko.com/draftsmen-media/kirsten-zirngibl-ink-artwork-s2e24.jpg George Pratt - https://proko.com/draftsmen-media/george-pratt-artwork-s2e24.jpg Sterling Hundley - https://proko.com/draftsmen-media/sterling-hundley-paintings-s2e24.jpg Learn to Draw - www.proko.com Marshall Vandruff - www.marshallart.com Stan Prokopenko - instagram.com/stanprokopenko Learn more about your ad choices. Visit megaphone.fm/adchoices

In New York City, sometime around the beginning of the twentieth century, a young art student sat for a portrait. The artist who painted this portrait won a prestigious award for that portrait. The young woman who sat for the portrait suddenly became a sought-after model. She could actually earn money sitting for portraits. She needed that money. Her family was poor, and art school -- especially art school in New York City -- was expensive. But she decided to never model again. The tough decision that made a good artist a great artist This young artist later recalled the moment she decided to stop sitting for portraits. She drew a line down the middle of a sheet of paper, so that there were now two columns. At the top of one column, she wrote “yes.” At the top of the other column, she wrote “no.” She said, “The essential question was always, if you do this, can you do that?” Here’s one thing that probably focused her attention on the question of whether or not she could keep modeling: She had skipped class to sit for that prize-winning portrait. So, if she was going to model, could she go to class? If she was going to model, could she put in the work necessary to achieve her dream of becoming a great artist? Her answer was, “no,” she could not keep modeling. And art history should thank her for it. Her name was Georgia O’Keeffe, and she lived on to become one of the greatest artists of the twentieth century. One of her paintings was sold at auction several years ago for more than forty million dollars. The unearned can hurt more than it helps I don’t want to assume that because O’Keeffe is one of my favorite artists -- not just for her work but also for her contrarian personality -- that you, too know who I’m talking about. You’ve seen her work: abstract close-ups of flowers and cattle skulls, paintings of the desert landscape surrounding the New Mexico estate where she spent most of her time. This story about quitting modeling has one good lesson in it: That if you want to be great at something, you sometimes have to quit something else that you’re merely good at. That’s a valuable lesson. It’s the obvious one. It’s not the lesson I want to talk about. I want to talk about the unearned. That when you accept something you didn’t earn, it often hurts you more than it helps you. Money you didn’t earn will make you foolish with finances. Flattery you didn’t earn will make you settle for mediocrity. Power you didn’t earn will disconnect you from reality. If you want to become great at what you do, you have to be on the lookout for the unearned. You have to shun the unearned. The unearned is an easy path to mediocrity When I tweeted about the dangers of the unearned, most people agreed. Some people were suspicious. “What about Universal Basic Income?,” they’d say. I don’t have an opinion on Universal Basic Income. I haven’t thought about it enough. But this is not about Universal Basic Income. As I understand it UBI would be about getting your basic needs met. Do you have a roof over your head, and food in your stomach? Having a roof over your head and food in your stomach is a good thing, especially if you don’t have to work for it. But beyond that, the unearned becomes dangerous. When I’m talking about the dangers of the unearned, I’m not talking about the basics. When you have your basic needs met, it’s an easy path to mediocrity. I don’t mean that in a bad way. I happen to think it would be nice if we lived in a society where more people could get by being mediocre. That competition wouldn’t be so fierce that you need to be the very best in your field to have a chance at survival. But, this isn’t about basic needs. This isn’t about mediocrity. The unearned is an easy path to mediocrity, and that’s fine. But if you want to be great, you need to be on the lookout for the unearned. The unearned is an easy path to mediocrity, but the unearned is an obstacle to mastery. The great Georgia O’Keeffe shunned the unearned Yes, Georgia O’Keeffe could have “earned” money sitting for portraits in the sense that she would be doing the work of sitting. But she didn’t want it. Much of what she would have “earned” would have been unearned. What Georgia didn’t earn was being an attractive young woman, that people wanted to paint portraits of. That didn’t get her much in the early 1900’s. She couldn’t even vote. She was a young woman, trying to make it as an artist in America. At the time, that was unheard of. Georgia instinctively knew the dangers of what she could get being an attractive young woman, and she actively rejected those things. Even then she was already dressing daily in her trademark black frock. She sewed them herself, and they happened to have the effect of hiding her figure. As Georgia grew into a famous artist, she consistently shunned the unearned when others tried to categorize her not just as an artist, but as a “woman artist.” When Peggy Guggenheim invited Georgia to exhibit her work in a show of women painters, Georgia rejected the invitation and proclaimed, “I am not a woman painter!” What would have been the