Podcasts about rosalba carriera

Wykład Justyny Guze, kustosz kolekcji rysunków francuskich i włoskich w Muzeum Narodowym w Warszawie, towarzyszący wystawie „Mistrzowie pastelu. Od Marteau do Witkacego”, 29 października 2015 [1h18min] https://wszechnica.org.pl/wyklad/pastel-rysunek-czy-obraz/ Pastel przeszedł od XVI do XVIII w. ewolucję od techniki rysunkowej do techniki malarskiej. O artystach stosujących kredki pastelowe do rysowania i tworzenia obrazów opowiedziała Justyna Guze, kustosz kolekcji rysunków francuskich i włoskich w Muzeum Narodowym w Warszawie, podczas wykładu towarzyszącego wystawie „Mistrzowie pastelu. Od Marteau do Witkacego”. Słowo pastel ma w języku polskim podwójne znaczenie. Pod pierwszym z nich należy rozumieć kredkę pastelową. Kredka składa się z pigmentu, spoiwa i wypełniacza. W zależności od stosunku proporcji pigmentu i wypełniacza zależy odcień koloru, jaki daje kredka pastelowa. Jak mówiła Justyna Guze, w XVIII w. znane było ok. 70 odcieni. W połowie XIX w. potrafiono już ich uzyskać dziesięciokrotnie więcej. Współcześnie znany paryski producent pasteli, La Maison du Pastel, oferuje ich aż 1650. Drugie znaczenie słowa pastel to dzieło artystyczne wykonane za pomocą kredki pastelowej. Prelegentka dokonała dokonała rozróżnienia na rysunek i obraz wykonany pastelami. Jak zaznaczyła, Od XVIII w. możemy mówić o malarstwie pastelami. Pozwala na to wielkość i charakter prac, gdzie kolory naniesione na papier przez artystę wypełniają całą przestrzeń dzieła. Justyna Guze w trakcie swojego wykładu opisała ewolucję, jaką przeszła technika tworzenia dzieł pastelami. W XVI w. kredki pastelowej używali Leonardo da Vinci i przedstawiciele francuskiego portretu kredkowego. Możemy jednak mówić wówczas o rysunku pastelami. Rewolucję przyniosła w połowie XVII w. twórczość Francuza Roberta Nanteuila i Włocha Benedetto Lutiego. Apogeum malarstwa pastelami przyniósł we Francji XVIII w. Jego kres zaczął się po śmierci Ludwika XV, a ostateczny schyłek nastąpił po rewolucji. W Niemczech malarstwo pastelami przeżywało jednak świetność aż do połowy XIX w. Renesans pastelu w Francji przyniósł okres impresjonizmu i twórczość takich artystów, jak Edgard Degas. W Polsce pastele pojawiły się za sprawą dynastii Wettinów. Tworzący obrazy pastelami Francuz Ludwik Marteau był nadwornym malarzem króla Augusta III i ostatniego koronowanego władcy Polski Stanisława Augusta Poniatowskiego. Na zamówienie tego ostatniego tworzył portrety uczestników słynnych obiadów czwartkowych. W późniejszym okresie do malarstwa pastelami sięgali tacy artyści, jak Leon Wyczółkowski i Stanisław Wyspiański. Joanna Guze podczas swojego wykładu omówiła m.in. prace takich artystów, jak: Leonardo da Vinci, Hans Holbein Młodszy, Daniel Dumonstieur, Cristofano Allori, Federico Barrocci, Robert Nanteuil, Benedetto Luti, Rosalba Carriera, François Boucher, Maurice Quentin de la Tour, Jean-Etienne Liotard, Jean-Baptiste-Siméon Chardin, Élisabeth Vigée Le Brun, Pierre Puvis de Chavannes i Jean-François Millet. Mistrzowie pastelu Od Marteau do Witkacego. Kolekcja Muzeum Narodowego w Warszawie 29 października 2015 – 31 stycznia 2016 Wystawa będzie prezentacją pastelu – techniki bardzo atrakcyjnej wizualnie, ujawniającej raz swe oblicze malarskie, a raz rysunkowe. Na ekspozycji zostanie pokazanych blisko 250 pasteli z kolekcji Muzeum Narodowego w Warszawie, które – z uwagi na swą delikatność i wrażliwość na uszkodzenia mechaniczne – nie są wypożyczane, ani też na co dzień eksponowane. Kuratorki wystawy: Anna Grochala, Joanna Sikorska Znajdź nas: https://www.youtube.com/c/WszechnicaFWW/ https://www.facebook.com/WszechnicaFWW1/ https://anchor.fm/wszechnicaorgpl---historia https://anchor.fm/wszechnica-fww-nauka https://wszechnica.org.pl/ #muzeumnarodowe #pastel #rysunek #obraz #sztuka #kultura #malarstwo