harm of Georgia exhibiting in a collection of women artists? Certainly her achievements as an artist were more difficult because of her standing in society as a woman. But she still saw exhibitions like this as the unearned. It would cloud her judgement of what really mattered. What really mattered was not being a great “woman artist.” What really mattered was being a great artist. The artist whose work was forgotten We normally don’t think that someone in a marginalized class as getting much of anything unearned. So maybe the dangers of the unearned will be more clear if we look at the man who painted that prize-winning portrait of Georgia which launched her potential modeling career. The painter of that portrait was a classmate of Georgia’s. He also went on to become a successful painter. He studied in Paris, he won numerous awards, he rubbed shoulders with the great painters of his time. People like Robert Henri and Edward Hopper. He was regularly commissioned to paint portraits of famous actors. He was inducted into the National Academy of Design, which includes members such as architects Frank Ghery and Frank Lloyd Wright. At the height of his fame, Esquire magazine named him America’s most important living artist. His name was Eugene Speicher Ever heard of him? Me neither. After a successful career as an artist in his lifetime, Speicher has been forgotten. His work used to be exhibited in New York’s Museum of Modern Art, and in the Metropolitan Museum of Art. Today, most of his work has been sold off to smaller museums, or taken off display. In 2014, as one of Georgia O’Keeffe’s paintings was being sold for more than forty million dollars, one museum in New York did hold a retrospective exhibition of Speicher’s work. No, it wasn’t the Met or the Guggenheim. It was a small museum, somewhere between Manhattan and Albany. The big question behind this exhibition: How is it possible that Eugene Speicher was so successful and famous during his lifetime, only to be -- as one critic put it -- “virtually erased from the canon of American art history.” In articles about the exhibition, critics threw about theories: Was it because he switched from portraiture to landscape painting? Was it the financial pressures of supporting a family? It’s funny, in terms of the impact of his art, Speicher didn’t achieve mastery like Georgia did. You could say he achieved mediocrity. He embraced the unearned and stayed mediocre I have a theory why Speicher’s work was forgotten: He never got really good. He didn’t shun the unearned. Worse yet, Speicher embraced the unearned. To say Eugene Speicher has been forgotten is an exaggeration. He does live on in art history for one incident. This incident supports my theory. When Speicher asked Georgia to sit for what would become a prize-winning portrait, Georgia hesitated. She wasn’t sure it was worth skipping class to sit for that portrait. And that’s when Speicher showed his true colors. Georgia later recalled what Speicher said: “It doesn’t matter what you do, I’m going to be a great painter, and you will probably end up teaching painting in some girls’ school.” Talk about not shunning the unearned. Speicher thought he could shovel the unearned into his coffers. He knew that just because he was a man, he had a better shot at making it as an artist than Georgia had. The unearned: An easy path to mediocrity, an obstacle to mastery Look at these two differing attitudes when it comes the unearned: Georgia didn’t even want to sit for portraits. It may have helped pay for art school tuition, but it was going to take away from the work that mattered. The work of becoming a great artist. Speicher thought that, because he was a man, he was entitled to a successful career as an artist. Speicher floated through his career, earning commissions, being invited to display his work in exhibitions. He was good enough to get a little further, with the help of the unearned. Georgia didn’t want a single thing she didn’t earn. Because she didn’t have money -- not even the money she could have made sitting for portraits -- she had to drop out of art school and leave New York. She supported herself through various jobs around the country. It probably looked like Speicher was right, at least for a little while, one of those jobs was, indeed, teaching at some girls’ school. But, Georgia got the last laugh. Eugene Speicher -- well, the thing he’s most famous for today -- is that he painted a portrait of one of the twentieth century’s greatest artists. Images: Revolution of the Viaduct, Paul Klee; [Georgia O’Keeffe (“Patsy”), Eugene Speicher]; [Jimson Weed/White Flower No. 1*, Georgia O’Keeffe] Thanks for sharing my work! On Twitter, thank you to @jovvvian, @allenthird, @niceguylife2, and @coreyhainesco.   My Weekly Newsletter: Love Mondays Start off each week with a dose of inspiration to help you make it as a creative. Sign up at: kadavy.net/mondays About Your Host, David Kadavy David Kadavy is the author of The Heart to Start and Design for Hackers. Through the Love Your Work podcast, his Love Mondays newsletter, and self-publishing coaching David helps you make it as a creative. Follow David on: Twitter Instagram Facebook YouTube Subscribe to Love Your Work Apple Podcasts Overcast Spotify Stitcher YouTube RSS Email Support the show on Patreon Put your money where your mind is. Patreon lets you support independent creators like me. Support now on Patreon »     Show notes: http://kadavy.net/blog/posts/shun-the-unearned/ 

On the July 17th Friday LIVE, host Genevieve Randall and guests had lively conversations about: Lied Live Online and Jarana (04:48); Union for Contemporary Art (16:51); Robert Henri Museum in Cozad (42:17); and, we'll check in with Grand Island Little Theater, Clark Potter of UNL, LSO and LYS (32:00...

Get £5 off your first box with code PYFxDaye go to https://yourdaye.com/ to order yours! Daye are a women's health company and tampon brand that exist to raise the standards of female health products and close the gender pain gap. In this interview with Founder and CEO Valentina Milanova, you'll learn: - The story behind how Daye began - The gender gap in research and development for women's health - The science behind Daye's tampons, from sustainability to CBD for pain-free periods - Valentina's insight as a female founder. From raising investment, to running a team and looking after her own wellbeing Follow Daye https://yourdaye.com/ https://www.instagram.com/meetdaye/ Valentina's resource OKRs https://rework.withgoogle.com/guides/set-goals-with-okrs/steps/introduction/ The Art Spirit by Robert Henri https://amzn.to/2y5r0t3 Shoe Dog by Phil Knight https://amzn.to/2KI49Xf

Translation of Bishop Wright's sermon provided by Judah Sali Image: Public DomainNicodemus visiting Jesus Henry Ossawa Tanner (June 21, 1859 – May 25, 1937) was an American artist and the first African-American painter to gain international acclaim. Tanner moved to Paris, France, in 1891 to study, and continued to live there after being accepted in French artistic circles. His painting entitled Daniel in the Lions' Den was accepted into the 1896 Salon, the official art exhibition of the Académie des Beaux-Arts in Paris. After his own self-study in art as a young man, Tanner enrolled in 1879 at the Pennsylvania Academy of the Fine Arts in Philadelphia. The only black student, he became a favorite of the painter Thomas Eakins, who had recently begun teaching there. Tanner made other connections among artists, including Robert Henri. In the late 1890s he was sponsored for a trip to Palestine by Rodman Wanamaker, who was impressed by his paintings of biblical themes.

Tim Newton Publisher of Western Art & Architecture, photographer, art collector, renovation expert, minister, dog catcher, and renaissance man shares his love of art and the unusual life path art has taken him. From starting a church in New York to founding the American Masters Exhibition, Tim details his fascinating life as an art collector. Tim's continued dedication to the Salmagundi Club in New York City, of which he's been the chairman and CEO for 8 years is evident as he speaks on the history of the organization, as well as the club's future. All of this and more in this edition of the ART DEALER DIARIES.

As a senior in college, Mark has learned the value of educating himself beyond the classroom. Taking advantage of every opportunity to grow and learn is an important attitude for every creative to embrace. Mark shares the benefits he's experienced as a result of self-education, including an excerpt from Robert Henri's book, The Art Spirit. Be sure to connect with us on social media: facebook.com/destinationarete instagram.com/destinationarete twitter.com/destarete We love to hear from you!

Sergio and Josh recap their boozy night before talking about working on their upcoming shows. All sorts of random stuff gets talked about, such as framing, Bam Bam Bigelow, nuclear holocaust, dad jokes, dark comedies, not jotting down ideas, and people listening to our podcast. Sergio fails miserably at trying to get Josh to read The Art Spirit by Robert Henri. We trash a bunch of annoying things before we limp to the finish line. Uber epic episode. Stayeth woketh, bros.