AGO Exhibition Audio Tracks

Rosalba Carriera gehört zu den größten und bekanntesten Pastellmaler*innen, die je gewirkt haben. In diesem Kunstsnack erfahrt Ihr, was es mit ihrem Bild "Die Poesie" auf sich hat, warum die Künstlerin für ihre Werke gebetet hat und warum die High Society bei ihr Schlange stand.

Is the Old Masters market struggling? As Tefaf opens its fair in Maastricht, we look at this major moment in the market calendar and what it tells us about the strength or otherwise of the market for historic art. The Art Newspaper's Acting Art Market editor, Anny Shaw, joins us from the fair. The Institut du Monde Arabe, or Arab World Institute, in Paris has just received a major gift of more than 1,600 modern and contemporary works from the French-Lebanese dealer and collector Claude Lemand and his wife, France—a collection that will transform the displays in the institute's museum. We talk to the director of the museum, Nathalie Bondil, about her future plans and the €6m project to transform the institute. And this episode's Work of the Week is a self-portrait in red chalk by the Venetian Rococo artist Rosalba Carriera. Dagmar Kornbacher, the director of the Kupferstichkabinett in Berlin, tells me about the drawing, which is a key work in Muse or Maestra?, the museum's new exhibition of work by historic Italian women artists.Tefaf Maastricht, until 19 March.Muse or Maestra?: Women in the Italian Art World, 1400-1800, Kupferstichkabinett, Berlin, until 4 June. Hosted on Acast. See acast.com/privacy for more information.

Rosalba Carriera è stata la pittrice più famosa d'Europa nella prima metà del Settecento: in nessuna nessuna corte europea mancava un ritratto di suo pugno. Di origini medio borghesi e senza pittori in famiglia, mette a frutto il suo talento sulla pittura di miniature e sui ritratti a pastello. Generi considerati minori, ma che le permettono di vivere agiatamente del suo lavoro in totale indipendenza. Nella Venezia del lusso e dei piaceri, la sua fama si diffonde in fretta grazie ai turisti del Grand Tour, che non si fanno mai mancare una sosta nello studio di Rosalba, capace di cogliere non solo l'aspetto, ma l'essenza della persona che ha davanti. Nel suo salotto passano tutte le celebrità dell'epoca, ma, soprattutto, le donne più indipendenti della città. Paradosso per una pittrice, vive il dramma della cecità, che le impedisce di lavorare negli ultimi 10 anni della sua vita.