Today, I'll be looking at “Blue Morning” by George Bellows. Bellows lived and worked in New York at the turn of the 20th century and studied under artist Robert Henri (pronounced Hen-rye). His classmates included John Sloan and Edward Hopper. “Blue Morning” may have been inspired by Henri's call for his students to paint the world around them instead of more genteel academic scenes. We'll find out how Bellows is connected to Mary Cassatt and how New Jersey inspired one of the greatest technological achievements of the 20th century. And we'll see how an artist who's so highly regarded for realism bent the rules a little here! See the artwork at https://alonglookpodcast.com/05-blue-morning-bellows/ SHOW NOTES “A Long Look” theme is “Ascension” by Ron Gelinas youtu.be/jGEdNSNkZoo Episode theme is “Frog Legs Rag,” courtesy of WFMU's Free Music Archive http://freemusicarchive.org/music/James_Scott/Frog_Legs_Ragtime_Era_Favorites/01_-_james_scott_-_frog_legs_rag Blue Morning Robert Torchia, “George Bellows/Blue Morning/1909,” American Paintings, 1900–1945, NGA Online Editions, https://purl.org/nga/collection/artobject/46557 (accessed January 11, 2018). “The Rise & Fall of Penn Station” http://www.pbs.org/wgbh/americanexperience/films/penn/ Slow Art Day http://www.slowartday.com The post 05 Blue Morning – Bellows appeared first on A Long Look.

Like most men, I've long been fascinated with women.But if we look beyond the physical differences, what is it that defines “woman”? Research reveals a series of definitions so conflicted that I believe anyone who attempts to define “woman” is certain to be criticized. But when has that ever been an impediment to a curious mind? Our examination of the mystery and magic of the feminine begins with 7 quotes that reveal a being so perfect that she can exist only in the imagination of a man. Psychologist Carl Jung calls her the anima.“The lace on a woman's wrist is an entirely different thing from lace in a shop. In the shop it is a piece of workmanship, on her it is the accentuation of her gentleness of character and refinement.” – Robert Henri, The Art Spirit “The girls in body-form slacks wander the High Street with locked hands while small transistor radios sit on their shoulders and whine love songs in their ears. The younger boys, bleeding with sap, sit on the stools of Tanger's Drugstore ingesting future pimples through straws. They watch the girls with level goat-eyes and make disparaging remarks to one another while their insides whimper with longing.” – John Steinbeck “What do we know about the goddesses, those elusive female figures, stronger than human males, more dangerous than male deities, who represent not real women but the dreams of real men?” – Alice Bach, Women in the Hebrew Bible, p. 17 “I think the idealization of women is indigenous to men. There are various ways of idealizing women, especially sexually, based in almost every case on their inaccessibility. When a woman functions as an unobtainable love object, then she takes on a mythical quality. You can see this principle functioning as a sales device in advertising and in places like Playboy magazine. Almost every movie you see has this quality, because you can't embrace the image on the screen. Thousands of novels use this principle, because you can't embrace a printed image on a page.” – James Dickey, Self Interviews, p. 153 Gypsy Maiden: One day I will go to your lands and I will dance as a European. Marco Polo: They will love you. Gypsy Maiden: Will I love Venice? Marco Polo: It is magnificent, the city of bridges. Instead of roads we travel on canals in wooden boats. Gypsy Maiden: That's absurd. Marco Polo: You wouldn't think that if you saw it. Gypsy Maiden: If it is so magnificent, why are you here and not there? Marco Polo: You must have summoned me. Gypsy Maiden: I did no such thing.  [He tries to kiss her and she turns away.] I'm afraid. Marco Polo: Don't be. Gypsy Maiden: I'm afraid you will fall in love with me.  All men fall in love with me because I always leave. And there is nothing men love more than the thing they cannot have. – Marco Polo, season two “Her name is Dulcinea, her kingdom, Toboso, which is in La Mancha, her condition must be that of princess, at the very least, for she is my queen and lady, and her beauty is supernatural, for in it one finds the reality of all the impossible.” – Don Quixote, (1605) “Women have served all these centuries as looking-glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size.” – Virginia Woolf, A Room of One's Own Our journey will continue in the rabbit hole of Indiana Beagle, where we will examine two additional perspectives that reflect two additional definitions of “woman,” each of which disallows the idea we have just examined.They also disallow each other. I call the second perspective, “Women are Mortal – Sort of.” And third perspective is, “Women are Just Like Men. But Different.” To enter Indiana Beagle's rabbit hole, click the image of imaginary Freda at the top of this page. Each click of an image thereafter will take you to the next page. It is a

02:34 - Michael Glukhovsky Introduction Twitter RethinkDB @rethinkdb 02:35 - horizon-js 04:52 - Versus Open Source Firebase 06:15 - The Security Model Horizon.io 07:56 - The Admin Interface 09:16 - RethinkDB + Horizon 10:56 - Versus Meteor 13:35 - Message Format 14:26 - Getting Started 19:01 - Real-time 21:24 - Security 26:56 - The Grand Vision; Use Cases 32:17 - Managing Deployment with Redundancy   Picks That Conference (Joe) AngularConnect (Joe) React Rally (Joe) Soft Skills Engineering Podcast (Dave) May the 4th (Chuck) The Developer Preview (Mike) The Art Spirit Paperback by Robert Henri (Mike) React Rally (Jamison) Uncanny Valley Podcast  (Jamison) Kishi Boshi (Jamison) David R. MacIver: On criticizing programming languages (without criticizing their users) (Aimee)

02:34 - Michael Glukhovsky Introduction Twitter RethinkDB @rethinkdb 02:35 - horizon-js 04:52 - Versus Open Source Firebase 06:15 - The Security Model Horizon.io 07:56 - The Admin Interface 09:16 - RethinkDB + Horizon 10:56 - Versus Meteor 13:35 - Message Format 14:26 - Getting Started 19:01 - Real-time 21:24 - Security 26:56 - The Grand Vision; Use Cases 32:17 - Managing Deployment with Redundancy   Picks That Conference (Joe) AngularConnect (Joe) React Rally (Joe) Soft Skills Engineering Podcast (Dave) May the 4th (Chuck) The Developer Preview (Mike) The Art Spirit Paperback by Robert Henri (Mike) React Rally (Jamison) Uncanny Valley Podcast  (Jamison) Kishi Boshi (Jamison) David R. MacIver: On criticizing programming languages (without criticizing their users) (Aimee)

02:34 - Michael Glukhovsky Introduction Twitter RethinkDB @rethinkdb 02:35 - horizon-js 04:52 - Versus Open Source Firebase 06:15 - The Security Model Horizon.io 07:56 - The Admin Interface 09:16 - RethinkDB + Horizon 10:56 - Versus Meteor 13:35 - Message Format 14:26 - Getting Started 19:01 - Real-time 21:24 - Security 26:56 - The Grand Vision; Use Cases 32:17 - Managing Deployment with Redundancy   Picks That Conference (Joe) AngularConnect (Joe) React Rally (Joe) Soft Skills Engineering Podcast (Dave) May the 4th (Chuck) The Developer Preview (Mike) The Art Spirit Paperback by Robert Henri (Mike) React Rally (Jamison) Uncanny Valley Podcast  (Jamison) Kishi Boshi (Jamison) David R. MacIver: On criticizing programming languages (without criticizing their users) (Aimee)

Jane Rohman shares her knowledge of Nebraska's most famous American painter, teacher and founder of the Ashcan movement, Robert Henri iand his significant contribution to the art world.

Director of Education, Niki Ciccotelli Stewart and Development Officer, Jamey McGaugh share their thoughts about Robert Henri’s painting.

Portrait of Mrs. Robert Henri August 1914 Size: 24 in. x 20 in. (60.9 cm x 50.8 cm) Gift of Mrs. George Heyneman, 1959:7 Robert Henri, 1865–1929 Robert Henri studied at both the Académie Julian and the École des Beaux-Arts in Paris and at the Pennsylvania Academy of Fine Arts. Though Thomas Eakins was no longer teaching at the Academy when Henri arrived, Eakins was immensely influential for Henri, who regarded him as the superior portrait painter in the United States and followed Eakins’s bluntly realist style. This painting of Robert Henri’s second wife, Marjorie Organ Henri, was given by the artist to Alice Klauber, who studied with Henri in Spain in 1907. Klauber invited Henri to San Diego in 1914, and he assisted her with the organization of an exhibition of American painting for the 1915 Panama-California Exposition, which was held in what became Balboa Park. The exhibition brought the work of George Bellows, William Glackens, Childe Hassam, John Sloan, and Henri to San Diego.