SEASON 16!!! We meet LEGENDARY artist Nicolas Party!!!! We discuss his major new solo show Cascade, Nicolas Party's third exhibition with Xavier Hufkens. A stunning group of new works, including pastels, cabinets and oil-on-copper paintings. Large tripartite pastels and smaller cabinet paintings point to a new trajectory, both formal and technical, that has opened up in his practice. Mastering the all but forgotten art of painting on copper, Party's paintings are as luminous as their historical counterparts. A group of single arched pastels and oil-on-copper paintings echo the shape of the cabinet's central panels.Born in Lausanne in 1980, Party is a figurative painter who has achieved critical admiration for his familiar yet unsettling landscapes, portraits, and still lifes that simultaneously celebrate and challenge conventions of representational painting. His works are primarily created in soft pastel, an idiosyncratic choice of medium in the 21st-century, and one that allows for exceptional degrees of intensity and fluidity in his depictions of objects both natural and manmade. Transforming these objects into abstracted, biomorphic shapes, Party suggests deeper connections and meanings. His unique visual language has coalesced in a universe of fantastical characters and motifs where perspective is heightened and skewed to uncanny effect.In addition to paintings, Party creates public murals, pietra dura, ceramics, installation works, and sculptures, including painted busts and body parts that allude to the famous fragments of ancient Greece and Rome. His brightly-colored androgynous figures vary in scale from the handheld to the monumental, and are displayed on tromp l'oeil marble plinths of differing heights that upend conventional perspective. Party's early interest in graffiti and murals—his projects in this arena have included major commissions for the Dallas Museum of Art and the Hammer Museum in Los Angeles—has led to a particular approach to the installation and presentation of his work. He routinely deploys color and makes architectural interventions in exhibition spaces in order to construct enveloping experiences for the viewer.The artist's childhood in Switzerland imprinted upon him an early fascination with landscape and the natural world, and the influence of his native country places Party firmly within the trajectory of central European landscape painting. Points of reference in his work include celebrated 19th-century Swiss artists Félix Vallotton, Ferdinand Hodler, and to Hans Emmenegger. One can also find within his works a 21st-century synthesis of the sorts of impulses and ideas that fueled the Renaissance and late 19th-century, early 20th-century figurative painting, the compositional strategies of Rosalba Carriera and Rachel Ruysch, and the visions of such self-taught artists as Louis Eilshemius and Milton Avery.Based in New York, Party studied at the Lausanne School of Art in Switzerland before receiving his MFA from Glasgow School of Art in Scotland.Follow @NicolasParty on Instagram and @XavierHufkensView his new exhibition at https://www.xavierhufkens.com/exhibitions/nicolas-party Hosted on Acast. See acast.com/privacy for more information.

Künstlerinnen wie Artemisia Gentileschi oder Rosalba Carriera, die in ihrer Epoche berühmt waren, sind in Vergessenheit geraten. Die Kunsthistorikerin Katy Hessel will dies nun mit ihrem Buch „The Story of Art without Men“ ändern.Laura Helena Wurth im Gespräch mit Gabi Wuttkewww.deutschlandfunkkultur.de, FazitDirekter Link zur Audiodatei

Let's talk about Bridgerton, Rococo art(and a bit of Baroque), Rosalba Carriera, Jean-Honoré Fragonard, Yinka Shonibare, Rosalia's Motomami, Charli XCX, Taeyong's Love Theory, and IVE love dive. Tara Mooknee's video about Amatonormativity - https://youtu.be/gsW3VsraJqo Time stamps: Intro - (0:00) Art - (02:46) TV Shows - (22:36) Music - (29:30) References: Yinka Shonibare, The Swing (After Fragonard) - By Dr. Allison Young. - https://www.khanacademy.org/humanities/ap-art-history/global-contemporary-apah/21st-century-apah/a/yinka-shonibare-the-swing-after-fragonard Lisa Fevral: https://www.youtube.com/channel/UCJdvK5wMriowQqbGC7G0lDA https://twitter.com/LisaFevral https://www.instagram.com/lisafevral/

Episode No. 527 features artist Jim Isermann and curator Oliver Tostmann. Radius Books has just published the monograph "Jim Isermann." For forty years the California-based Isermann has joined sculpture and painting to design, examinations of domesticity and queerness. Last year the Palm Springs Art Museum presented a survey of Isermann's career. Isermann has fulfilled commissions for sites as unalike as football stadiums at the University of Houston and in Arlington, Texas, and for Stanford and Princeton Universities. His work is in many major art museum collections, including at the Museum of Modern Art and the Hammer Museum. "Isermann" was designed by David Chickey and Mat Patalano. It features an essay by Christopher Knight and a conversation between Isermann and John Burtle. The book is available from Radius, Indiebound and Amazon for $60-65. With Eve Straussman-Pflanzer, Tostmann is the co-curator of "By Her Hand: Artemisia Gentileschi and Women Artists in Italy, 1500-1800" at the Wadsworth Atheneum in Hartford. The exhibition explores how women artists succeeded even though many paths to professional development and patronage were closed to them. Among the artists whose work is included in the project are Gentileschi, Sofonisba Anguissola, Rosalba Carriera, Lavinia Fontana, and Virginia da Vezzo. "By Her Hand" is on view at the Wadsworth through January 9, when it will travel to the Detroit Institute of Arts. The exhibition catalogue was published by the DIA and is distributed by Yale University Press. Indiebound and Amazon offer it for about $40.

10 novembre 2021. Italie Me voici à la Campo della Carità, Venezia. Devant la jolie façade de la Gallerie dell'Accademia de Venise. Mon enthousiasme se traduit par le sourire aux lèvres, la hâte et la soif de découverte. Mon pass sanitaire, mon billet et mon téléphone en main. L'envie d'en prendre pleins les yeux, mélangé à la curiosité de connaitre le nombre de femmes artistes exposées au sein même de ce bâtiment de 1750. Un musée rassemblant une importante collection de peintures vénitiennes. A votre avis, combien de femmes artistes y sont exposées ? Vous écoutez Art au féminin ! Bonjour et bienvenue ! Je suis Aldjia créatrice de cette chaine de podcast. Ici je vous parle de l'art et l'histoire des femmes artistes d'hier et d'aujourd'hui. Ce mercredi du 10 novembre, j'ai donc essayée de découvrir en parcourant ce musée d'une surface de 12 000 M2 et riche d'environ 800 objects. J'en ai recensé 2 ! Deux artistes vénitiennes ! Pour 5 oeuvres ! Si on s'amuse a faire le calcule en s'attardant sur le nombre d'objects vs les 5 oeuvres cela nous donne … 0,63% ! Moins d'1% ! Mais oui ! c'est bien ça ! Ça vous surprend ? Visualisez maintenant l'odalisque de Ingres portant un masque de Gorille, l'odalisque revisité par les guérilla girls portant le slogan suivant : « Do women have to be naked into the Met. Museum ? Less than 5% of the artists in the Modern Art sections are women, but 85% of the nudes are female » « Les femmes doivent-elles être nues pour entrer au Met. Museum ? Moins de 5% des artistes dans les sections d'art moderne sont des femmes, mais 85% des nus sont des femmes » C'était en 1985 Je disais donc … deux artistes vénitiennes, Pour commencer : Rosalba Carriera : avec 4 oeuvres Un autoportrait Un portrait du consul de France Le Blond Un portrait d'enfant Un portrait d'une jeune femme. Des pastels sur papier que je vous invite à visualiser sur le compte Instagram ART au féminin. Pour ce qui est de l'artiste, je vous parle de sa vie et son art à travers l'épisode 6 de la saison 1 : Les femmes admises à l'académie royale de peinture et de sculpture. Un épisode de 12 minutes que je vous invite à écouter. Et partager. Vous l'avez compris, je ne vais pas vous parler aujourd'hui de Rosalba et de ces 4 pastels. Mais plutôt de la seconde artiste : Giulia Lama ! Une peinteresse, poétesse, brodeuse (par nécessité), qui connut une existence difficile et ce dans un grand isolement. Une artiste oubliée parmi tant d'autres, redécouverte il y a quelques années. Aujourd'hui, je vous parle de la vie et l'art de cette artiste et aussi de son oeuvre exposée à la Galerie Dell'Accademia de Venise : Judith et Holopherne. Vous êtes sur ART au féminin, et je vous souhaite une bonne écoute. Instagram et Facebook ART au féminin le site Soutenir ART au féminin

Par le hasard de la naissance, par leur talent ou par d'habiles manœuvres, elles se sont hissées au sommet de la pyramide sociale. De là haut, elles ont pu faire et défaire l'art de leur temps... Mais qu'en est-il aujourd'hui ? Ce dernier podcast s'accompagne d'une conclusion sur la thématique de "l'Histoire de l'Art au féminin". On évoque certaines constructions sociales encore très présentes dans notre lecture des femmes artistes,. Featuring. Isabelle d'Este, Katherine Briconnet, Catherine de Médicis, Sofonisba Anguissola, Rosalba Carriera, Madame Dupin, Elisabeth Vigée Lebrun et le féminisme du XXe siècle. *** Retrouvez Art Talks Coffret! Dans des coffrets assemblés à la main, numérotés et signés, retrouvez un livre d'art, le podcast, et dix œuvres satyriques, en lien avec les séries d'Art Talks. Ils sont tirés en 100 exemplaires seulement, et c'est un magnifique objet d'art à offrir, ou simplement pour compléter la découverte du podcast. Rendez-vous sur : https://www.art-talks.fr Suivez Art Talks sur Instagram @art.talks.podcast

Rosalba Carriera’s Self Portrait Holding a Portrait of Her Sister fascinates me. In fact, this masterpiece highlights what makes self portraits special. These paintings reveal how artists see themselves. On some level, every painting is a peek into its painter’s point of view. It’s their gift to us – a new way of seeing. When they portray themselves, painters convey a few levels of perspective. There’s what they see in the mirror. On the surface, this is how they see themselves. Of course, one can’t presume utter candor in all cases. So, on another level, artists show what they want us to see about them with a self portrait. However, the painter also has in mind what they want viewers to think is how they see themselves. But Carriera’s frank depiction here sets a stunning example of honest reflection. It’s charming. The cleft chin of the artist and her sister’s pock mark point to the reality of their looks. She emphasizes their noticeable imperfection. Both women were what was oft-called spinsters in their day. In fact, Rosalba’s sister, Giovanna, worked as her housekeeper. They supported each other in both the literal and symbolic sense. Self Portrait Holding a Portrait of Her Sister points out, warts and all, their unconventional stature. Learn more about this and other masterpieces with a click to LadyKflo's Art Blog. https://www.ladykflo.com/self-portrait-holding-a-portrait-of-her-sister/

Lors du précédent podcast, je vous ai parlé de Elisabeth-Sophie Chéron. Quatrième femme a être admise a l’académie royale de peinture et de sculpture. Aujourd’hui je vous parle de la cinquième femme a avoir été admise. Quelques temps avant la mort de Elisabeth-Sophie Chéron, décédée en 1711. L’académie avait décidé qu’aucune femme ne serait plus admise. 10 ans plus tard, coup de théâtre ! Les portes de l’académie royale de peinture et de sculpture s’ouvrent a une autre femme artiste : Rosalba Carriera. C’est d’elle que je vous parle aujourd’hui ! Dans ce podcast 100% art, 100% féminin. Bonjour, et bienvenue dans art au féminin. Merci pour votre écoute ! Si vous avez aimé l'épisode, découvrez les coulisses sur Instagram https://www.instagram.com/artaufeminin/

Venetian portraitist Carriera achieved a surprising level of success in the male-dominated European art world of the early 1700s. Her work helped popularize pastels and her portraits were commissioned by Europe's most prominent figures.  Learn more about your ad-choices at https://news.iheart.com/podcast-advertisers

Elegans och snirklighet, erotik och lekfullhet. Vid 1700-talets början exploderade rokokon som stilriktning i måleri, hantverk och mode. Inträngt mellan svåra krigsår och rationell upplysningstid fick lättsamheten, festligheten och nakenheten plötsligt fritt spelrum i den borgerliga kulturen. Konstnärer som Antoine Watteau, François Boucher och Rosalba Carriera liksom mecenaten och smakdomaren Madame de Pompadour var några av rokokons mest inflytelserika namn. Hur känner du igen en rokokomålning eller rokokointeriör? Varför fick den här stilen sådant genomslag just då? Och vad kan rokokons porträttkonst egentligen lära oss om stereotyper kring kvinnligt och manligt idag? Bildningspodden ger dig en crash course i en av 1700-talets viktigaste stilar. Gäster i studion är Sabrina Norlander Eliasson och Merit Laine. Sabrina Norlander Eliasson är docent i konstvetenskap, specialiserad på 1700-talskonst, och föreståndare för programmet Teknisk konstvetenskap vid Stockholms universitet. Merit Laine är docent i konstvetenskap vid Uppsala universitet och tidigare intendent vid Kungl. Husgerådskammaren och Nationalmuseum. Bildningspodden är en del av ANEKDOT – det digitala bildningsmagasinet, där Sveriges bästa forskare berättar, förklarar och fördjupar. Fler poddar, filmer och essäer hittar du på anekdot.se. Samtalsledare och redaktör: Magnus Bremmer 
Ljudproduktion och klippning: Christine Ericsdotter Nordgren, Språkstudion. Avsnittsbilden visar ett klassiskt exempel på rokokomåleri: François Bouchers "Venus triumf" från 1740, som hänger på Nationalmuseum.

In a very self-indulgent episode, Allyson talks about her favorite period in art history, and one of her favorite artists: Rosalba Carriera, who did aContinue ReadingEpisode 3: In Love with the Rococo

Il nome di Rosalba Carriera è tra i più importanti dell'arte del Settecento. Si avvicinò alla pittura di miniature e di piccoli ritratti a pastello, perché secondo la mentalità del tempo erano, in pittura, le realizzazioni più adatte a una donna, e furono proprio i suoi delicati ed eleganti ritratti a pastello che la fecero diventare una delle personalità artistiche più influenti, famose e richieste d'Europa. Rosalba Carriera iniziò a dipingere da sola, nell'ambiente familiare, e poi viste le sue doti fu a bottega a Venezia, la sua città natale, da Giuseppe Diamantini e Antonio Balestra: di lì a pochi anni diventò un'artista autonoma che seppe conquistarsi le attenzioni di collezionisti d'arte, diplomatici, sovrani di tutta Europa. La sua arte fu sempre molto fedele a se stessa e non conobbe mai una decisa evoluzione: oggi con Ilaria e Federico scopriamo i capolavori di questa grande artista che seppe costruirsi un ruolo di primissimo piano nella sua epoca.

Il nome di Rosalba Carriera è tra i più importanti dell'arte del Settecento. Si avvicinò alla pittura di miniature e di piccoli ritratti a pastello, perché secondo la mentalità del tempo erano, in pittura, le realizzazioni più adatte a una donna, e furono proprio i suoi delicati ed eleganti ritratti a pastello che la fecero diventare una delle personalità artistiche più influenti, famose e richieste d'Europa. Rosalba Carriera iniziò a dipingere da sola, nell'ambiente familiare, e poi viste le sue doti fu a bottega a Venezia, la sua città natale, da Giuseppe Diamantini e Antonio Balestra: di lì a pochi anni diventò un'artista autonoma che seppe conquistarsi le attenzioni di collezionisti d'arte, diplomatici, sovrani di tutta Europa. La sua arte fu sempre molto fedele a se stessa e non conobbe mai una decisa evoluzione: oggi con Ilaria e Federico scopriamo i capolavori di questa grande artista che seppe costruirsi un ruolo di primissimo piano nella sua epoca.

Artist Bibiana Suarez spoke at the Art Institute on December 2, 2006, as part of the series Artists Connect. Her revealing observations illuminate the presentation of 18th-century identities in portraiture, allowing us to compare Rosalba Carriera's work with Suarez's images, which address dislocation, memory, and games. This podcast is brought to you by the Ancient Art Podcast. Explore more at ancientartpodcast.org.